631

618

632

633 detail

101

634 and detail

102

637

640

636

638

644

103

661

827

104

935

Lots 808, 814, 843, 844

105

811

821

826

834

106

846

838

842

847

107

862

863

108

861

853

864

109

940

110

605

610.
Gem 20-Note Roller Organ, with stenciled case and six cobs,
(in need of restoration).
$100-150
611.
Small 38-Key Band Organ by G. Molinari & Sons, New York,
playing eight traditional and mainly American tunes, with three
stops, two ranks of pipes and sixteen brass piccolo pipes in front
aperture, in ebonized case with gilt-incised decoration of scrolls,
flowers and name John Muzzio & Son, New York, wd. 41 x ht. 41,
barrel 31 in., with tune-sheet and barrel of G. Molinari & Sons,
Manufacturers of Carousel Organs and Cardboard Music, Third
Avenue and 32nd St., South Brooklyn, New York. See color plate p.
97.
Note: The tunes are Nightingale, Sweet Rosy OGrady,
Red, White and Blue, Drum Major, Sidewalks of New
York, Marching Through Georgia, Over the Waves, and
My Country Tis of Thee. The organ can either be handcranked or played by the electric motor now mounted to the side
of the case.
$8,000-12,000
611A.
Wurlitzer Model 1015 Jukebox, No. 1004835, 78 rpm, with
twenty-four select, in domed walnut case of Paul Fuller design,
with original cream and red perspex, bubble-tubes, chrome
speaker lattice with illuminated Perspex star motif, chrome crest
and scrolling trim, the sides with three mirror-mosaic lines, ht. 59
in., (unrestored).
$4,000-6,000

606

612.
Penny Pack Coin-Operated Bandit, with 1c. operation, three
cigarette packet reels, gum-dispenser (lacking button), and
arched Art-Deco metal case with period paintwork, ht. 11 in.
$200-300
613.
Mills New Century Bandit, No. 33481, with three reels, 5 cent
operation and futuristic architectural case finished in green and
gold, ht. 28 in., (sticking).
$1,500-2,000
614.
American Coin-Operated Match Dispenser, for 1c. operation,
with nickel-plated facade, cast scrollwork decoration, coin-slot and
twin winnows above tray with double dolphin motifs, ht. 13 in.,
(wear to finish, incomplete).
$100-150

Automata
615.
Double Singing Bird Cage Automaton by Bontems, No.
5415425, with red/black bird on perch, and yellow bird on
velvet base below, both with articulated heads, beaks, and tails, in
domed brass cage with suspension loop, on square giltwood base
with floral relief and acanthus border containing intermittent
going-barrel movement with birdsong, ht. 19 in. See color plate p.
34.
$2,000-3,000

111

619

620

616.
Coin-Operated Double Singing Bird Automaton, probably
Bontems, one bird with red/green plumage, moving beak and tail,
the other with iridescent blue plumage, in papier-mch landscape
with tree, on giltwood and gesso base with coin chute and goingbarrel movement with bellows causing the first bird to sing and
the second to bob, on a turned and ebonized stand with coindrawer, ht. 53 in. See color plate p. 99.
$6,000-8,000
617.
Tableau Mcanique Automaton of a Blacksmiths Forge by
Tharin, c. 1860, the hand-colored scene depicting French Gothic
interior with six figures, four at the anvil, two shoeing a horse
observed by a terrier, with working paper bellows, tools on racks
and scattered in the foreground, a central arch to painted bucolic
view of a church and houses with lake and mountains beyond, in
giltwood frame with corner spandrels, scrolls and flowers, and
three-air cylinder movement driving pinned wheels and pulleys
causing three of the figures to beat their hammers, the fourth to
pump the bellows, and the terrier to wag his tail, overall ht. 19 x
wd. 20 1/2 in., six movements. See color plate p. 98.
Note: The Blacksmiths Forge was a popular subject by Tharin,
produced in several sizes and combinations, with variations in the
view through the arch, the presentation, and the driving train, but
always with the same figures and movements. Tharins
mechanical pictures were retailed in London by Silber and
Fleming, and described in their catalogue as a very effective
Mechanical Piece representing a Smiths Forge, with decorated
cardboard figures. Two men making horse-shoes, one man
shoeing horse, one man blowing bellows, which work in a very
natural manner; the horse and dog moving their heads and tails.
The whole piece in wooden case with richly gilt and black frame,
with glass in front, playing two airs of music. Six pounds, 15
shillings. The smaller size makes this example particularly
unusual.
$4,000-6,000

