Doll

Except otherwise stated, all results below include the premium.

​> 1867 Rochard
​2018 SOLD for $ 333K by Theriault's

The miniaturization of photography by shrinking was invented by Dancer in 1852. The sharpness of photos on glass invites for further innovations. In 1859 Dagron modifies a Stanhope lens to obtain a flat surface on which he glues a microphotograph. The lens offers a magnification ratio of x100 to x150. Dagron embeds his devices within pieces of jewelry.

In 1867 Dagron demonstrates the possibility of reducing the glass view down to about 1 mm while retaining a considerable amount of information in the image. He develops during the siege of Paris in 1870 the transmission of microphotographs by pigeons.

Rochard filed two patents for applying Dagron's invention to dolls. The Rochard-Jouets identification on these documents suggests that he was not associated with Dagron's company but was instead a competitor.

The first of these patents, in 1867, transforms a doll's bust into an optical toy. The head includes a kaleidoscope to be watched through the slit of the mouth. The back of the head is open for carrying the ambient lighting. The upper chest is decorated with a necklace made of Stanhope lenses whose metal frames are inlaid in the porcelain. It is also lit from behind. The second Rochard patent, in 1868, describes a tool for the industrial manufacture of his lenses.

The observer's position in front of the doll's mouth and chest was uncomfortable. It is likely that most of the highly rare Rochard dolls were equipped very early with a wig and a dress that obscured the lighting holes and thus canceled the optical effects. The bodies are attributed to Jumeau or Barrois.

It seems that Rochard's activity ceased around 1875. His dolls could not benefit from the electric lighting invented in 1879 by Edison.

On January 6, 2018, Theriault's sold for $ 333K from a lower estimate of $ 80K a 76 cm high Rochard doll with a rotating head, lot 17. It still has 24 of its 28 original 1 x 1.4 mm Stanhope views. The kaleidoscope is missing. This doll is narrated by Mrs Florence Theriault in the video shared by Theriault's Dolls.

Antoine Edmund Rochard Automaton/Jeweled Doll (the record-setting example) is an extraordinarily rare 19th-century French bisque automaton doll, crafted by the innovative dollmaker and inventor Antoine Edmund Rochard (active circa 1860s–1880s). This piece is celebrated as one of the pinnacle artistic dolls of the era, blending superior porcelain craftsmanship, mechanical ingenuity, and luxurious jeweled embellishments—designed not as a child's plaything but as a sophisticated objet d'art for aristocracy and collectors.
Key Details

• Maker and Type: Antoine Edmund Rochard (French); bisque shoulder-head automaton doll with mechanical features (including a built-in kaleidoscope and other innovations); often described as a "jeweled" or "automaton/jeweled" doll due to its elaborate decorations and mechanisms.
• Approximate Size: 30 inches (76 cm) tall.
• Manufacture Date: Circa 1860s–1880s (late 19th century; Rochard patented several innovations around this period, including lifelike features and integrated optical/mechanical elements).
• Description and Features:
  • Pale, finely modeled bisque shoulder head with delicate, lifelike facial sculpting: parted lips (unusual and realistic for the time, allowing a more expressive mouth), large glass eyes (lifelike inset), subtle blushing, and pierced ears.
  • Elaborate jeweled breastplate/shoulder area: Decorated with an intricately painted necklace featuring 28 crystal "jewels" (some sources note variations with up to 48 gilt-edged crystals in related Rochard pieces).
  • Mechanical/automaton elements: Built-in kaleidoscope (a novel feature for viewing microphotographs or patterns), potentially other hidden mechanisms (common in Rochard's patented designs for movement or optical effects).
  • Additional innovations: Microphotographs incorporated into the jeweled necklace (tiny images viewable through optical means), emphasizing Rochard's blend of doll artistry with emerging photography and optics.
  • Body: Likely composition or kid leather with jointing; elegantly dressed in period finery (silks, lace, and trims befitting aristocratic presentation).
• Rarity and Significance: Extremely scarce—Theriault's president Stuart Holbrook noted only about 6 or 7 Rochard-patented dolls known worldwide. This example stands out for its combination of rarity, mechanical ingenuity, jeweled opulence, and historical innovations, symbolizing the "golden age" of French dolls while appealing to scholars of photography, automata, and 19th-century French culture.

Auction History
Sold at Theriault's "Bijoux" auction (an important sale of 19th-century automata, dolls, and playthings with over 500 lots) on January 6, 2018, in Newport Beach, California (multi-day event January 6–7).

• Realized Price: $333,500 (including buyer's premium; some contemporary reports cite $335,000 or $335,500, likely reflecting slight variations in final tabulation or currency rounding; Theriault's official announcement used $333,500).
• Bidding and Significance: Intense competition from agents representing notable museums and private international/American collectors. The winning bid went to Carolyn Barry (collector and benefactor), who acquired it for the Barry Art Museum at Old Dominion University in Norfolk, Virginia (where it became a centerpiece upon the museum's opening later in 2018). This set a new world auction record for any antique doll at the time (first time a 19th-century doll claimed the overall top spot, surpassing prior 20th-century records like the 2014 Albert Marque at $300,000+ and Bonhams K&R at £242,500/~$395,750). The sale drew widespread media attention (e.g., New York Times, WTOP News) for its historic nature and the doll's unique artistry.

