The Art of Play: Princess Margaret with a Doll, 1935

Princess Margaret
Marcus Adams, 1935
The Royal Collection

In December of 1935, King George VI and Queen Elizabeth (the Queen Mother) took their daughters Princesses Elizabeth (now Queen Elizabeth II) and Margaret to the Children’s Studio to be photographed by Marcus Adams. The Princesses wore matching silk dresses trimmed with small flowers and delicate frills.


The two princesses sat for portraits together, and individually. Each was photographed with a favorite toy. Elizabeth chose to be photographed with her cherished plush cat while Margaret chose to have her picture taken with this large doll.

Joy in Miniature: The Lord Clapham Doll Chair, 1690-1700

Dolls Chair, 1690-1700
This and all images courtesy of:
The Victoria & Albert Museum
Museum of Childhood

At first glance at the photo, you’d think this was a full-size Seventeenth Century chair, but on closer inspection you can see that the scale isn’t quite right for a human. This miniature chair was made for the “Lord Clapham Doll,” which is part of the Victoria and Albert Museum’s collection in the Museum of Childhood.

This tiny chair of wood and cane is in the popular style of the period 1690-1700. The caning in the seats and the pattern of crosses which has been incised in the upper surface of the seat frame are identical to full-size chairs made in the same period—showing that this was made by a professional chair-maker using conventional construction methods.

In order to provide fairness to both genders, the “Lady Clapham” doll sits on a similarly-styled chair. For a doll’s chair or any miniature to survive this long is quite exceptional. As I pointed out, the scale is slightly different from the real thingf. The curators of the V&A explain, “The proportions of the chair are slightly different from full-sized chairs, and not quite to scale with the dolls, because the dolls' feet do not touch the ground.” I don’t know if that’s because dolls don’t like their feet touching the ground or if it’s just the way it worked out.

The Home Beautiful: The Thomas Risley Doll's House, 1889

Doll's House
Assembled in 1889 by one Thomas Risley
Possibly from a kit by an unknown model co.
Click to enlarge the image
The Victoria & Albert Museum

Made by Thomas Risley in 1889 possibly from a kit, this villa puts me in mind of Queen Victoria’s Osborne House, though it is a doll’s house. This beauty is rendered in the style of a brick house which would have been quite the fashion about 1860—with a glass conservatory and coach house on each side.

When we hear the words “doll’s house,” we automatically imagine that this was made to be a child’s plaything. But, not. This was not for a child. It’s far too fragile. This was meant as a collectible pursuit and a hobby for an adult, and quite probably for a male with an interest in architecture and design.

Made of wood, it is painted a deep cream, with a striped yellow and white awning over the front entrance. The coach house has been made to look as if it is a brick structure, and the conservatory is constructed of real glass. A set of railings with two gates run around the front of the house. 

Object of the Day, Museum Edition: A German Portrait Doll of Queen Victoria as a Princess, 1835

German Wax Doll
1835
The Victoria & Albert Museum

This unusual portrait doll with a solid wax head and outer limbs on a cloth body is said to represent Princess (later Queen) Victoria. She wears a long full-skirted dress of plain ivory-colored silk, with a corsage and head-dress. The doll's petticoat of plain ivory-colored silk is gathered a the waist, and has one vertical seam and a deep hem.

Though the doll is said to be a young Queen Victoria as a princess, it’s important to note that it looks nothing like her. Young Victoria was fair—blonde and blue-eyed—while the doll is dark. Since the doll was made in Germany in her honor, it is understandable that the German maker was not aware of the Princess’ actual coloring.

The Art of Play: A Steiff Monkey, 1910

Monkey (Chimpanzee)
Steiff, 1910
The Victoria & Albert Museum

Monkey! Mohair Monkey! Okay, it’s not actually a monkey, it’s a chimpanzee, but the German toy makers, Steiff referred to all their early simian soft toys as “monkeys.” Who knew the difference?