112

910

618.
Tightrope Walker Automaton by Jean Phalibois, c. 1865, No.
86, with acrobat on tightrope flanked by musicians playing violin
and lute in papier-mch landscape beneath flowering tree, on
ebonized ogee base with two-air pull-string cylinder movement
and going-barrel automaton movement driving two pinned
wheels for the musicians and pinned wood drum with four levers
for the acrobat, the wires passing through the tree trunk and
causing him to leap into the air, landing on his left or right foot
alternately, while kicking to the side with his other foot and
raising and lowering the beam both to balance and to heighten
the effect, while the musicians nod their heads and play in time to
the music, in the original feathered turbans and exotic
polychrome silk costumes trimmed with gilt Dresden paper, under
glass dome, eight movements, ht. 24 1/2 in. See color plate p.
101.
Literature: Bailly, Automata, The Golden Age, 1848-1914, pp.
160-161.
Note: A classic automaton by Phalibois, the Tightrope Walker
was made with several variations of figures and scenery, and
retailed by the London department store Silber and Fleming.
This is a particularly early example, with carved and painted wood
heads, and the shaved kid skirt of the dancer that emphasizes his
movements.
$10,000-15,000

623 detail

622 detail

619.
Early Manivelle Automaton of a Violin-Player by Throude,
with papier-mch character head, painted eyes, smiling mouth,
pointed nose and chin, carved wood hands holding a violin and
bow, the left arm articulated at the wrist, elbow and shoulder, the
mahogany base with hand-turned mechanism driving two-air
cylinder movement by LEpee No. 23055, three wood cams and
steel starwheel causing the figure to turn and bow his head and
move his right arm in time to the music, in the original mauve
silk tailcoat, blue breeches, waistcoat and cravat trimmed with
lace, brass rosettes and metal-thread braid, ht. 12 in., five
movements.
Note: Alexandre Theroude patented a design for a similar arm
movement in a monkey violinist in 1862.
$1,000-1,500
620.
Very Early Waltzing Bride Automaton by Alexandre
Throude, c. 1850, with papier-mch head, open mouth with
bamboo teeth, black glass eyes with painted vertical lashes and
arched brows, painted center-parted hair with individual strands at
crown beneath the original blonde mohair wig falling in curls,
papier-mch body with kid arms and stitched fingers holding a
bouquet, on three-wheeled grain-painted green tin base with
going-barrel movement driving two cams and causing the figure
to look from side to side and raise each arm alternately, while
gliding forwards and then turning in a circle, in the original Eau
de Nil silk walking dress with train, sash and matching bonnet, ht.
11 in., (silk loss in sleeves).
Literature: Annette Beyer, (1983), Die Fazinierende Welt der
Automaten, p. 172, for a similar piece.
Note: Active from around 1831 to 1872, Alexandre Throude
was one of the earliest makers in the golden age of the French
automaton. The figures and mechanisms of his platform toys bear
similarities to those of Antoine Vichy, whose workshops he may
have supplied.
$2,000-3,000