This Rochard doll remains a benchmark in antique doll history—its record held for several years until later landmark sales (e.g., Theriault's 2024 events). It highlights the transition from play dolls to high-art collectibles with mechanical and decorative sophistication.
Representative images of the Rochard automaton/jeweled doll from the 2018 Theriault's auction are including close-ups of the face, parted lips, glass eyes, jeweled necklace with crystals/microphotographs.

Rochard after Dagron : associated or counterfeiter ?

Antoine Edmund Rochard (sometimes spelled Antoine Edmond Rochard) and René Dagron (Prudent René-Patrice Dagron) were not directly associated as partners or collaborators. Instead, Rochard appears to have been an independent innovator who adapted and applied Dagron's pioneering microphotography inventions (known as "Stanhope" lenses or microphotographs) to his dolls, functioning more as a competitor or independent adopter rather than a counterfeiter.
Background on the Key Figures

• René Dagron (1819–1900): A French photographer and inventor, Dagron is credited with perfecting the Stanhope micro-lens in the 1850s–1860s. This tiny cylindrical lens (often 1–2 mm) allowed microphotographs (tiny images magnified when viewed through the lens) to be embedded in jewelry, novelties, or souvenirs. Dagron's process became commercially successful, especially during the 1870 Siege of Paris (where he famously used microphotographed dispatches carried by carrier pigeons). His company produced licensed or official Stanhope items.
• Antoine Edmund Rochard: A French dollmaker and inventor active in the 1860s–1880s, known for rare, high-art bisque dolls with mechanical/automaton features (e.g., built-in kaleidoscopes, optical effects). His dolls often incorporated jeweled necklaces containing Stanhope microphotographs, combined with innovations like parted lips, lifelike eyes, and viewing mechanisms (e.g., kaleidoscope viewed through the mouth slit).

Relationship: Adaptation, Not Association or Counterfeiting
​Historical sources (including patent analyses and doll collector/forensic references) indicate:

• Rochard filed two patents (one in 1867, another in 1868) for integrating microphotographs and optical devices (like kaleidoscopes) into doll heads or busts. These patents were filed under "Rochard-Jouets" (Rochard Toys), suggesting he operated independently.
• The patents applied Dagron's microphotography invention to dolls—transforming the bust into an optical toy (e.g., images viewed through the mouth or chest via embedded lenses). However, Rochard's method differed in manufacturing (e.g., his process for embedding Stanhopes in jewels/dolls varied from Dagron's standard techniques).
• Sources explicitly describe Rochard as not associated with Dagron's company but rather as a competitor who independently adapted the technology for his niche (luxury dolls). There is no evidence of licensing, partnership, or official collaboration.
• No records indicate counterfeiting (illegal copying with intent to deceive as genuine Dagron products). Rochard's dolls were marketed under his own name, with unique features (e.g., automaton elements, specific jeweled designs), and his innovations were patented separately. The microphotographs in Rochard dolls are often original or period-appropriate views (e.g., scenic or portrait images), not fakes of Dagron-branded items.

Context in Rochard DollsIn famous examples (like the record-setting $333,500 doll sold at Theriault's in January 2018), the jeweled necklace features Stanhope microphotographs (e.g., 24–28 tiny views, 1x1.4 mm each). These were inspired by Dagron's tech but executed in Rochard's distinctive style—often with a kaleidoscope for viewing. Early dolls sometimes had viewing holes later obscured by wigs/dresses, reducing functionality but preserving the novelty.In summary: Rochard was an independent adopter/innovator who built upon Dagron's public-domain or widely known microphotography principles (post-patent expiration or via adaptation), not a collaborator or counterfeiter. This reflects 19th-century inventiveness in French luxury goods, where ideas spread and were repurposed creatively without infringement claims in surviving records.

1892-1895 Jumeau Fantastique
​2014 SOLD for $ 285K by Theriault's

French Jumeau dolls are among the most celebrated and collectible antique dolls from the 19th century, renowned for their exceptional quality, beautiful bisque heads, expressive features, and exquisite original costumes that replicated Parisian high fashion. Produced by the Maison Jumeau in Montreuil-sous-Bois (near Paris), France, they represent the pinnacle of French doll-making artistry during the Belle Époque era.
​History

• Founded in the early 1840s by Pierre-François Jumeau (in partnership with Louis-Désiré Belton initially), the company started with fashion dolls (poupées de mode) and transitioned to child dolls (bébés) in the 1860s–1870s under Emile Jumeau (Pierre-François's son).
• Key innovations: Around 1860, introduction of bisque heads (porcelain) with leather, cardboard, or wooden bodies; 1873 "unbreakable" composition limbs (potassium silicate, glue, sawdust mix); 1880s shift to fully jointed composition bodies.
• Peak production: 1880s–1890s, with the famous "Tête Jumeau" bébés (1886 onward).
• In 1899, Jumeau merged into the Société Française de Fabrication de Bébé & Jouets (SFBJ), after which some molds continued under SFBJ but with Jumeau marks phased out.
• The firm won numerous awards (e.g., gold medals at expositions) for superior bisque quality, realistic features, and couture-level clothing.

