Discover The Secrets Of The Past A Comprehensive Guide To Identifying Your Antique Dolls

Antique dolls compress fashion, technology, and social history into a single, fragile object. Correctly identifying them—what they’re made of, who made them, when, and with what parts—turns guesswork into evidence-based appraisal. This guide walks you through a methodical process professionals use to attribute and evaluate dolls, with practical cues you can apply at the workbench or auction preview.

Materials and Construction: Start Here

Material tells you the broad era and narrows possible makers. Confirm what you’re seeing before you jump to names.

• China head (glazed porcelain): Glossy, glass-like glaze over white porcelain, usually with molded and painted hair (center-part waves, sausage curls, or elaborate 1860s–1870s coiffures). Typically shoulder-heads sewn to cloth or kid-leather bodies. Common 1840s–1880s (Germany).
• Parian (unglazed porcelain): Matte, creamy porcelain; often more sculptural hair and bonnets, no glaze. Mostly 1860s–1880s.
• Bisque (unglazed porcelain) head: Matte finish, fine pores visible under magnification. Often socket-heads on ball-jointed composition bodies; the pinnacle French fashion and bébé dolls are 1870s–1890s; massive German output 1890s–1930s.
• Wax (poured or wax-over): Slight translucence and “living” surface; sometimes inserted human hair. More prone to dents and finger impressions. Mid-19th century through late 1800s.
• Composition (wood pulp, glue, fillers): Warm to the touch, heavier than plastic, with characteristic crazing or lift in old paint. Used for heads and/or entire bodies, ca. 1900–1930s (U.S. and Germany).
• Celluloid: Very light, visible side seams, can smell faintly of camphor. Tends to deform or dent; highly flammable—handle with care. Popular 1900s–1930s (Germany, Italy, Japan).
• Hard plastic: Molded with crisp seam lines, less weight than composition; common post-World War II (late 1940s–1950s), often with sleep eyes. Not “antique” in the strict sense but encountered in collections.
• Wood: Early peg-woodens (“Groednertal,” 19th c.) and later fully jointed Schoenhut dolls (1909–1928) with painted features and robust joints.
• Cloth and felt: Kathe Kruse (painted cloth faces; Germany), Lenci (pressed-felt art dolls; Italy), early 20th century.

Practical tests:

• Tooth-tap: Gently tap a clean tooth against an inconspicuous area—glass/porcelain “chings,” composition/plastic “thunks.”
• Magnification: Bisque shows fine pores; china has a uniform glaze; composition reveals fibers/fillers beneath paint.
• Weight and seams: Celluloid is featherlight with a lengthwise seam; hard plastic shows sharp molded seams at limbs.

Era cheat sheet:

• 1840s–1860s: China heads on cloth/kid bodies.
• 1860s–1880s: Parian and wax; early bisque shoulder-heads.
• 1870s–1890s: French bébés and fashions; high-grade German bisque.
• 1890s–1930s: German character, googlies, babies; composition bodies expand.
• 1910s–1930s: Celluloid, felt/cloth artist dolls.
• Late 1940s–1950s: Hard plastic (vintage, not antique).

Avoid water on heads with set eyes; avoid solvents entirely. Keep heat sources away from celluloid.

Heads and Faces: Features That Signal Maker

The face is the fastest attribution path. Note mouth, eyes, modeling, and brow style.

• French bisque (Jumeau, Bru, Steiner, SFBJ): Often paperweight glass eyes (domed iris with depth), soft feathered brows, fine shading at nostrils and lips. Many closed or slightly parted lips; pierced ears are common. Complex, symmetrical modeling with a “romantic” expression. Wigs are mohair or human hair, high quality. French fashions (adult-type) have shoulder-heads and kid bodies with narrow waists.
• German bisque (Simon & Halbig, Armand Marseille, Kestner, Kammer & Reinhardt, Heubach): Wide variety—open mouths with molded teeth, “character” faces with expressive sculpts, side-glancing “googly” eyes, babies with closed mouths and heavy lids. Eye shapes and mold numbers drive attribution (e.g., S&H 1079, AM 390).
• China/parian heads: Painted/enameled eyes, molded hair; hairstyles date the doll (center part with curls suggests 1850s–1860s; elaborate updos 1870s).
• Wax: Soft, life-like skin; glass eyes often set; hair can be inserted. Lacks the crisp pores of bisque.
• Composition/hard plastic heads: Painted lashes or “sleep” eyes with tin or plastic lids; molded hair on many toddler types; later synthetics (saran) in wigs.