621.
Pair of Dancing Sonnenberg Figures, c. 1850, from a
mechanical scene or manivelle, carved and painted wood,
modeled as a man in military costume and tricorn hat, and a lady
with tea tray, with hollow skirts and articulated legs, ht. approx. 2
in., (lady missing teapot and one leg).
$200-300
622.
Rare Early French Sand Automaton by Pierre Landras, 18th
century, in the form of a pasteboard building on three levels, with
painted windows, stone cornices, and pitched tiled roof, a tower
room with roof lifting to disclose sand chute with stop/start on
the side, six articulated painted wax figures and a dog, on the
right a soldier with drum, at center a school master with baton
pointing to a placard painted with what appear to be cautionary
or allegorical scenes, accompanied by woman playing the violin, at
left a wig-makers shop with two figures holding comb and brush,
a third cloaked figure with articulated pigtail, a mannequins head
on a stand at the side, and a mirror above, the open back of the
building containing paddle wheel, four card cams and
corresponding wood runners driving five wires, on paneled paintdecorated wood base concealing sand-draw with flap in lid and
slide for releasing contents, wd. 10 x dp. 3 1/2 x ht. 12, in
apparently original painted wood display case with serpentine
front and arched side windows, overall wd. 11 x ht. 16 in., eight
movements. See color plate p. 98.
Note: The weight of the falling sand turns the wheel and causes
the soldier to beat his drum with both hands, the dog to nod, the
school master to motion with his left hand, the woman to play
the violin with her right, the two wig-makers to move their arms,
while their customer (with arms raised in the air) shakes his head
in shock at his reflection in the mirror.
Sand-powered automata that demonstrated the principals of
mechanics and gravity were part of the growing 18th century
interest in recreational science, alongside other educational
amusements such as panoramas, transformations, and mercury
toys. Pierre Landras, a toy merchant and retailer of fancy goods,
was located at 226 Galerie de Bois at the Palais Royale in Paris,
from c. 1798 until 1830. This is one of a handful of toys by
Landras to have been recorded, as well as a rare example of a
surviving automaton from the 18th century.
$8,000-12,000

113

623.
Rare Henry Phalibois Automaton of a Glutton, c. 1900, with
papier-mch character head, upturned nose, rosy cheeks, wide
smiling mouth with painted upper teeth and long darting tongue,
brown paperweight eyes with articulated dancing eyelids and
mohair lashes, tufts of brown mohair emerging from beneath his
top hat, seated on a chair-back with a silk handkerchief in one
hand, the other modeled with outstretched forefingers and
thumb, the large going-barrel mechanism driving five wood cams
and two-air cylinder movement, the wires passing through the
chair back, in red satin tailcoat with pale gold lapels over
elaborately-embroidered silk waistcoat and satin shirt, black-andyellow checked silk trousers, matching bow tie, striped socks and
leather shoes, ht. 30 in., seven movements. See color plate p. 99.
Note: The figure looks from side to side, bounces the
handkerchief in his left hand, winks his eyes rapidly and
alternately, shrugs his shoulders as though laughing, stamps his
left foot repeatedly on the chair seat, then raises his right hand,
sticks out his tongue and thumbs his nose at the audience.
In 1893, Henry Phalibois inherited one of the oldest automata
firms in France, but one had not adapted well to the Parisian fin
de siecle fashions of the day. Because the firm had traditionally
concentrated on mechanical pictures and scenes under glass
domes, Henri did not yet have the same catalogue of impressive
large-scale pieces that his contemporaries published. He naturally
turned to other major makers for inspiration, determined to
create automata that were, if possible, even larger and more
animated than those of Vichy and Roullet et Decamps. The
Glutton was undoubtedly inspired by Vichys Peasant and
Baby, a figure with similar movements and modeling, who nurses
a piglet on his knee. So close is the modeling of the hands in
particular, that it is tempting to speculate Phalibois either
acquired or adapted the molds of his competitors when creating
his own automata.
Phalibois automata from this period often have a distinctive,
grinning expression, and a complicated sequence of movements.
The shrugging shoulders and dancing eyelids also became a
characteristic of Henrys work; the effect is one of constant
movement on the verge of breaking into a dance. In 1895, he
advertised figures playing instruments, speaking, singing,
whistling, laughing. A near-identical version of this figure
features as the defendant in a large coin-operated courtroom
scene by Phalibois, the companion piece to New Woman sold
at Skinners on July 29, 2006, lot 600; he shrugs his shoulders,
winks and impudently thumbs his nose at the judge. The same
figure also appears as a Glutton eating a tartin in a 1905 invoice
from the firm (illustrated in Baillys Flights of Fancy, p. 342).
There are believed to be only four examples, including this one,
of the two versions of this automaton
$25,000-30,000