Types of Jumeau DollsJumeau produced two main categories:

• Poupées de Mode / Fashion Dolls (Lady Dolls): Adult female figures (pre-1880s), often with kid leather bodies, swivel heads, and elaborate period fashions. Marked mainly with size numbers; rarer today.
• Bébé Jumeau / Child Dolls: Realistic child portraits (from ~1870s onward), the most iconic and valuable. Subtypes include:
  • Portrait Bébé / Early Portrait Jumeau: Highly individualized faces (often almond-eyed, hand-cut eyes), somber or expressive; early models (1870s–1880s) with size numbers only or "EJ" marks.
  • Tête Jumeau Bébé: Most common (1886–1899); stamped "Déposé Tête Jumeau Bte SGDG" in red on head; luminous paperweight eyes, heavy brows, lush lashes, upturned lip corners.
  • Long-Faced Triste / Triste Bébé: Sad or pensive expression; highly sought.
  • Character / Fantastique Series: Rare expressive models (e.g., laughing, tongue-out); some from 1890s–early 1900s fetched high prices (e.g., model 201 at $285,000 in 2014 at Theriault's).
  • Other variants: E.J. Bébé, E.J.A., Paris Bébé, Bébé Vrai Modèle, multi-faced, phonograph-equipped (rare).

Characteristics and Features

• Head: Fine, pale bisque (smooth, matte/glossy); large luminous glass paperweight eyes (often blue, hand-cut almond shape in early portraits); painted lashes/brows; closed or open mouth (some with teeth); pierced ears.
• Body: Composition (wood-pulp or jointed); early with kid/leather; later fully articulated.
• Hair: Original mohair wigs (curly or straight); some molded.
• Costume: Original couturier outfits (silks, velvets, lace); shoes often marked.
• Size: Numbered (e.g., 1 = ~10 inches, up to 11–12 = 24–29 inches); larger sizes rarer and more valuable.

Marks

• Early (pre-1880): Size number on head; body stamps like "Jumeau Medaille d'Or Paris."
• 1881–1886: "E J" (Emile Jumeau) incised.
• 1886+: "Déposé Tête Jumeau" red stamp on head; body stickers/labels (e.g., "Bébé Jumeau Diplôme d’Honneur").
• Artist checkmarks (small lines/dots) common for quality control.
• Post-1899 SFBJ: Some retain Jumeau elements but marked differently.

Value and Auction Records
Jumeau dolls remain highly desirable, with values driven by rarity, condition, originality, size, and expression. Common Tête Jumeau bébés: $2,000–$5,000+; fine portraits or large examples: $10,000–$50,000+; ultra-rare (e.g., Fantastique or early portraits): higher.Notable highs (often at Theriault's, specialists in French dolls):

• 2014: Jumeau Fantastique model 201 (laughing girl, size 11) — $285,000 (Theriault's).
• 2010: Large portrait Jumeau — $53,000; pair of Jumeaus — $72,500 (Theriault's Vera Bryant sale).
• 1986: 29-inch "Long-Faced Jumeau Triste" — $45,000 (world record at the time).
• Other: Early portraits or Triste bébés often $15,000–$30,000+ in good condition.

Jumeau values have fluctuated (strong in the 1980s–2000s, more accessible today for mid-range examples), but pristine, original-condition pieces with provenance command premiums.

The Jumeau company dominates the market of the French doll from the 1840s to the point that the early models did not need to be signed and are not easy to identify now. A significant care is brought from the beginning to the quality of the clothing.

Under the management of Emile-Louis Jumeau, the founder's son, the models are diversified. The innovation of the unbreakable Jumeau doll is popular among the young users and their parents. Jumeau understands that the head should be pretty. The dolls in this new realistic trend are called Bébés from 1879.

The Jumeau Triste model is one of the earliest examples of Bébés. To facilitate the production, the head is specially designed to be used after painting either as a girl or as a boy.

The Série Fantastique, introduced in 1891 or 1892 with model numbers from 200, is a curiosity. The new small demoiselles are reworked in the eyes and mouth to show a cheerful or cheeky attitude that disqualifies them for being used as a toy.

At that time, Jumeau employs 200 people and produces about 100,000 dolls per year. The production of the Série Fantastique will remain extremely low as it is unambiguously shown in the 1899 inventory accompanying the termination of business of the Jumeau company. The intention of Jumeau could not in this context be to look for a profit. The Jumeau Fantastique is instead artistic, anticipating by two decades the Albert Marque dolls dressed by Margaine-Lacroix.

The 201 with an exuberant laughter is one of the rarest. One of them 61 cm high with head size 11 was sold for $ 285K by Theriault's on November 22, 2014.

​On July 26, 2016, Theriault's listed three Jumeau dolls from the 200s series. They are narrated in the video. The results below are before fees.

Lot 18 is an interesting and insolent tongue showing girl 51 cm high with head size 9. It was sold for $ 165K. Lot 19 is a happy laughing girl with half closed eyes, in the same size. It was sold for $ 65K. Lot 17 is a tall adult Lady head size 11 assembled in 1905. At that time the SFBJ continued to use the elements manufactured by Jumeau along with his brand. It was sold for $ 42K.