This chimp features fully jointed arms, legs and head, so that he can sit or stand. His arms are exceptionally long and slightly bent at the elbows to make sure he was in full monkey mode. As with most of Steiff’s animals, a great deal of attention was paid to the details. His fingers and toes are clearly defined and rigid, built atop metal prongs.

The curators at the V&A believe this toy—which still retains its trademark button in the left ear—was made as an automobile accessory, designed to sit on the radiator cap of a motor. How interesting. He seems to have held up well and is in pretty good condition for being over one hundred years old.

Mastery of Design: King Edward VII's Gaming Box

Gaming Box Belonging to King Edward VII

Crown Copyright
The Royal Collection
Via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click image to enlarge.

This rectangular double-hinged gold box with chased scroll and floral borders in high relief and central engine-turned panels was made between 1826 and 1836.  Though we're not quite sure how, the box ended up in the collection of King Edward VII.

The top contains four rectangular and four circular pierced gold games counters, each chased with flowers and scrolls, and each one marked as the ace of a different suit (hearts, diamonds, cubs and spades). The base of the box contains three spiral markers.

Figure of the Day: A Victorian Jack in the Box, 1820-50

German Jack in the Box
1820-1850
This and all related images from:
The Victoria & Albert Museum

In Britain in the 1820s and 1830s, caricatures were representing people from all walks of life were a popular art-form which crossed into a variety of media. This rough caricature of a peasant woman a bold grin and a full face adorns the box of a jack-in-the-box toy.

Jack-in-the-box figures like this were popular and readily available in the early Victorian era. While vaguely frightening, such toys were considered a fashionable and suitable way to not only entertain tots, but to also provide children with their first awareness of basic scientific and cause-and-effect principles. While this one may seem disturbing compared to more modern and jolly jacks in the box, this one is a good representation of the toys of the era.

The paper covered wooden box holds the aformentioned caricature of a woman made of composition and cloth with a metal spring. Her hands are on the wrong arms and have been since it was made. Printed in black script is:

“What wonder Miss/May be in this? Make me free and You'll see.”

The toy was made in Germany between 1820 and 1850.

Unusual Artifacts: Le Gai Violiniste, 1900

Le Gai Violiniste
1900, Paris
The Victoria and Albert Museum

With the dawn of the Twentieth Century, the rich would amuse themselves with playthings such as music boxes and automata. Here we see an example of such an object. This mechanical figure of a man playing a violin contains a clockwork mechanism. It is covered in cloth and features a key on the left side.


While many automata are constructed of papier mache, composition or other materials, this figure features a painted metal head, top hat and hands with metal strips for arms and legs, and black-painted lead feet. In his hand, he holds a metal violin and bow. When wound, he plays the instrument, however, curiously, there is no sound save the click of the mechanism. The automaton retains its original box which has a picture of the violinist on the outside.

Manufactured in Paris around 1900, this is the work of Fernand Martin.

The Art of Play: A Mechanical Fox, 1930-39

Mechanical Fox
Shuco, 1930-39
The Museum of Childhood
The Victoria & Albert Museum

In the 1930’s, the fox became a surprisingly popular subject for children’s soft toys.  This is, in large part, due to fox characters in children’s literature whose trickster antics were much enjoyed.  German toymakers Schreyer & Co. (known as Schuco in the U.K.) offered a line of mechanical toys which, by manipulation of the creature’s tail, were able to either nod their heads in agreement or shake them side-to-side to indicate the negative. This form of interaction proved quite enticing to children who begged their parents for these little mechanical companions. 

The most popular of the line was this fox.  In typical 1930’s style, the fox has been anthropomorphized.  He sits upright and wears wire-rimmed spectacles which give him a look of sly wisdom.  This example, housed in the Museum of Childhood at the Victoria & Albert Museum, was manufactured between 1930 and 1939.  It still bears its original tags and is in full working order. 