114

624.
Henry Phalibois Coin-Operated Automaton of a Headless
Magician, with smiling mouth, brown glass eyes, red mohair wig
rising in three points over his forehead and ears, holding a large
feather fan in his right hand, his left resting on a die atop a
pedestal, in glazed case with coin-drawer, two-air going barrel
movement driving five wood cams, and curtained background
simulating stage with proscenium, in black silk tailcoat with large
rose figured-silk buttons and lapels over embroidered waistcoat,
checked shirt with bow tie, black-and-gold checked breeches, and
pointed metal-thread shoes, ht. 34 in., (professionally restored,
fragments of the original shirt and jacket included), four
movements. See color plate p. 100.
Literature: Bowers, Encyclopaedia of Automatic Musical
Instruments, p. 111; Andre Soriano, (1985), Dolls of Monte Carlo,
pp. 82-85; York Museum of Automata exhibition catalogue;
Darren Hesketh (2005), Penny-in-the-Slot Automata and the
Working Model, p. 157.
Note: The magician covers his face with the fan, then removes it
while simultaneously lifting the lid of the die to reveal that his
head has disappeared from his shoulders, and re-appeared inside
the box. He then waves the fan again and lowers the lid, before
raising it to reveal the now empty box and, with a flourish,
removing the fan to disclose that his head has reappeared in its
rightful place.
The Headless Magician by Phalibois was made in a 19-inch size
as a table model, and in a larger size for coin-operated use. The
trick itself may have been inspired by the performances of
Georges Melies (1861-1938), French film-maker, illusionist, and
owner of the most popular magic venue in Paris, the Theatre
Robert Houdin. Melies, who had attended the first screening of
the Lumiere brothers Cinematographe in December 1895,
pioneered the use the trick shot to make objects appear,
disappear, or seemingly achieve a life of their own.
Head displacement was one of Melies favorite themes, appearing
most famously in his 1902 film LHomme a la Tte de
Coaoutchouc (the Man with the Rubber Head), in which the
magicians dislocated head is inflated to the point of bursting by a
misguided assistant brandishing an outsized pair of bellows. In
La Bourreau Turc of 1903, an exotic executioner decapitates four
prisoners with a giant scimitar, but seems not to notice that
behind his back their heads have re-attached themselves to his
victims bodies. Other striking images produced by Melies on
both film and stage mixed magic and automata, inspiring his
contemporaries Leopold Lambert, Ernst Decamps, and Henri
Phalibois with memorable personae such as Mephisto in La
Manoir du Diable or the full moon in La Voyage Dans la Lune.
Examples of the Headless Magician in public collections include
the National Museum in Monaco and the Murtogh Guinness
Collection at the Morris Museum in Morristown, New Jersey.
$25,000-30,000

624

625.
Roullet et Decamps Automaton of a Magician with Linking
Rings, with unmarked bisque Jumeau head, closed mouth, fixed
brown paperweight eyes, chestnut mohair wig rising in horns
over her ears, and velvet-covered base with open-spring motor
playing two short airs and causing the magician to turn her head,
shrug her shoulders as through waiting for applause, her hat
moving from side to side seemingly of its own accord, and her
right arm lifting so that one rings appears to cascade through the
chain, in yellow satin costume decorated with sequins and beaded
butterfly motif on the chest, russet silk bolero jacket, and black
lace ruff, ht. 23 in., (professional restoration to back of head),
four movements. See color plate p. 100.

Note: The linking rings is a classic illusionists trick, performed

by Chung Ling Soo, the stage name for English magician William
Robinson (1861-1918). Roullet et Decamps Magician with
Linking Rings is notable amongst 19th century automata for
performing a physical illusion, rather than a mechanical trick
controlled by cams and levers. It appeared as No. 257 in the
makers catalogue, produced either as a character or in the deluxe
version with bisque Jumeau head. The original cost was 35
Francs. Another example of this piece featured as a prop in the
1972 film Sleuth starring Michael Caine and Lawrence Olivier.
$8,000-12,000

Literature: Literature: Bailly, Automata, the Golden Age, p. 257;

Barbara Krafft (1991), Traumwelt der Puppen, p. 143.