Jumeau Fantastique Model 201 (Laughing Girl, Size 11) is an exceptionally rare and highly expressive French bisque art character doll from Emile Jumeau's "Series Fantastique," a limited late-19th-century line (introduced circa 1892) that depicted whimsical, exaggerated childhood emotions in contrast to the more idealized standard bébés. This model, capturing an exuberant laughing girl, stands out as one of the rarest in the series due to low production and survival rates.
​Key Details

• Maker and Type: Emile Jumeau, Paris, France; bisque socket-head art character doll (from the "Series Fantastique") on a composition body (jointed for posing).
• Model: 201 (incised on the head; part of the rare 200-series character molds, depicting joyful or animated expressions).
• Size: Size 11 (approximately 24 inches / 61 cm tall; larger sizes in this series are scarcer and more valuable).
• Manufacture Date: Circa 1892–1895 (peak of the Fantastique series, coinciding with artistic trends like Impressionism/Cézanne era influences on expressive portraiture).
• Description and Features:
  • Bisque socket head with strongly defined oval-shaped face: wide beaming smile (open mouth revealing teeth for a genuine laughing expression), large brown glass paperweight inset eyes, thick dark eyeliner with glazed highlights, painted curly lashes, feathered brows, subtle blushing, and pierced ears.
  • Original or period mohair wig (often curly brown or blonde to complement the joyful mood).
  • Body: Composition, fully jointed (shoulders, elbows, hips, knees) with typical Jumeau articulation.
  • Costume: Often original or period couturier ensemble (e.g., elaborate silk dress with lace, ribbons, and period accessories reflecting late-19th-century French fashion).
• Rarity and Significance: According to 1899 Jumeau inventory records, only 59 heads of model 201 existed, with far fewer surviving intact today (estimates suggest only a handful remain in collections). The laughing expression was innovative for the era, portraying authentic, exuberant childhood joy rather than serene beauty—making it a "holy grail" for character doll collectors.

Auction History
Sold at Theriault's "Let the Music Begin" auction on November 22, 2014 (Annapolis, Maryland; a cataloged event highlighting rare French art characters).

• Provenance: Offered from a private Maryland collection (long-term private ownership, contributing to pristine condition).
• Estimate: Not publicly detailed in all sources, but pre-sale hype positioned it as a high-value rarity (likely in the six-figure range given similar Fantastique lots).
• Realized Price: $285,000 (including buyer's premium; some reports confirm this as the hammer + premium total).
• Significance: Set a new world auction record for a 19th-century doll at the time (specifically noted for Jumeau/Fantastique category; it briefly held prominence before later records like the Albert Marque or Rochard automaton surpassed overall antique doll highs). The sale drew intense bidding, with Theriault's press release celebrating it as an "antique doll laughs its way to a new record." This reinforced the premium for ultra-rare Jumeau character models with expressive features and original condition.

This doll exemplifies Jumeau's artistic peak in the Fantastique series—blending superior bisque quality, innovative emotional sculpting, and couture appeal. It remains one of the highest-priced Jumeau examples ever, highlighting demand for rare, joyful character portraits over standard bébés.

1909 K*R 108
​​2014 SOLD for £ 240K by Bonhams

In 1886 Kammer and Reinhardt found a company for making dolls under the K * R brand name. They are settled in Thuringia not far from Simon and Halbig with whom they will have a fruitful cooperation.

Kämmer & Reinhardt (often abbreviated K&R) dolls are among the most iconic and collectible German antique dolls from the late 19th to mid-20th century. The company specialized in high-quality bisque (porcelain) head dolls, particularly pioneering the "character doll" movement with realistic, expressive child portraits that captured genuine emotions rather than idealized beauty.
History

• Founded in 1886 (some sources note 1885) in Waltershausen, Thuringia, Germany, by sculptor Ernst Kämmer (a prolific inventor of jointing mechanisms for easier repairs) and businessman Franz Reinhardt.
• Initially focused on innovative doll bodies and jointing systems.
• In the early 1900s, they shifted to character dolls, commissioning sculptors like Professor Arthur Lewin-Funcke (Berlin) to create lifelike models based on real children (e.g., his daughters or nephew).
• These "Munich Art Dolls" (or character series) debuted around 1909–1910, revolutionizing the industry by portraying scowling babies, thoughtful children, or pouting expressions.
• The firm produced prolifically until around the mid-20th century, collaborating with head makers like Simon & Halbig (S&H) for many models.
• Post-WWI economic challenges affected production, but K&R remained influential.

Characteristics and Features

• Materials: Bisque socket heads (smooth, matte or glossy porcelain); composition, kid leather, or later celluloid bodies; jointed (ball-jointed or strung).
• Eyes: Often sleep eyes (weighted to close when laid down), glass (blue, brown, gray), painted lashes/brows; some with flirty (side-glancing) mechanisms.
• Hair: Mohair wigs (curly or straight), molded/painted hair on babies.
• Expressions: Highly realistic and varied—scowling, smiling, pensive, surprised—capturing childhood moods authentically.
• Sizes: Typically 10–40 inches (25–100 cm), with many in the 20–30 inch range.
• Types:
  • Character babies (e.g., model 100 "Kaiser Baby" – scowling infant; popular and widely produced).
  • Character children (the famous "100 series" from ~1909 onward: e.g., 101 "Peter" boy, 114 "Gretchen" girl, 105, 108 experimental/unique molds).
  • Standard dolly-faced models (prettier, less expressive; often with S&H heads marked "K*R").
  • Rare variants: Black-complexioned, thinking dolls (rubber-headed), or specific family portraits.

