Primrose Pennyweather: 18th century fashion doll

I've had a wood doll "kit" that I got from Larkin & Smith about 5 or 6 years ago that I finally decided to make.  She's not a "fancy" doll like those shown in my last post but I thought she would make a fun first doll project.  In the 18th century, one could buy dolls both dressed and undressed and in various levels of or artistry.  Some were clearly not meant to be roughly played with while others were meant for play. 

Here's a look at some of the bodies and body parts of 18th century wood dolls.

This one has hinged knees.  Many had articulated arms and legs.

This one has leather upper arms which makes the doll easier to dress.  Her knees appear to have a small leather strip inside both the upper and lower leg which allows them to bend.

This one has leather upper arms and hinged knees.

Here is a doll diagram for making one's own doll.  The arms are hinged and nailed to the body.  

Here's my doll kit.  Not sure about those arms.  I also wasn't thrilled with the face.  She needs a chin and ears so I set about using paper clay to add those contours to her face before painting her.  Not sure what to do with the arms yet but note that they have holes at the top for attaching.

The kit came with a small piece of almost white wool roving to usee for her hair.  I decided to go with some I had on hand that had a bit more color to it.  I basicall glued it on in sections to cover the top of her head then made the rolls by wrapping small pieces of roving around a pencil and securing them with white glue.  Once dry I glued them to her head.

I painted her similarly to an 18th century doll I found in the V&A.  Acrylic paints are very difficult to use for fine line work and the paint looks too heavy to me but it's acceptable.  Next time I'll go with oils.  I think they will be finer.   I made little cardboard washers and nailed the arms to the body.  They looked totally wrong.  They're way too short and close to the body which will make it difficult to dress her.

Social media to the rescue!  I posted a picture of the doll and made a query about the arms.  My friend, Jillian, sent me a pic of her dolls from Colonial Williamsburg and explained that the arms are connected to each other with a loop of string.  The loop gets wrapped around the dolls neck/upper body and the clothing holds everything in place.  That made much more sense so I ended up just doing that.

On to the clothing!  I used Sharon Burnston's doll pattern for the shift.  Her doll is the same height but the body proportions are a bit different.  Not having a name yet, I put random initials for a laundry mark.

I wanted her to have stays since I intended to use her to show the layers that women wore.  I wrapped a piece of paper around her body and came up with a suitable shape for a pattern.

The pattern was traced onto some white linen and pinned to the outer linen.  I machine stitched the top and bottom lines.

The seams were pinked and the stays were turned right side out.  

I backstitched some lines onto the stays.  I should've done more but decided to move on.  I used heavy linen thread to lace the stays in back.

I decided that she needed some tiny pocket hoops since she would be wearing a sack.  I drafted a little pattern and split a cable tie for the hoop.

Here she is with her pocket hoops tied on.

I found a 1 yard piece of a medium blue shot silk which I love.  The only silk satin ribbon I had in a

smaller size (3/8") was yellow and I liked the two together so I decided this would be the color scheme

for her outfit.

I also found some tiny vintage French lace in my lace stash to use for her cap, ruffles, and tucker.

I settled on the lace edging and whitened it with Retro Clean.

I love making caps so it was fun to draft a little dormeuse style cap for her.

The first layer of clothing I made was a white linen under petticoat which isn't visible here.  I topped it with a ruffled silk petticoat to match her gown.  Petticoats were made with a back opening.  Pinked edges were all treated with Fray Block since I knew she'd be handled and I didn't want them to ravel.

Using Sharon Burnston's doll bodice pattern, I drafted a sack to fit it.  Sharon's pattern is a gown with a full waist seam and no robings.  Trim is used in place of the robings.  This bodice made a perfect linen lining on which to drape the sack.

Here is the bodice lining with the sack body.  Back pleats are done and back section is pinned to the front at the sides.

The sleeves were stitched into the armholes and pinked flounces were added.  Pinked trim was added long the front and neck edges and sheer white ruffles edged with lace were stitched inside the sleeves.  Her gown is worn the way a full size gown is worn.  The stomacher is pinned to the stays and the gown is pinned in place over it.  I found tiny sequins pins were perfect for securing her clothing.