626.
No lot.

115

627.
Roullet et Decamps Leaping Lion Automaton, the fur-covered
beast with yellow glass eyes, mane, articulated head and legs, the
open-spring motor in the body causing him to crouch, look
slowly from side to side, roar and then suddenly pounce, lg.
with tail 21 in.
$600-800
628.
Roullet et Decamps Jumping, Drumming Rabbit Automaton,
the white fur-covered rabbit with clear glass eyes, articulated arms,
legs and ears, with clockwork mechanism in the body causing him
to hop up and down while beating the drum and pricking up his
ears, ht. approx. 9 in.
Note: Purchased at Au Nain Bleu in Paris, this rabbit was carried
from France to America by his original owner shortly before the
Nazi occupation.
$600-800
629.
Roullet et Decamps Clockwork Walking Automaton Doll,
with bisque head impressed Simon & Halbig, 1078, Germany, S &
H, 11 1/2, open mouth with upper teeth, lashed blue glass eyes
(originally flirty, now fixed), pierced ears with earrings and later
strawberry blonde wig, on jointed papier-mch body with
straight legs, voicebox and clockwork mechanism in the torso, in
floral print dress with lace panel and velvet inserts, straw bonnet,
socks and fabric shoes, ht. 23 in., (lacking stop/start rod,
stringing loose).
$1,000-1,500
630.
All Original Roullet et Decamps Automaton of a Chef
dOrchestre, with unmarked Jumeau bisque impressed E, closed
mouth, fixed brown paperweight eyes, feathered brows, pierced
ears, blonde mohair wig over cork pate, and bisque hands holding
music-stand and baton, on velvet-covered base containing the
going-barrel movement playing one air and causing the figure to
turn his head left and right, while moving his baton alternately up
and down, and from side to side in time to the music, in original
satin dress shirt, bow tie, and waistcoat, peach satin tailcoat with
boutonniere, and black breeches, ht. 15 1/2 in. See color plate p.
100.
Literature: Bailly, Automata, The Golden Age, 1848-1914, p. 316;
No. 319 in the Roullet et Decamps catalogue.
Note: Although appearing in Roullet et Decamps catalogue, the
Chef dOrchestre was apparently produced in small numbers.
Another example can be seen in the Museum fr
Musikautomaten, Seewen, Switzerland, and is illustrated on p. 19
of their recent exhibition catalogue.
$4,000-6,000
631.
All Original Polichinelle Automaton by Rambor, c. 1890,
with unmarked F.G. bisque head impressed 210, closed mouth,
fixed bright blue eyes, pierced ears, original curly white mohair
wig, rare Polichinelle papier-mch body with front and back
humps, and bisque hands, standing on velvet-covered base with
flattened bun feet and single-air cylinder movement causing the
figure to turn his head and raise a bouquet of flowers in his right
hand, in original elaborate costume of alternating gold and peach
satin panels trimmed with gold Dresden paper, metal thread braid
and lace, upturned shoes, and tricorn hat, ht. 16 in., under later
glass dome, two movements. See color plate p. 101.
$5,000-8,000