Marks

• Most post-1902: Incised on back of head "K*R" with a six-pointed star between (sometimes "Kämmer & Reinhardt" in full).
• Model numbers (e.g., 100, 101, 114) often incised.
• Simon & Halbig collaboration: Heads may have "S&H" alongside K&R marks.
• Early or rare pieces may have additional stamps (e.g., "Germany," mold numbers).

Value and Auction Records
Values vary widely by rarity, condition, originality (wig, costume, body), provenance, and model:

• Common character babies (e.g., 100): $500–$5,000+ in good condition.
• Standard dolly-faced: $300–$2,000.
• Rare 100-series characters: $10,000–$100,000+.
• Top-tier rarities: Six figures.

Notable high sales (primarily at Bonhams, as K&R dominated non-specialist high-end auctions):

• September 24, 2014, Bonhams Knightsbridge (London): Extremely rare/unique K&R character girl (experimental mold, plaited auburn hair, blue-gray eyes, white dress, straw hat) — £242,500 (~$395,750 USD, including premium). Set Guinness World Record for most expensive doll at auction (briefly, before later specialist sales).
• Same 2014 sale: Bisque head modeled after Lewin-Funcke's daughter — £170,500 (~$278,000 USD).
• "Heinz" boy character (after Lewin-Funcke's nephew) — £115,300 (~$188,000 USD).
• Other highlights: Model 108 (rare) estimated high pre-sale; various 100-series pieces fetch $50,000–$150,000+ in strong condition.

These 2014 records were driven by a historic collection of character dolls, with intense bidding and tripled estimates. K&R values remain strong for pristine, rare examples with original outfits and provenance, though they generally trail the ultra-rare French art dolls (e.g., Albert Marque) in absolute top prices.
Classic character models from the 100 series include scowling Kaiser Baby 100, Peter 101, Gretchen 114, and rare lifelike examples. Condition, originality, and rarity are key to value.

In 1909 K * R launch a new line of products devoted to dolls with realistic heads. They register the denomination Charakterpuppen and prepare a series of molds numbered from 100 to 114. In this first series, 100 is a baby of six months and the others are young children. 113 is not known.

The supplier of models 100 to 109 is a sculptor specializing in children's busts, Arthur Lewin-Funcke. For example, 106 is his nephew Heinz and 104-105 is one of his daughters, Karin, respectively laughing and friendly. 103-108-109 show a little girl in three different attitudes. 103 is considered as a portrait of Karin as a serious girl.

K * R made very early a choice between these models. 100, 101, 109, 112 and 114 had an abundant production while the other numbers of the first series did not go beyond the prototype stage. It is interesting to note that the facial features of the most popular models make them easy to dress indifferently as a boy or a girl. 101 is Peter and Marie. 114, based on the portrait of a grandson of Reinhardt, is Hans and Gretchen.

A sale by Bonhams on September 24, 2014 included all K * R models from 101 to 109. The only known specimen of the 108, 61 cm high, was sold for £ 240K. A K * R 105 was sold for £ 170K.

Kämmer & Reinhardt Model 108 Bisque Head Character Doll (the only known example) is an extraordinarily rare and unique German antique character doll from the early 20th century, recognized as one of the pinnacle achievements in doll collecting due to its experimental nature and lifelike artistry.
Key Details

• Maker and Type: Kämmer & Reinhardt (K&R), Waltershausen, Germany; bisque socket-head character doll on a composition body (likely ball-jointed).
• Model: 108 (incised mark "K*R 108" or similar on the head; extremely rare mold, believed to be an experimental or prototype design never put into full production).
• Approximate Size: Around 20–24 inches (typical for high-end character models; exact from sale ~22–23 inches based on descriptions).
• Manufacture Date: Circa 1909–1912 (peak era for K&R's character series, influenced by sculptor Arthur Lewin-Funcke or similar Berlin artists).
• Description and Features:
  • Pale bisque socket head with finely molded, highly expressive and lifelike features: well-defined facial structure, finely painted blue-grey eyes (with darker outer iris line, red inner corner dot, white highlight dot), subtle painted lashes/brows.
  • Unique elements: Pierced ears (uncommon in many K&R models), distinct sculpting differing from related molds like 103 or 109—depicting a thoughtful or solemn older child girl with realistic proportions and emotional depth.
  • Original or period wig: Plaited auburn hair (shoulder-length or braided).
  • Eyes: Painted blue-grey glass (non-sleep in some character rarities).
  • Body: Composition, jointed for poseability.
  • Costume: Original lace-sleeved white cotton dress, straw hat, white shoes and stockings (simple, elegant Edwardian-style ensemble emphasizing the doll's naturalism).
• Significance: Described as "extremely rare and unique"—no other examples known since a 1994 sale. Likely an experimental mold showcasing K&R's push for ultra-realistic child portraits during the character doll boom.

Auction History
​Sold at Bonhams Knightsbridge, London, on September 24, 2014, in the "Fine and Rare Character Dolls" auction (from a historic collection).