This was going to be the end but then I decided to make outer wear.  I had Garsault's mantelette diagram on my computer because I had scaled it up to make one for myself.  I printed out the original diagram and it turned out to be the perfect size for the doll!  I cut two out of yellow silk, pleated them at the neck then stitched them right sides together, turning them right side out.   I made a pinked strip to add trim to the mantelette.

Fits perfectly! Now to add the trim!

I wanted her to have a decent hat.  The straw doll hats that you see in craft stores are quite rough so I decided to make my own.  I found some 1/4 inch plaited straw on an Etsy page dealing with miniature trims for dressing dolls.  After determining the diameter of her hat, I wet the straw and pinned it to my circle pattern.  Jordie seems to think this activity was for his amusement.

This was a fiddly process.  I whipped stitched all the little rows of straw together, steamed it with a lot of spray starch,  then added trim to the hat.

For her mitts, I used a paper strip to wrap around her arm for the pattern.  Using white and yellow silk taffeta, I traced my pattern on the silk, put the two colors together and stitched the top and bottom seams.  After turning them right side out, I fitted them on her arm and stitched a seam.  I also stitched 3 yellow lines at the points.

Of course she needed jewelry.  I had some 2mm glass pearls in my stash which were a perfect size for a necklace.  The small watch charm was found on Etsy.  I used wire to make a little hook at the end of the chain, which was in my stash.

Here she is in all of her garb!

One last addition to her accessories:  a mini pin ball to store her gown pins.

 Final thoughts--This was a fun project and a nice diversion.  It also kept me from doing other things that probably were more important. LOL.  This has become a bit of an obsession as I'm already planning a winter wardrobe for Miss Pennyweather.  At some point, I'd like to make a larger, fancier doll but I think I'll have a lot of fun with this one for quite some time!  If you are interested in making a doll, the Mill Farm doll pattern by Sharon Burnston has instructions for making a doll and patterns for clothes if you are not comfortable working without patterns.  

"Dolls, dress'd and naked. . ." 18th century wooden dolls

I've alway loved dolls and have a bit of collection of Victorian and early/mid 20th century dolls.  Fashion dolls have always been my favorites.  30 years ago or so, I made porcelain reproduction French and German fashion dolls.  Those are packed away.  About 6 years ago, I got an 18th century wooden doll kit from Larkin and Smith so I finally pulled her out out to make.  I only had images of extant dolls that were dressed or paintings containing dolls.  Let's look at some of them.

Alexander Van Haeck 1730

                                 William Hogarth:  Children at Play:  The Doll's Tea Party

John Wollaston:  Elizabeth Randolph

                                             Johann Zoffany:  Charlotte Augusta Matilda

                          Charles Willson Peale:  Mann Page and Elizabeth Page  1750s

                                            Jean-Etienne Liotard:  Marianne Liotard 1765

Paul Sandby:  Seated Girl with a Doll

Paul Sandby:  Woman and Child Holding a Doll 1758-60

                                                          John Collet:  Peasants Dancing

                        Charles Willson Peale:  Peggy Sanderson Hughes and daughter 1789

                                   John Singleton Copley:  Copley Family Portrait 1776-77

Charles Willson Peale:  Ann Proctor 1770s

                             Joseph Wright of Derby:  Two Girls Dressing a Kitten 1768

                    William Hoare:  Christopher Anstey and his daughter Mary-Ann 1776

Note that there are images with lower/working sort people as well as upper sort.  The dolls all appear to be quite similar which implies that they were enjoyed across the social classes.

Let's look at a few wood dolls.

Letitia Penn doll (William Penn's daughter) 1699.

                                          18th century doll.  Wood, gesso, glass eyes

18th century doll face close up

Early 18th century doll, clothes 1770-80.  Colonial Williamsburg

22 inch wood doll (no date)

9.5 inch dolls--only hips are jointed.  1780

wood, gesso, glass, human hair; 22 inche;  Colonial Williamsburg, 1775

And my favorite:

wood, gesso, glass, 23 inches tall;  Victoria and Albert Museum

Here's what came with the above doll:

I can't help but wonder if some of these dolls were kept by adults given the pristine condition of their clothing.  Most of them are larger than I expected.  All are wood with most also noting gesso which I assume to be mainly on the faces.  Most, if not all, have inset glass eyes.  Most seem to be fully articulated--with jointed knees and elbows.  The small dolls in the plain frocks only have jointed hips.