116

632.
Lambert Bb Bonne Automaton in Rare Original Box, with
bisque head impressed S.F.B.J. 60 Paris, open mouth, fixed blue
paperweight eyes, original curly brown hair wig, bisque hands
holding a bisque-head doll and a carved bone rattle with ribbons
and bells, on velvet-covered base with open-spring mechanism
playing Marche des Bananes and Cest la Vie, tune-sheet, Au Nain
Bleu label and pierced LB key, in original Eau de Nil silk costume
trimmed with sequins and colored glass beads, deep lace collar,
matching cap and slippers, ht. 21 in., (silk frayed on girls sleeves
and small dolls dress), in makers pine box with straw packaging
and muslin bag, five movements; under glass dome. See color
plate p. 101.
Note: The bb looks from left to right, raises the rattle three
times with two movements (the rattle appearing to move
independently), then lifts the doll in her left hand, and inclines
her head to kiss her.
$6,000-8,000
633.
Fine Automaton of a Fltiste Ethiopien by Gustave Vichy, the
leather-covered papier-mch head with sharply-defined cheekbones, brown paperweight eyes with articulated lids, articulated
jaw with bone teeth and tongue, brass hoop earrings, lambs wool
wig, eyebrows, and moustache, standing cross-legged on olivegreen cut-velvet covered base with tune-sheet, holding turned
wood pipe in his articulated gutta-percha fingers, the going-barrel
movement in the body playing three airs, in the original iridescent
silk brocade jacket with gold filigree buttons and figured velvet
cuffs and lapels over cream silk shirt, embroidered high collar and
bowtie, cummerbund and gold satin knee-length breeches with
matching lining, ht. 30 in., (silk fragile on back of jacket, fine
original condition), eleven movements, with acorn stop/start.
See inside front cover and color plate p. 101.
Provenance: The Samuel Pryor Doll Museum, Sothebys New
York, 1982.
Literature: Bailly, Automata, The Golden Age, pp. 72, 238.
Examples in other collections include the National Museum of
Monaco, illustrated in Andre Soriano, The Dolls of Monte Carlo,
pp. 129-131. This automaton appears in Lydia Darbyshire,
(1990), Collectors Encyclopaedia of Toys & Dolls, p. 109.
Note: The sequence begins without music; the Fltiste turns his
head from side to side, blinking and opening his mouth as though
announcing his next tune. He raises the flute to his lips, inclines
his head and plays the flute with articulated fingers,
accompanied by one of the three airs. When he lowers the flute,
the music pauses, the Fltiste turns his head to announce his next
tune, and the sequence begins again.
Part of a rare group of Vichy automata with intermittent music
that accompanies their actions (the others are the Piano Watteau,
Sonnette de lEntracte, and the Dresseur dOiseau), the Fltiste
Ethiopien appeared in the firms catalogues in time for the Paris
World Exposition of 1878. His hands are of gutta-percha, a new
material that had made its first appearance during the 1840s and
was to be seen displayed in some of the elaborate forms of
furniture at the Great Exhibition of 1851, so as to subtle, yet firm
enough, to carry the linkages for the complex articulation of his
individual fingers. The intermittent action is achieved by a
sectional gear with teeth that engage the cylinder mechanism only
when music plays a part of his movements, an important
innovation of which Vichy was produced, for he deposed
(patented) the model.
$75,000-100,000

634.
Rare Automaton of a Louisiana Black Smoker by Vichy, with
papier-mch head, brown eyes with articulated lids, open/closed
mouth with painted teeth, sculpted cheekbones, chin and
eyebrows, and black mohair wig, sitting cross-legged on
scrollwork walnut rocking chair, his body articulated at the right
knee, left elbow and right arm, his hands molded and painted to
suggest gloves, holding bone and burlwood cheroot-holder in his
right hand, a copy of the Emancipation Proclamation in his left,
the crank-wind going-barrel movement in the body driving seven
cams, bellows and playing two airs as the figure rocks back and
forth in his chair, looks from side to side surveying the scene,
slowly moving the Proclamation back and forth in his left hand,
raising the cigarette-holder in his right, inclining his head to
inhale, the smoke passing through the body and exhaled through
his mouth as he leans his head backwards and lowers his eyelids as
though savoring the experience, in tailored white cotton
plantation suit over cream silk dress shirt, green cummerbund,
straw hat, original leather shoes and striped black-and-yellow
socks, ht. 22 in., with crank and acorn stop/start, seven
movements; one of only three known examples of this piece,
restoration was undertaken by Steve and Jere Ryder in 1991; an
album of notes and photographs documenting the restoration is
included in the lot. See color plate p. 102.
Literature: Bailly, Automata, The Golden Age, pp. 77, 241.
Note: In 1896 Henry Vichy traveled from France to the United
States for the purpose of establishing an American branch of the
company. Under Henrys leadership, the Vichy family had already
amassed a loyal clientele in America. A visitor to the Chicago
Exhibition in 1893, one of the first occasions that Gustave and
Henry Vichy had exhibited together as Messieus Vichy, G. and
H., reported that in his opinion the firms display was the most
veritable attraction. He went on to add: No mechanical toys
are more polished than those made by the firm, which employs
fifteen men and ten women, whose turnover amounts to the sum
of 150,000 francs and which exports to the Orient, to America
and in Europe. Establishing a branch of the company in a major
city such as New York or Philadelphia would have seemed like a
natural progression for this most progressive of automaton
makers.
Henry Vichy settled in New Jersey, where he was joined by his
wife and three children in 1898. Little else is known of his time
in America, however it seems likely that he would have traveled
the country, taking in the sights from New York to New Orleans.
His travels came to an end abruptly in 1900 with the breakdown
of his marriage. Gustave Vichy arrived from France to retrieve his
grandchildren and daughter-in-law; whatever the nature of the
quarrel may have been, his sons name quietly disappeared from
the companys letterhead.
As unhappy as the outcome of the transatlantic adventure for the
Vichy household, some of the firms most graceful and original
automata were created during Henry Vichys time as its director.
Notable amongst these is the Louisiana Black Smoker, which is
not only one of Vichys most sculptural automata, but also one of
their rarest. It was also one of their only two automata to portray
American characters; the other was Buffalo Bill. Uniquely Vichy
in design, the rocking action of the chair is created by a leather
wheel concealed in sole of the figures left shoe, the mechanism,
music and bellows being concealed entirely within the figures
body. Vichys largest and most elaborate smoker, it is tempting to
think that the elegant black man rocking nonchalantly in his chair
may have been drawn from life by Henry Vichy, an accomplished
artist, during his travels in the American South.
$70,000-90,000