• Lot Number: 19 (featured prominently).
• Estimate: £60,000–£80,000 (~$100,000–$130,000 USD pre-sale).
• Realized Price: £242,500 (including buyer's premium; equivalent to ~$395,750 USD at the time).
• Significance: Set a new world record for the most expensive doll ever sold at auction (Guinness World Record at the time), surpassing prior highs. The room erupted in applause as a bidder in attendance won it. This briefly held the global record before later specialist sales (e.g., Theriault's French dolls) eclipsed it in some reports. The sale highlighted intense demand for pristine, one-of-a-kind K&R characters.

This doll exemplifies K&R's mastery in lifelike expression and rarity—factors that drive six-figure prices in the niche market.

2
​boy 104
2013 SOLD for $ 210K by Theriault's

A K * R boy 104 in a flawless original condition was sold for $ 210K by Theriault's on January 12, 2013 from a lower estimate of $ 110K. A girl 104, 48 cm high, was sold for $ 65K before fees by the same auction house on July 22, 2019.

Kämmer & Reinhardt Model 104 Boy ("Reform Character") is a highly sought-after German bisque art character doll, notable for its impeccable original condition and record-setting sale as the highest-priced German character doll at the time.
​Key Details

• Maker and Type: Kämmer & Reinhardt (K&R); bisque socket-head character doll (often called "Reform" for its naturalistic, uncorseted-inspired realism in child depiction) on a composition body.
• Model: 104 (incised "K*R 104" on head; sculpted by renowned Berlin artist Professor Arthur Lewin-Funcke, who modeled after real children but preferred anonymity in commercial ties).
• Approximate Size: 19–20 inches (48–51 cm).
• Manufacture Date: Circa 1909–1912 (from the iconic character series launch).
• Description and Features:
  • Bisque socket head with deeply sculpted, angular oval face depicting an older child (boy): highly characterized brows, defined eye sockets, aquiline nose, accented nostrils, closed mouth with gentle or solemn expression.
  • Painted blue eyes (non-sleep, with detailed shading/lashes); feathered brows.
  • Original wig: Likely mohair in period style.
  • Body: Composition ball-jointed for natural posing.
  • Costume: Traditional German regional attire (e.g., folk or provincial style with embroidered details, enhancing provenance and appeal).
• Significance: One of the rarest in the 100-series; Lewin-Funcke's sculpting captured authentic childhood emotion, making it a benchmark for German character dolls.

Auction History
Sold at Theriault's auction on January 12, 2013 (part of a multi-day event, likely in California or Annapolis; from a notable collection with impeccable preservation—dolls remained unpacked for decades).

• Realized Price: $210,000 (some reports cite $212,000 including premium; hammer around $190,000+).
• Significance: Set a world record for the most valuable German-made character doll at the time (surpassing prior K&R highs). Theriault's emphasized its pristine original condition and Lewin-Funcke modeling as key drivers. This reinforced the premium for rare 100-series boys in traditional costume.

1915 by MARQUE for MARGAINE-LACROIX
​Intro

Jeanne Margaine-Lacroix led since 1899 the couture workshop created by her mother Madame Margaine. Jeanne was one of the first who designed dresses without corset, as early as 1908, slimming the feminine silhouette. On the following year, Diaghilev's Ballets Russes began in Paris their first international tour. Fashion changed forever, with Madeleine Vionnet and Paul Poiret.

In 1915 Margaine-Lacroix conceived in her shop the project of an exhibition of dolls with expressive bébé's heads for which she will realize the costumes. The dolls 56 cm high were made by the Manufacture de Sèvres from molds signed by Albert Marque, a sculptor specializing in children's busts. The bisque ceramic provides a nice skin-like matte finish.

About one hundred pieces were made. They are serialized on the head in red ink. Some dolls still retain a pencil title on the foot. No list survives. The variety of clothes for girls and boys, provincial or exotic, royal or peasant, demonstrate the expertise of Margaine-Lacroix in the history of costume.

Her project was unnoticed and not documented in period, possibly due to war time. Moreover she did not appreciate the great cultural quality of her project. After closing out the exhibition, she offered the dolls for sale with a limited success, and the whole set will never be reassembled. Less than twenty are located.

The very rare surviving dolls are the only elements that still provide a memory from this exhibition. It was war and very few were sold. The best guarantee of authenticity for a piece of clothing is the Margaine-Lacroix label. Some dolls bear a title or a first name under the foot.

Albert Marque dolls are among the rarest and most coveted antique French art character dolls in the collecting world, often called the "Holy Grail" of doll collecting due to their exceptional artistry, limited production, and historical significance.
Background and History
Albert Marque (1872–1939) was a French sculptor known for his lifelike depictions of children in the late 19th and early 20th centuries. During World War I, he was commissioned by the Parisian couture fashion house of Jeanne Margaine-Lacroix (a prominent art patron and couturier) to create a series of fashion dolls. This project aimed to provide employment opportunities for women during wartime by producing high-end, custom-costumed dolls.