Details to watch:

• Sleep eyes: Tin or glass sleep mechanisms appear late 19th century onward; inspect rims for chips.
• Teeth: French bébés typically show closed/outlined lips; German child dolls often have 2–4 upper teeth.
• Lashes and brows: Feathered, individually stroked brows and upper lashes suggest higher-end work; heavy painted lower lashes are more typical on later composition/plastic.
• Ear piercing: Factory-pierced ears (clean, tapered holes) vs. later hand piercings.

Bodies, Joints, and Clothing: Clues to Origin

Bodies frequently settle maker and era when heads are generic or replacement.

• French bodies: Early Jumeau “chevrot” (wood core with kid covering) and later high-quality composition bodies with straight or cupped wrists. Often red body stamps. French fashion bodies are slender kid leather with articulated elbows and wrists.
• German bodies: Ball-jointed composition with stamped or penciled size numbers on torso/limbs; toddler types with bent limbs, babies with bent legs/arms. Hands may be straight or bent at the wrist depending on maker/model.
• China/parian bodies: Cloth or kid leather with stitched fingers; sometimes wooden lower limbs.
• Wooden: Schoenhut’s spring-joined wood bodies are robust, with chest or foot stamps.
• Cloth/felt art dolls: Lenci has pressed felt with stenciled/painted features; Kathe Kruse uses painted or molded mask faces over cloth.

Clothing and shoes:

• Original outfits use hand-stitching, early hooks/eyes, and period-appropriate fabrics. Snaps are early 20th century; zippers and Velcro indicate replacement.
• Factory-stamped soles (e.g., “Jumeau”) and marked boxes/shippers add confidence.
• Undergarments often survive longer than dresses; their construction can corroborate era.

Expect mismatches: German factories sold heads and bodies separately; U.S. assemblers mixed parts. An AM 390 head on a generic German body is common and not necessarily deceptive, but transparency matters in appraisal.

Maker Marks, Numbers, and Common Attributions

Most identifications pivot on marks. Look methodically in bright, raking light.

Where to look:

• Back of head (outside and inside the neck socket), shoulder plate, upper back/torso, feet/shoes, and occasionally under wigs.
• Use a flashlight and soft brush to clear dust. Do not scrape.

How to read marks:

• Mold numbers are model or size identifiers—not dates.
• Country marks (“Germany,” “France”) and export marks (“DEP”) reflect trade practices, not specific makers.
• Reproduction heads often bear incised years, “repro,” or modern country names.

Common marks and examples:

• Jumeau: “Depose Tete Jumeau” with size number (e.g., 8, 12); body with red “Jumeau Medaille d’Or” stamp.
• Bru: “BRU Jne R” with size; sometimes star marks.
• Steiner: Letter series (A, C, Fig. marks), “Le Parisien.”
• S.F.B.J. (1899–1957): “SFBJ 301 Paris” and other numbers (e.g., 60, 236).
• Simon & Halbig: “S & H,” “Simon & Halbig,” often paired with Kestner or Kämmer & Reinhardt; molds “1079,” “126,” “1039,” etc.
• Armand Marseille: “Armand Marseille 390” or “AM 390,” “AM 370,” often “Made in Germany.”
• Kestner: “JDK” or “Made in Germany” with molds “143,” “171,” sometimes “Kestner” spelled out.
• Kammer & Reinhardt: “K*R” or “K&R,” notable character molds like “117n” (Mein Liebling).
• Heubach: “Gebruder Heubach” with sunburst; numerous character baby molds.
• Bahr & Proschild: “B & P” with mold numbers (e.g., 224).
• Schoenhut: Chest or foot stamp “Schoenhut Doll.”
• Lenci: Stamped blue “Lenci” on foot or paper label; Italy.
• Kathe Kruse: Ink stamps, cloth tags, or signatures.
• Ideal: “IDEAL” with patent/model names (e.g., Patsy, Shirley Temple); composition/hard plastic.
• Madame Alexander: “Alexander” or “Mme Alexander” marks; later plastics often neck stamps.

Red flags for reproductions or later hobby casts:

• Modern porcelain heads marked with an incised year (e.g., 1983), artist initials, or “repro.”
• Chalky, overly white bisque with machine-drilled ear holes.
• Bodies with modern hardware, zippers, or Velcro on “antique” outfits.