635

Dolls
635.
Petite Bisque Bb by Emile Denamur, Suzette, impressed E
3 D, Dpose, with closed mouth, fixed blue spiraled glass eyes,
pierced ears with earrings, original blonde mohair wig on cork
pate, and fully-jointed composition body in the original finish, in
period muslin chemise, net socks and leather shoes, ht. 12 in.,
(chips around back of head aperture, small raised firing dots on
forehead and left cheek).
$500-800
636.
Kammer & Reinhardt 101 Bisque Character Doll, Marie, c.
1910, impressed K*R 101, with closed pouty mouth, blue
painted eyes, newer blonde human hair wig in coiled braids over
ears, fully articulated composition and wood body in original
pink-toned finish (slight wear), white cotton underwear, wool
petticoat, blue and white gingham check dress with white trim, a
small bisque doll in her pocket, straw hat, and white leather laceup shoes, ht. 15 in. See color plate p. 103.
$2,000-3,000

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640.
Circle and Dot Bru Bb, impressed on neck 6, with pressed
bisque swivel head, even coloring, outlined open/closed mouth
with molded teeth and hint of a tongue, fixed brown paperweight
eyes, mismatched brows, pierced ears, brown hair wig,
shoulderplate with molded nipples, gusseted kid body with
scalloped neckline and bisque lower arms, in lawn dress and
period straw hat, ht. approx. 17 in., (old repair from neck socket
to crown behind right ear, flake on lower right eye rim, chip near
corner on lower left, hairline from neck socket to below the chin,
no overpaint on head, wig not removed, red line approx. 1 in. on
back of shoulderplate, missing left little finger, right hand
repaired, body firmly stuffed but tears at thigh and knee gussets).
See color plate p. 103.
$2,000-3,000
641.
Two German Bisque Dolls, a socket head doll impressed Made
in Germany, with open mouth, sleeping blue eyes, brown mohair
wig, ball-jointed composition body ink-stamped Jutta, and period
whitework dress, ht. 18, (wig not removed, four damaged
fingers); and a shoulder head doll with horseshoe mark 1902 5/0,
open mouth, fixed blue eyes, blonde mohair wig, articulated cloth
body with bisque lower arms, and green silk skirt with cape, ht.
18 in., (wig not removed).
$400-600

639

637.
Kammer & Reinhardt Bisque 114 Sober-Faced Child, Hans
or Gretchen, c. 1909, impressed K*R, 114, 30, with painted
blue eyes, closed pouty mouth, pensive expression, remains of
original blonde mohair wig, and ball-jointed composition body, in
period blue cotton romper suits, ht. 12 in., (wig not removed,
paint wear on hands, one foot repaired). See color plate p. 103.
$1,500-2,000
638.
Kammer & Reinhardt Bisque 114 Sober-Faced Child, Hans
or Gretchen, c. 1909, impressed K*R 114, 30, with painted
light-blue eyes, closed pouty mouth, remains or original blonde
mohair wig, and ball-jointed composition body, in period white
cotton undershirt, ht. 12 in., (wig pulls over right ear, wig not
removed, upper left arm and right knee joint repaired). See color
plate p. 103.
$1,500-2,000
639.
Belton-type Bb, probably France or for the French market,
with round face of Schmitt appearance, closed mouth, fixed blue
paperweight eyes (originally weighted), feathered brows, cutaway
crown with two stringing holes above the hairline, dark blonde
hair wig on original cork pate, and fully-jointed composition
body, in original pink silk dress with lace collar and cuffs, ht. 14
in.
$800-1,200