Antique Image of the Day: Princess Elizabeth and her Toy Cat, 1935

Princess Elizabeth
With Her Toy Cat
Marcus Adams, 1935
The Royal Collection

Even little princesses like to play with their toys. This 1935 photograph of a nine-year-old Princess Elizabeth is evidence of that. Taken to “The Children’s Studio” by Elizabeth, the Queen Mother, and King George VI, Princess Elizabeth gladly posed for Royal photographer Marcus Adams. Her only demand—that she be photographed with her favorite toy, a small, stuffed cat.


What’s most amazing about this photo, however, is the fact the she looks exactly the same then as she does now that she’s Queen Elizabeth II. I wonder if she’s still got that cat. Maybe it’s what she keeps in her ever-present handbag.

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Unusual Artifacts: A Musical Automaton Hurdy Gurdy, 1875

Musical Automaton
Hurdy Gurdy
1875
The Victoria & Albert Museum

At first glance, this odd item appears to be simply a wooden box adorned with figures of two monkey musicians. However, it’s much, much more than that.

By means of a handle at the back of the organ, a magical animation begins. The handle operates the Papier Mache and fabric monkey figures which were supplied by the Parisian maker Alexandre Theroude to a retailer of musical instruments, Thibouville Lamy. Together, they play eight different tunes. Upon being accepted into the Victoria & Albert Museum, the monkeys were given new clothes as their originals were in a sad state. The new clothes were made using the originals as a pattern and are as close in color and texture as was possible.

This item is illustrated in a Silber and Fleming catalogue which dates between 1876 and 1877. Similar examples were also for sale in upscale specialty shops and elegant department stores. Such a thing was not meant for children, but rather sold as a novelty for adults to enjoy.

The Art of Play: Toy Silver Saucepan, Tea Set and Cover, 1720-1750

Toy Saucepan, Tea Set and Cover
Silver, Wooden Handles, Fabric
1720-1750
The Victoria & Albert Museum

For as long as there have been children, there have been toys. Children have always liked to play with miniature versions of the objects that they see their parents use every day. So, it was only natural that a child in the early Eighteenth Century would have a miniature saucepan and silver tea set to play with.

Crafted of silver and wood, this set features small versions of a traditional tea set in addition to a cozy, a saucepan and, oddly, a silver swan. Curiously, this set of objects was intended to be buried with their owner who passed away as a small child. It was taken from her casket before burial.

The Art of Play: German Toy Birds, 1910

Toy Birds, 1910
Based on Designs from 1850
The Victoria & Albert Museum

In the Victoria & Albert Museum’s Museum of Childhood, there are several examples of German wooden toys which demonstrate the originality of German designs for children. Here, we see one of a group of traditional German toys which were made in the 1900s.


Though they were made in the Twentieth Century, they were based on designs which dated to the previous century. The toy consists of a carved hummingbird at each end of a cross bar. Beneath each bird is a leather bellows. When the upright bar is moved from side to side the bellows are operated causing the birds to whistle.

Such clever toys were wildly popular both in Germany and in England. However, due to their delicate nature, few survive. 

Unusual Artifacts: A Rare Antique Sand Toy, 1850-1870

Sand Toy
French, 1850-1870
Gerard Camagni
The Victoria & Albert Museum

This unusual and exceptionally beautiful toy dates between 1850 and 1870 and comes from France. Sand toys are particularly rare—prone to damage from wet weather and their fragile natures.

Sand toys function by the power of falling sand which is distributed through a complicated system of hoppers and paddle wheels which served to “animate” a paper figure within a glass case. Given the nature of the mechanism, sand toys didn’t function very well except in extremely dry weather. They were very often broken from the shaking of frustrated children who wanted to mechanism to work in all conditions.

This exquisite toy of glass, paper and wood is intricately decorated and features a figure of a woman in Eighteenth Century dress. Upon the release of the sand, she dances within her glass case.

