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.

Toys of the Belle Époque: A Wax “Boy” Doll, 1860

Wax "Boy" Doll, 1860
The Museum of Childhood
Victoria & Albert Museum

Dolls made to look like men or boys have always been rare. Since dolls have always been considered the stuff of girls, most doll-makers and toy manufacturers produce feminine figures, thinking that a girl would prefer to play with something in her own image. It wasn’t until the 1960’s, that dolls were made with different body types for specific genders.


In the Nineteenth Century, one basic style of doll body was crafted that was thought to support any kind of costuming and wig. The predominant body-type featured a thin waist, wide hips and narrow shoulders—all classically feminine characteristics. If a customer wanted a “male” doll, very often the look was achieved by adding a short wig and styling the figure in a “masculine” costume. Only rarely did a toymaker add a specific “make” head to a figure.

This wax doll from the 1860’s from the collection of the Victoria & Albert Museum, shows one of the typical “cross-dressing” dolls. The body-type is clearly feminine. However, the figure has been costumed in typical male attire. Sometimes, luxurious whiskers were painted onto these female faces to achieve a look of masculinity. Despite its little suit of clothes, we can’t help but notice that this doll would look a little more natural in a nice frilly frock.

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 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.

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.

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

The Art of Play: King Charles I’s Rocking Horse, 1610

Rocking Horse Belonging to King Charles I
1610
The Museum of Childhood
The Victoria & Albert Museum

Of the two-hundred rocking horses in the collection of the Museum of Childhood at the Victoria & Albert Museum, this is the oldest. The horse, made of softwood and elm, was made in 1610 specifically for King Charles I–son of James VI and Anne of Denmark—when he was a child. Charles’ childhood was marked by ill-health and a variety of speech disorders which kept the prince secluded and largely indoors. This rocking horse probably provided the soon-to-be-king with a much needed distraction.


It’s rather amazing that this item has survived over four hundred years in the excellent condition that it’s in. A plaque affixed to the horse states that the horse was, “Purchased on 18 June, 1906, at Cheshunt House, Hertfordshire.” Theobalds House—the favorite home of James VI—was the location of James death and the announcement that Charles I would be king. Theobalds House stood near Cheshunt House in Hertfordshire. When the house was largely demolished in the Eighteenth Century, most of its contents were absorbed into the surrounding stately homes. This rocking horse seems to have made its way into Cheshunt House where it remained for three hundred years.

The Art of Play: William Terry Bear, 1905-1908

Mohair Bear
William Terry, 1905-1908
The Museum of Childhood
The Victoria & Albert Museum

English toymaker William Terry began his business in 1890 and found moderate success with his line of stuffed animals made from real animal fur. However, his first commercial triumph was a stuffed, mohair-covered, replica of King Edward VII’s beloved terrier, Caesar. From 1909 onward, due to the success of the Ceasar toy, Terry’s company used the trademark, Terry’er Toys.

Another popular stuffed toy, as always, was the bear. During World War I, when Britain banned the import of German products, British toymakers began to thrive with the production of their own stuffed bears. This bear by William Terry is one of the earliest known English “Teddy Bears.” Made between 1905 and 1908 from shaggy mohair and stuffed with wood wool and kapok, this doll set the standard for British toy bears. With glass eyes, a sharply humped back, webbed claws and stitched nose and mouth, this bear was copied many times by a variety of toymakers.

Today, he lives in the Museum of Childhood at the Victoria & Albert Museum. We know his name is “Ted” and that he was the loyal companion of a boy who was born in 1894. This bear is remarkable in that it predates the creation of the brand Terry’er Toys and shows not only one of Terry’s earliest attempts at creating a mohair toy, but also represents the most influential introduction of a stuffed bear into the world of English toy-making.

The Art of Play: German Toy Birds, 1850-1910

German Toy Birds
1850-1910
The Victoria & Albert Museum

Made in Germany, this pair of toy birds could date anywhere between 1850 and 1910. This is one of a group of German traditional toys which is housed in the V&A’s Museum of Childhood. Some of the group were made in the mid Nineteenth Century while others were made in the 1900s based on earlier designs.

At each end of the crosspiece, a hummingbird figure is mounted with a leather bellows. When the upright piece is moved from side to side, the bellows are engaged and produce a whistling sound.

Unusual Artifacts: “Tippoo’s Tiger,” c. 1790

Tippoo's Tiger
1790
Victoria & Albert Museum

This magnificent object is really more of a musical instrument than it is a toy.  Well, to be honest, it’s more of a curiosity than anything else.  Indian in origin with distinctly European working parts,Tippoo’s Tiger (also known as Tipu's Tiger) is a magnificent life-sized animated sculpture of a tiger devouring a man in a 1790’s style costume. Within the tiger’s body, an organ is operated by turning a handle.  This organ—by means of a system of bellows—produced the growls of the tiger and the anguished cries of his victim. Another miniature organ—also built into the tiger’s body—features 18 pipes which can be played by means of ivory keys and stops set into the tiger’s side.  This really is a peculiar thing.  However, it’s also quite spectacular.  When it came to England in 1808, it was the talk of London society.  On display for many years at the East India Company’s Museum, it eventually reverted to the Crown and is now displayed at the Victoria &Albert Museum.