• Production: Only about 100 dolls were ever made (some sources suggest fewer surviving examples, around 20–30 known today, with many in museums or private collections).
• Date of manufacture: Primarily circa 1915–1916.
• Markings: Dolls are typically incised "A. Marque" on the back of the head or body, often with a number (e.g., #7, #21, #27, #65) indicating their place in the limited series.
• Design features: These are bisque socket-head dolls portraying older children or adolescents (often on the verge of maturity) with exceptional sculptural detail from a unique four-part mold. Key characteristics include:
  • Expressive, poignant faces with full cheeks, defined temples/chin, elongated throat, and a wistful or innocent expression.
  • Glass eyes (e.g., blue, brown, or amber), painted lashes/brows.
  • Molded or wigged hair (often shaded or curly).
  • Composition or jointed bodies.
• Costumes: Each doll was dressed in elaborate, original period-inspired outfits—frequently evoking 18th-century French court fashion, Russian folklore (tied to the Ballets Russes influence), or regional/ethnic styles (e.g., Alsace, Albanian). Many costumes are signed or custom-made from luxurious fabrics like silks, velvets, metallics, and trims.

The dolls were exhibited and sold through Margaine-Lacroix's exclusive Paris boutique, blending fine art sculpture with haute couture. Provenance often traces back to that 1915–1916 exhibition, adding significant value.
Rarity and Value
These dolls are extremely rare, with survival rates low due to their age and delicacy. They command top prices at auction, especially at specialists like Theriault's.
​Notable auction highlights (realized prices, often including buyer's premium):

• March 2014, Theriault's (Naples, FL): Doll #27 (boy, original signed costume) — $300,000+ (new world record for an antique doll at the time, breaking the prior $263,000 Marque record).
• July 2009, Theriault's: Doll #21 ("Danseur Russe #2," Ballets Russes-themed) — $263,000 (previous record).
• Other examples: Variants sold for $145,000–$170,000+ in later Theriault's sales; one at Morphy Auctions fetched six figures (~$115,900).
• Prices typically range from $100,000–$300,000+ for pristine examples with strong provenance, original costumes, and excellent condition.

Factors driving value: Artistic provenance (sculpted by a fine artist), limited edition, fashion/romance appeal, beauty, and museum-quality status.

Paul Poiret (1879–1944), often called the "King of Fashion" or "Le Magnifique," was one of the most revolutionary French couturiers of the early 20th century. Active primarily from around 1903 to the late 1920s, he dramatically shifted fashion away from the restrictive Belle Époque styles toward modernity, influencing silhouettes, materials, marketing, and the broader cultural landscape—including indirect ties to artistic doll production like the Albert Marque series.
Key Innovations and Fashion Influence
Poiret liberated women from the corset (though he famously quipped he "freed the bust and shackled the legs" with his hobble skirt). He pioneered:

• Straight, draped silhouettes — Clothing cut along rectangular lines, hanging from the shoulders (inspired by antique, regional, and non-Western dress like kimonos and caftans).
• Empire/Directoire revival — High-waisted, columnar gowns emphasizing natural movement.
• Orientalism and exoticism — Bold, vibrant colors; rich fabrics (silks, velvets, lamé); elaborate embroidery; and theatrical elements drawn from the East, Middle East, and Asia.
• Iconic designs:
  • Hobble skirt (narrow at the hem, restricting steps; popular ~1909–1914).
  • Harem pants/jupe-culotte (split or wide-legged trousers for women).
  • Lampshade tunic (wired, fluted overskirt resembling a lampshade, often over bouffant trousers; debuted prominently in 1913 for the play Le Minaret and crossed into everyday fashion).
• Rejection of heavy ornamentation for fluid, artistic draping — elevating fashion to an art form.

He was a master marketer: the first French couturier to launch his own perfume, branch into home furnishings/interiors, host extravagant themed parties (e.g., the 1911 "Thousand and Second Night" soirée, where guests wore Persian costumes), and use theatrical presentations (early catwalk-like shows).
Strong Connection to the Ballets Russes
Poiret was deeply inspired by Sergei Diaghilev's Ballets Russes (debuted in Paris 1909), whose exotic, opulent productions (e.g., Schéhérazade 1910 with Léon Bakst's vivid, patterned costumes) fueled Orientalist trends in Paris. Poiret attended performances obsessively, adopting similar bold palettes, theatrical flair, and Eastern motifs. His designs mirrored Bakst's amalgamation of rich colors and daring silhouettes, blending fantasy with modernism. This mutual influence helped popularize Orientalism in fashion, though Poiret sometimes downplayed direct ties in his memoirs. The Ballets Russes' impact extended to his lavish events and costume designs for theater.
Broader Cultural and Lasting Impact
Poiret's work bridged Belle Époque extravagance and modernism/Art Deco, influencing later designers (e.g., Yves Saint Laurent, John Galliano, Christian Lacroix) and movements. His polymath approach—collaborating with artists like Raoul Dufy—blurred fashion with art, theater, and design. However, post-WWI shifts toward functional modernism (e.g., Chanel's simplicity) diminished his relevance, leading to his house's closure in 1929 and relative obscurity until revivals.
Relevance to Albert Marque Dolls
In the context of the Marque dolls (produced ~1915–1916 under Jeanne Margaine-Lacroix's patronage), Poiret's influence appears indirectly through the shared Parisian milieu of wartime French revival efforts, Orientalist/exotic trends, and haute couture theatricality. Margaine-Lacroix (who pioneered corsetless dresses and wide-legged trousers before Poiret in some cases) collaborated with artists for artistic dolls blending sculpture and fashion. While no direct link exists between Poiret and Margaine-Lacroix/Marque, the era's fascination with Ballets Russes-inspired exoticism (opulent fabrics, dramatic trims, Russian/folk/court themes) in Marque costumes (e.g., #21 "Ballets Russes N°3," #7, #8) echoes Poiret's Orientalist innovations and the troupe's visual spectacle that permeated couture and related arts.
Paul Poiret's influential designs are showcasing Orientalist elements, lampshade tunics, harem pants, and Ballets Russes-inspired exoticism.