Remarkably undamaged, this beautiful antique is part of the collection of the Victoria & Albert Museum.

Bertie's Weekly Pick: A Clockwork Bear, 1850-1899

Every week, I'm giving Bertie a chance to pick a favorite object to discuss.  This week, he's decided on this cute, but sadly-muzzled, toy bear which was the subject of a past article. 

Clockwork Bear
1850-1899
France?
The Victoria & Albert Museum

While the concept of a “Dancing Bear” seems quite cruel to us now, it was a staple of Nineteenth Century carnivals and an idea that was often incorporated into children’s playthings. To begin with, the bear was already a favorite subject of toy makers of the Nineteenth Century both in Europe and in the U.S. Here’s a rabbit skin and clockwork example which not only looks disturbingly realistic, but also dances just like the bears that people would see in traveling shows.

This poor bear stands on its hind legs and balances its weight on a walking stick. A figure of wood and cardboard covered in fur, it contains a clockwork mechanism. The bear has a brown glass eye (the other is missing), red plush jaws and teeth made of bone. Its nose and paws are of carved and painted wood. Upon his mouth, he wears a brass wire muzzle from which hangs an attached chain and ring.

Probably the work of a French toymaker, the toy is operated by a large brass key with a circular handle which is inserted into the right side of the body. When the metal rod on the left side is moved, the figure is animated--alternately rocking from side to side to give the impression of walking and dancing.

It’s attractive and horrible all at the same time, sort of like the very idea of a dancing bear.

Object of the Day, Museum Edition: A Pull-Along Bear, 1920

Pull-Along Toy
German, c. 1920
The Victoria & Albert Museum

By the 1920’s, toy manufacturers were often producing cuddly teddy bears that offered snuggly companionship to youngsters. However, some manufacturers recognized that many children preferred more active and realistic toys, and, in response to that produced soft animals which were more natural looking than their cute counterparts. These toys were regularly mounted on wheeled platforms so that their child could move them around easily.


This Pull-Along Bear dates to about 1920 is comes from an unknown German manufacturer. Still in excellent condition, his wood frame shows more wear than does his mohair coat. No doubt, he was rolled more than he was cuddled.

Toys of the Belle Époque: Trentsensky Toy Theater, 1825-1880

Toys of the Belle Époque: Trentsensky Toy Theater, 1825-1880

Trentsensky Toy Theater, 1825-1880
Victoria & Albert Museum

This toy theater is originally the work of famed toymaker, the Austrian-born, Matthias Trentsensky. Trentsensky began producing these paper theaters in Austria in 1790, using his brother Joseph’s name for the company. Such paper theaters were quite popular in England. Trentsensky exported many of these printed sheets for assembly in Britain.

The theater consists of a stiff paper-board proscenium, fabric-covered base and elaborately detailed paper backdrops. “Plays” would be staged in the theater by using paper dolls in intricately drawn costumes. This particular theater was assembled in Britain and remained in the same family until 1880. The owners added several of their own backdrops to the assortment of scenes that came with the theater.

This Trentensky Toy Theater is in remarkably good condition given its age and the amount of use that it endured for nearly sixty years. Today, it is on display at the Museum of Childhood at the Victoria & Albert Museum.

Object of the Day, Museum Edition: A Paper Model Kit, 1939

Model of the Empire State Building
Robert Freidus, 1939
The Museum of Childhood
The Victoria & Albert Museum

In the 1930’s, artist Robert Freidus, created a series of paper model sets for children which were based on popular architecture across the world. Building paper models was a beloved pastime for both young and old since the Eighteenth Century. Though it’s largely fallen out of fashion, there’s still a fascination with these delicate models.


This set from 1939 produced a scale model of New York’s Empire State Building. This set, among many others, was part of an exciting exhibit at The Victoria $ Albert Museum which concluded in January wherein the guests were welcomed to create models of their own.