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642.
Simon & Halbig Bisque Girl with Wardrobe, early 20th
century, impressed Heinrich Handwerck, Simon & Halbig, with
open mouth and upper teeth, (replaced) brown sleeping eyes,
pierced ears, original blonde mohair wig, and ball-jointed
composition body, ht. 18 in., (hands and right ear repaired), with
extensive hand-made wardrobe, including printed cotton dresses,
two-piece play suits, pajamas, overalls, storm coats, hats,
underclothes, shoes and socks, an old patchwork quilt and baby
blanket, scarf, two purses, and others.
$300-500
643.
Heubach Bisque Character Baby with Wardrobe, early 20th
century, impressed Heubach 7247, with open/closed mouth,
sleeping blue/gray eyes, original blonde mohair wig (sparse), and
bent-limb composition body, ht. 14 in., (paint cracks on chest),
with extensive hand-made wardrobe, including white and colored
cotton dresses and slips, winter nightgowns, hats and bonnets,
crocheted jackets, booties, cape, winter coat, undergarments, and
others.
Provenance: Lots 642 and 643 are the childhood dolls of the
sellers mother, Jane Spofford Chaffe, who was born in Evanston,
Illinois, in 1906. The extensive wardrobes of the two dolls were
begun by the owners grandmother, who is shown in an early
photograph (not included in the lot) with her grandchildren and
their doll.
$400-600
644.
Tte Jumeau Bisque Bb, stamped in red Depose Tte Jumeau
Bte SGDG 12 and back stamped in blue, Aux Tuileries M. Bail
Jouets 210 Rue De (?), with pale bisque, fixed light-blue
paperweight eyes, arched brows, open/closed mouth, pierced
applied ears, cork pate, original blonde mohair wig, fully-jointed
composition body, period and probably original china blue silk
coat dress, fine straw hat with matching blue trim, off-white lace
jabot, socks, and black kid shoes with rosettes stamped on the
sole Paris, ht. 26 in., (some paint wear and scuffing on hands and
joints, silk in unstable condition). See color plate p 103.
$3,000-5,000

642

647

643

648

652

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658

655

656

658

657

659

645.
Armand Marseille Bisque Head Boy Doll, early 20th century,
impressed AM 1894, with blue glass stationary eyes, open mouth,
original blonde mohair wig, straight-limb composition body,
dressed as a boy in a brown tweed outfit, white knit cap, and
brown suede cloth shoes, ht. 14 1/2 in.
$250-300

648.
Kestner Bisque Shoulder Head Gibson Girl, c. 1910,
impressed 172 at edge of pate, with closed smiling mouth,
sleeping blue eyes with painted lower lashes, slender neck, and
shapely upturned nose and chin, on jointed kid body with bisque
lower arms, ht. 19 in., (right hand repaired).
$800-1,200

646.
Bisque Shoulder Head Doll, Germany, early 20th century,
probably by Armand Marseille, with open mouth, upper teeth,
stationary blue glass eyes, blonde synthetic wig, kid body with
bisque lower arms, lavender and pink taffeta dress and cotton
undergarments, ht. 24 in.
$300-400

649.
Two Kestner 143 Bisque Head Dolls, early 20th century,
impressed 143, with open mouths, one with sleeping blue glass
eyes, the other with fixed brown eyes, blonde mohair wigs, and
jointed composition bodies, in outfits of period fabric, ht. approx.
8 3/4 in.
$800-1,200

647.
Bisque Turned Shoulder Head Lady Doll, probably by Kling,
Germany, late 19th century, incised K on back of shoulderplate,
blue glass sleeping eyes, closed mouth, blonde mohair wig, kid
body, tinted bisque lower arms, dressed as a bride in ivory satin
and lace dress, cotton undergarments, and white leatherette shoes,
ht. 16 1/2 in., (minor chipping on lower arms).
$400-600

650.
Bisque Shoulder Head Doll, probably by Kling, late 19th/early
20th century, with open mouth, upper teeth, original stationary
brown bulgy eyes, kid body with bisque lower arms, dressed in
period white cotton dress and underclothes and maroon wool
cape, ht. 19 in.
$300-500

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