There's a fascinating account in The Old Bailey: Joseph Phips. Jane Tinsley. Theft; other. 4th April 1733.

" Joseph Phips , and Jane Tinsley , were indicted for stealing a Matted Chair, 14 naked Babies, and 2 Dozen of dress'd Babies, and one jointed Baby , the Goods of William Higgs , March 21."

Joseph Phips was Mr. Higgs' apprentice and Jane Tinsley was his journeywoman.  Mr. Higgs, a turner by trade,  made the wood dolls and his wife dressed them.  The dolls are referred to as babies--a bit of curiosity given the lack of evidence of actual baby dolls.  Dolls of the day seemed to be fashion dolls--18th century Barbies, if you will.  

In 1779, Sarah Bache wrote to her father, Benjamin Franklin asking him to send a doll for her 2 year old Betsy:

"Willy and our little Black ey’d parrot [Betsy] who I am sure you would be fond of if you knew her, (she is just the age Will was when you came from england, and goes down stairs just like him) both join in love to you, she desires you would send her a doll not a fine one, but one that will bear to be pul’d about with a great deal of Nursing, there is no such things to be had here as toys for Children"

A year and a half later,  Sarah wrote to her father  noting that the children had the doll stripped and were bathing it.

You can read about this on John Bell's blog here.  Thanks to Ruth Hodges for giving me that link!

From American Art Vol. 20, No.2

Serious Daughters:  Dolls, Dress, and Female Virtue in the 18th Century by Leslie Reinhardt, 2006

"Because there was no real distinction betweeen the dolls used to display the latest fashion and those used as toys, these objects linked fashion with child's play.  They identified the women who viewed them with the girls who played with them.  Girls could see in these dolls, which were dressed in adult styles, pictures of womanhood and imagine the women they would become.  Conversely, grown women could look to the dolls' apparel for hints on fashionable attire.  Even with dolls clearly intended as toys for little girls in this period, there were constant references to adult interest and involvement in both production and reception.  For example, Thomas Shippen was aware of the wider implications when he sent the English doll to his niece Peggy Livingston, a contemporary of Elizabeth Gilmore, in America.  This doll had been dressed entirely by a workshop of adult professionals, and he knew that women as well as his niece would study it.  Dolls were such important markers of fashion that Shippen joked that he was afraid women would imitate his gift doll's lopsided, badly painted mouth."

From JASNA Persuasions No. 32: "I was tempted by a pretty coloured muslin": Jane Austen and the Art of Being Fashionable by Mary Haftner-Laney

"Consulting with one's dressmaker or mantua-maker, as she was often known, was another way to determine what was fashionable.  It was important that a dressmaker keep up to date with the latest fashion trends.  A dressmaker who could not advise on and construct a stylish garment would soon have no business.  To illustrate current fashion trends, a dressmaker might have in her shop a fashion doll to show to customers.  The use of fashion dolls, commonly known as Pandoras, dates back to the Middle Ages (Fraser 39).  In Jane Austen's time, as now, French fashion was considered cutting edge and the most stylish.French fashion dolls would be sent to England, and in turn English fashion dolls would be sent to America (Fraser 42).  In addition, paper dolls illustrating the latest in wardrobes, headdresses and coiffures began to spread throughout Europe and England starting in the late 1700s (Fraser 43)."

All of this reminds me of the original Barbie dolls which had incredibly detailed, well made fashions.  I still have mine from the 1960s and they are so different than the cheap imported clothing made for play that my daughter played with in the 1980s/90s.

My guess is that few of the 18th century dolls that were really played with didn't survive.  While wood may be durable, the gesso, hair and clothing certainly wouldn't have survived in the condition we see in museum pieces. Some fashion dolls were made of wax or papier mache which I suspect would have been even more fragile.  My plan for my little wood doll kit is to dress her as a fashion doll to use in my millinery/ mantua maker living history work.  She certainly won't be as elaborate as the extants above.  The carving on the doll kit is so much plainer and of course she doesn't have glass eyes.  I don't think those things will matter so much since the focus will be on the clothing.  

The next post will be about the doll project.

Making do with stash--18th century food storage edition

 I've been meaning to do this little project for some time. I need waxed linen to cover the crocks I have use for food on my petty sutler cart.  I'd read that beeswax was melted and brushed on the linen but that sounded so darn messy. I decided to try something else.