Case example:

• “AM 390” with an open mouth showing four upper teeth, brown sleep eyes, and a ball-jointed composition body sized to the head typically dates 1895–1915 and is German, mid-market.

Assessing Condition, Originality, and Value

Condition and originality move prices more than small attribution nuances.

Heads:

• Hairlines often run from crown to eye rim; use raking light. Look for flake chips at the nose, lip edges, and ear piercings. Eye-setting plaster inside the head should be old and stable; bright white modern plaster suggests reset eyes.
• Factory firing specks/pinholes differ from impact chips; the former are usually forgiven in valuation if minor.

Bodies:

• Composition: Note paint wear, lifting, or overpaint/repaint. Refinished bodies are less valuable than original surface with honest wear.
• Kid leather: Check for seam splits, leaks at joints, and later patching.
• Stringing: Limbs should hold poses without extreme tightness that risks cracks. Over-tight restringing causes stress fractures.

Clothing and wigs:

• Original wigs (mohair/human hair) and period-appropriate clothing strongly support value. Replaced wigs are acceptable if disclosed and of proper type; modern synthetic wigs on 19th-century dolls are a mismatch.

Rarity and desirability:

• French bébés (Bru, Jumeau, Steiner) generally outrun German children in value, but top-tier German characters (K*R 114, Heubach expressive babies, googlies) can be exceptional.
• Unusual complexions, ethnic/Black dolls, and all-original presentation increase desirability.
• Size matters: Many markets favor 18–24 inch display sizes; very large or very small can be scarcer and command premiums.

Care and storage:

• Keep out of direct sunlight and high heat. Celluloid must be cool, ventilated, and isolated from other plastics due to off-gassing risk.
• Use acid-free tissue for clothing; never bleach. Dust bisque with a soft brush; avoid water if eyes are set with plaster.

Documentation for appraisal:

• Record exact mark transcription, head circumference (wig size in inches), total height, body type, and notable features. Photograph head marks and any stamps. Note alterations, repairs, and provenance.

Practical checklist (print and keep in your kit):

• Confirm material: china/parian/bisque/wax/composition/celluloid/wood/cloth/hard plastic.
• Measure height and head circumference (wig size).
• Inspect head under raking light for hairlines/chips; note mouth type and eye construction.
• Lift wig carefully to check for crown cracks and marks; never pry glued wigs without steam/solvent expertise.
• Check neck socket and inside head for marks; note every character, number, and symbol.
• Identify body type: shoulder-head vs. socket head; composition vs. kid; joint count and style.
• Look for body stamps, pencil size numbers, and shoe/sole marks.
• Assess clothing: closures (hooks/eyes vs. snaps vs. modern), stitching, and fabric age; separate original from added pieces.
• Test stringing tension; note repairs, repaint, or replaced parts.
• Photograph front, profile, back of head/neck, marks, and any issues; record observations immediately.

FAQ

Q: Is bisque the same as porcelain? A: Bisque is unglazed porcelain with a matte surface; “china head” dolls are glazed porcelain with a glossy finish. In casual use “porcelain” can mean either, but identification depends on whether the surface is glazed (china) or matte (bisque).

Q: My doll only says “Germany.” How can I find the maker? A: Combine the country mark with mold numbers (often below the country), facial modeling, mouth/eye type, and body style. For example, “Germany 390” with an open mouth and four teeth suggests Armand Marseille; “S&H 1079 Germany” points to Simon & Halbig.

Q: Are repainted bodies or repaired cracks a deal-breaker? A: Not always, but they reduce value compared with original surfaces. Stable, well-documented repairs on scarce dolls are acceptable to many collectors; undisclosed overpaint or filled eye chips is problematic. Always disclose.

Q: How do I safely handle celluloid dolls? A: Keep them cool and away from heat or direct sunlight. Store separately from other plastics in ventilated conditions. Avoid pressure on thin areas (cheeks, limbs). Do not attempt hot-water cleaning; a soft brush is safest.

Q: Can I restring a doll myself? A: Yes, with the right elastic, hemostats, and experience, but it’s easy to over-tighten and crack composition. Beginners should practice on common dolls or consult a restorer for valuable pieces.

By approaching each doll as a collection of evidence—material, face, body, marks—and by documenting condition with the same care as attribution, you’ll produce identifications that stand up to scrutiny and valuations anchored in the realities of the market and the object’s history.