Unusual Artifacts: A Silver Rattle, 1901

Baby's Rattle
Sterling Silver and Bone
Saunders and Shepherd
Birmingham, England, 1901
The Victoria & Albert Museum

Silver rattles are still being given as special gifts—a lasting way to mark the birth of a child, and something which can be passed through generations. The practice of presenting a newborn with a silver rattle dates to the early days of the Victorian era, a time when children were especially revered and doted-upon.

This example dates to the end of Queen Victoria’s reign (and life), 1901, and the start of the brief reign of her eldest son, King Edward VII. Though many styles were changing during this period, this rattle looks as if it could have been made in 1837 and adheres to a traditional style which was expected for such gifts.

Unlike the silver rattles given as gifts today, the sterling rattles of the Nineteenth and early Twentieth Centuries were actually intended to be used by the baby. Let’s examine this one more closely. The silver rattle is mounted with a teething ring of bone at one end while the other side is fitted with a loop for a ribbon, and terminates in a whistle. The bulbous central section is decorated with scrolling ornament and hung with six, enclosed, cone-shaped bells. Above this, two more bulbous tiers are mounted, each of these hung with three similar bells with two below.

The little object would have provided quite a lot of hours of entertainment for a baby who could make it rattle, ring and whistle. Furthermore, the bone teething ring would have helped junior work his teeth through his gums. But, there’s also another aspect of this rattle which isn’t immediately apparent or remembered.

As I mentioned, this a period during which children and babies were especially romanticized. The infant mortality rate, at the start of Queen Victoria’s reign, was much higher than at the end of it. During this time, anything that could be done to ensure the long life of a child was going to be employed. Superstitions and what we now refer to as “Sympathetic Magic” were big parts of this philosophy. Even the smallest detail might have had some importance. For example, the fact that the teething ring portion of the rattle is made of bone is not just a matter of practicality and availability of the medium. The use of animal bone was thought to confer the strength of the animal to the child—a strength which would be employed to fight pain and illness. Sometimes teething rings were made of red or white coral—or both—in order to symbolize the battle between the flesh and the bone which was inherent to teething. But, also, the use of coral would have imbued the child with the power of the ocean.

This may sound very quaint and silly. But, think about it. Even as recently as 1901, such superstitions came to play. And, if you think about it, humans are, by their very nature, still a species which relies quite a lot on “magic” and assigns significant power to the unknown. The rattle is marked “CS” with a six-point star. It is also stamped “FS/ anchor/ lion/ b” and “Made by Saunders & Shepherd.” It was assayed in Birmingham, England as sterling silver; marked 1901.

The Art of Play: The Eleanor Lloyd Doll, “Amelia Ann”, 1955-65

Composition Doll (left) in hand-sewn uniform, 1955-65
The Victoria & Albert Museum

Here we see two dolls which once belonged to one Eleanor Lloyd and her sister. Let’s take a look at the blonde.

She has been dressed in the image of her owner.  Eleanor Lloyd, along with her sister were active in the Brownies and Guides respectively.  The girls hand-sewed outfits for their dolls to look like them in their uniforms.

In making the outfit for her doll,  young Eleanor demonstrated great attention to detail, recreating her uniform exactly and even hand-embroidered skill badges including “the hostess badge”, “the pony rider badge” and the “first aid badge”—all badges which Eleanor herself had attained.

Eleanor called the doll “Amelia-Ann” and pretended that her little stiff friend belonged to the same pack that Eleanor attended—“The Gnomes.”  This is identifiable from the badge on Amelia Anne’s left arm.

Amelia Ann is a doll of composition. Her hair has been cut in to a stubby fringe with shoulder-length waves. She has red-painted finger nails and lips, a jointed neck, upper-arm and leg sockets.

To make matters more exciting for Eleanor, the doll is a “walking/talking” model and the head moves from side to side as the leg joints are moved to mimic walking. Sadly, “Amelia Ann’s” voice box has been broken and covered over with a “plaster” as if she were really suffering from some illness.