Fortunately, I have a good supply of linen in my cabbage supply.  I also keep a bag of bees wax pellets on hand because I make little fancy bees was cakes for my workshop participants and melting pellets in a can heated in a saucepan of hot water makes quick work.  I can usually measure what I need then just throw out the can after.  Plus pellets melt super quickly.

So here's what I used:

• Scraps of linen
• bees wax pellets
• parchment paper for baking
• iron

I cut my linen into squares / rectangles.  The two smaller pieces with the tan and white stripes will be cut in circles to tie over my crocks.

Cover your ironing surface with parchment paper and lay a piece of linen in the middle.  Sprinkle some bees wax pellets over the fabric.  I put more than I needed on this first square.  You want them evenly distributed but remember that the wax will liquify!

Lay another piece of parchment on top, making sure that the parchment is large enough to accommodate the wax running.

Starting with your hot iron in the middle of the fabric, iron until the wax melts.  It will run so watch it carefully.  When you start in the middle, you will end up pushing excess wax out to the edges.  Make sure it doesn't run beyond the edge of the parchment!

Note how you can see the wax liquify and penetrate the fabric.

Peel the fabric off of the parchment and set someplace flat.  Since there was a good amount of wax that ran onto the parchment, I decided to just peel it off and use it for the next piece.

Turns out it was enough wax to do the trick!

I decided to use fewer pellets on the next piece since I felt like I put it on too thickly with the first.

This seemed to be the perfect amount.  I completed one more piece and decided to cut an additional one since I had some wax on the parchment and figured I'd use it.

As you can see, there wasn't enough wax so I just sprinkled some pellets in the dry areas and re ironed it.  Which worked.

I decided to give all the pieces one last pressing to even out the wax.  I placed each between two clean pieces of parchment and ironed them.  Then I trimmed the edges with my rotary cutter.  I cut the two smaller ones into circles to use on my crocks.

I'm happy with the way these turned out.  I think they will be more durable for wrapping juicy items than the natural parchment paper I had been using.  The square pieces are large enough to wrap some bread or cheese.   This turned out to be a super fast and satisfying little project.

Just in time for the cold! Gertie's Swing Coat

First post of the year!  I actually finished this on New Year's Eve.

One of the best things about being a member of Gertie's Charm Patterns Patreon is the fact that you get a full sized exclusive garment pattern every month.  Occasionally you get a bonus pattern or a pattern hack for an existing one.  This pattern is a Patreon exclusive.

I fell in love with this fabric from Fabric Mart, which is 100% wool, a couple of years ago.  I resisted ordering it until there were just a few yards left then I got what was left.  They threw in an extra yard.  This particular fabric posed some challenges in that it is super chunky and loosely woven.  I thought it would be perfect for a design that is as simple as this coat--just a few seams and darts with one buttonhole.

Due to the loose weave, I decided to add a bit of extra warmth by choosing sunback lining.  Other issues to work out were how to mark the darts given the texture of this and how to construct the bound buttonhole.  I decided to do the buttonhole "lips" out of a plain wool flannel that wouldn't ravel.  Fortunately I had some black wool flannel in my stash.  I also used a larger button than called for.  A 1-inch button would've gotten lost in this fabric.  I found a plain, but interesting button almost 2 inches with multiple holes that was funky enough to go with it.

Other than shortening the sleeve pattern piece and the body by 1 inch, no alterations were made.  I used the straight size 8 pattern.

Bound buttonhole

Used some silk embroidery floss to stitch the button on.  I had to ensure that I made a good sturdy shank when doing so due to the bulk of this fabric.

Finished coat front

Finished coat back

Love the way it turned out!

I'm very happy with the way this one turned out.  The pattern is very simple and Gertie designed it to have very little hand sewing.  Even the sleeve lining is completely put in by machine.  I'm considering making a raincoat from this pattern.  One alteration I will need to make next time is the raise the inseam pockets by a couple of inches.  They are just too low on my body.  I'm not sure if that's due to the actual pattern measurements or if the coat just stretched in length due to the weight of it.  Another option would be to make patch pockets.  I'll cross that bridge when I come to it!

I highly recommend this pattern.  If you love vintage styled clothing, you should check out Gertie's Patreon!