Toys of the Belle Époque: A Clockwork Pig, 1890

Clockwork Toy Pig and Rider, 1890
The Victoria & Albert Museum

Long before handheld digital devices, people still wanted their toys to be somewhat interactive. Our Victorian and Edwardian counterparts were very clever with clockwork—producing exceptional automata and animated items ranging from the most serious of time pieces to the most frivolous of toys. I think this clockwork pig falls closer to the category of the latter.

I like this pig. He looks like a happy pig despite the fact that he has a rider. This is just one example of the beautiful automata designed during the Nineteenth Century—particularly in Germany, France and England. Automata had a place in the home as toys, yes, but they also served as conversation pieces, curious and, even, decorative objects. Functional Victorian clockwork pieces are rare and difficult to come by. They can occasionally be found in pieces or in poor-working order.

This pig seems to have held up well. He and his friend now reside in The Victoria & Albert Museum. The geographical origins of this pig are somewhat sketchy. Curators at the V&A place it around 1890 and most likely originating in France or Germany. The pleased pig walks on his thin legs—wound by a key in his stomach. His rider can move his arms (one of them, missing a hand) back and forth. Items such as this were often imported to England and the United States during the Nineteenth Century. Because of their small size, they weren’t heavily taxed and could be purchased for a relatively low cost. Today, however, an item such as this is worth a small fortune. 

The Art of Play: A Scottie Dog Soft Toy, 1933

Scottie Soft Toy
Unknown Maker, possibly Chad Valley
English 1933-34
The Victoria & Albert Museum

Soft toys have always been popular with children who delight in cuddling these inanimate friends. Aside from bears, one of the most popular subjects for stuffed animals have been doggies. And, aside from a Westie, what better dog for a soft toy than a lovely, little Scottie?

This soft Scottie was made in England between 1933 and 1934. The body of straw if covered with soft, black mohair which has been tipped in gray. The dog’s black nose has been embroidered beneath its brown and black glass eyes.

The maker of this toy is unknown. Originally, he would have had a ribbon or collar around his neck which would have contained a paper tag or metal button with the maker’s name. That has long since been lost, but this Scottie is just as dashing as ever.

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.

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.

In Franco Zeffirelli's semi-autobiographical film, Tea with Mussolini, a similar paper theater was used.  You can see it in this clip at about one minute in.

The Art of Play: 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.

The Art of Play: 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: A Wax “Boy” Doll, 1860

Wax "Boy" Doll, 1860
The Museum of Childhood
Victoria & Albert Museum

Dolls made to look like men or boys have always been rare. Since dolls have always been considered the stuff of girls, most doll-makers and toy manufacturers produce feminine figures, thinking that a girl would prefer to play with something in her own image. It wasn’t until the 1960’s, that dolls were made with different body types for specific genders.


In the Nineteenth Century, one basic style of doll body was crafted that was thought to support any kind of costuming and wig. The predominant body-type featured a thin waist, wide hips and narrow shoulders—all classically feminine characteristics. If a customer wanted a “male” doll, very often the look was achieved by adding a short wig and styling the figure in a “masculine” costume. Only rarely did a toymaker add a specific “make” head to a figure.

This wax doll from the 1860’s from the collection of the Victoria & Albert Museum, shows one of the typical “cross-dressing” dolls. The body-type is clearly feminine. However, the figure has been costumed in typical male attire. Sometimes, luxurious whiskers were painted onto these female faces to achieve a look of masculinity. Despite its little suit of clothes, we can’t help but notice that this doll would look a little more natural in a nice frilly frock.

Object of the Day, Museum Edition: A Mr. Punch Teething Ring

Teething Ring
The Victoria & Albert Museum

By the Nineteenth Century, Mr. Punch was a true superstar in Britain and images of Punchinello, his wife and friends became a popular iconography for all manner of household items.  

Nursery-related items often sported Punch & Judy themes.  A good example is this teething ring which has recently been added to the Victoria & Albert Museum.  The ivory ring is attached to a pierced silver likeness of Mr. Punch which sits atop a mother-of-pearl handle.  It was created in the mid-to-late Nineteenth Century.

The Art of Play: King Charles I’s Rocking Horse, 1610

Rocking Horse Belonging to King Charles I
1610
The Museum of Childhood
The Victoria & Albert Museum

Of the two-hundred rocking horses in the collection of the Museum of Childhood at the Victoria & Albert Museum, this is the oldest. The horse, made of softwood and elm, was made in 1610 specifically for King Charles I–son of James VI and Anne of Denmark—when he was a child. Charles’ childhood was marked by ill-health and a variety of speech disorders which kept the prince secluded and largely indoors. This rocking horse probably provided the soon-to-be-king with a much needed distraction.


It’s rather amazing that this item has survived over four hundred years in the excellent condition that it’s in. A plaque affixed to the horse states that the horse was, “Purchased on 18 June, 1906, at Cheshunt House, Hertfordshire.” Theobalds House—the favorite home of James VI—was the location of James death and the announcement that Charles I would be king. Theobalds House stood near Cheshunt House in Hertfordshire. When the house was largely demolished in the Eighteenth Century, most of its contents were absorbed into the surrounding stately homes. This rocking horse seems to have made its way into Cheshunt House where it remained for three hundred years.