Jeanne Margaine-Lacroix (full name Jeanne Victorine Margaine-Lacroix, 1868–1930) was a pioneering French couturière who led the Maison Margaine-Lacroix (active approx. 1889–1929) in Paris. She inherited and transformed her mother's established couture house (originally specializing in corsets and dresses) around 1899–1900, renaming it and driving innovations that challenged traditional Belle Époque fashion norms. Her designs emphasized natural body movement, slender silhouettes, and liberation from restrictive undergarments—predating similar shifts by contemporaries like Paul Poiret.
Key Innovations and Design Philosophy
Margaine-Lacroix is best remembered for revolutionizing women's fashion through corsetless or minimally structured garments, promoting a more naturalistic figure:

• Early contributions (1889 onward): At the 1889 Exposition Universelle in Paris, the house won a gold medal, with press noting Jeanne's floral designs and influence.
• Tanagréenne / Tanagra style (introduced ~1889–1890s): Draped, Grecian-inspired robes (evoking ancient Tanagra figurines) worn with modified corsets for a softer, flowing line.
• Sylphide / Robe-Sylphide (patented ~1904–1908): Her signature breakthrough—a figure-hugging dress designed without traditional boned corsets. It featured an "ingenious" built-in elastic/stretchy lining for support, allowing freedom of motion while revealing the body's natural shape (scandalous at the time for its sensuality and transparency of form).
• Corset-Sylphide: Front-lacing, minimally boned undergarments with elastic elements and soft knits (developed in collaboration with manufacturers). These enabled greater mobility and a slender, uncinched waist—years ahead of widespread corset abandonment.
• Other elements: High-waisted, columnar silhouettes; directoire/empire revivals; early experiments with jupe-culotte (split skirts/trousers, e.g., modeled in 1910); luxurious fabrics like satin, silks, and subtle draping; emphasis on sensual, body-conscious fits that shocked Paris (e.g., 1908 Longchamp races scandal where models in her designs caused a sensation, with one reportedly offered a Moulin Rouge job).

Her approach aligned with broader trends toward modernism and women's emancipation, influencing the shift to slimmer lines pre-WWI and foreshadowing 1920s simplicity. While less flamboyant than Poiret's Orientalism, her work laid groundwork for functional, liberating fashion.
Connection to Albert Marque Dolls
In 1915–1916, during World War I, Margaine-Lacroix commissioned sculptor Albert Marque to create ~100 artistic bisque character dolls (heads molded by Sèvres porcelain works). She designed and sewed their elaborate original costumes—often evoking French regional, historical, folklore, or Ballets Russes-inspired themes (e.g., opulent silks, velvets, embroidery). This patriotic/artistic project supported French artisans and blended her couture expertise with fine-art doll-making. The dolls, exhibited in her Paris boutique, became ultra-rare collectibles today.
Surviving Examples
Few garments survive due to fabric delicacy and time, but notable pieces include:

• Pale pink satin evening dress (ca. 1913) at the Metropolitan Museum of Art: Sumptuous, slender, with subtle draping reflecting pre-WWI naturalism.
• Period photos (1908–1910s) show models in form-fitting Sylphide dresses, often scandalously body-revealing for the era.

The slender, sensual lines and innovative understructure made her work revolutionary.

​1
​Lorraine 94
2015 SOLD for $ 310K by Theriault's

On January 10, 2015, Theriault's sold for $ 310K from a lower estimate of $ 160K Lorraine, number 94 in the series signed by Albert Marque, lot 17 in the catalog of Theriault's also shared on the bidding platform Proxibid.

The garment is inspired from Louise de Lorraine who was the last queen of France of the Valois dynasty. Her sumptuous costume belongs to both categories of regionalism and royals.

It is the second of two dolls discussed by Mrs Florence Theriault in the video shared by the auction house.

Albert Marque Doll #94 ("Lorraine") is an exceptional and highly valuable example from the ultra-rare series of French art character dolls sculpted by Albert Marque (circa 1916). This particular doll, numbered #94 in the limited production of approximately 100 models, is renowned for its historical costume theme and for achieving a strong realized price that reinforced the pinnacle status of Marque dolls in the collecting world.Key Details

• Maker and Type: Sculpted by Parisian fine artist Albert Marque; French bisque art-character socket-head doll on a unique composition body designed by Aristodeme Botta (emphasizing a child's realistic proportions with strength and grace).
• Number: #94 (incised "A. Marque" signature on the head; red ink "94" on head; pencil notation "82 Lorraine" on the foot, referencing the costume theme).
• Approximate Size: 22 inches (56 cm) tall.
• Manufacture Date: Circa 1916 (produced during WWI as part of the effort to revive the French doll industry through collaboration among sculptors, porcelain makers, fashion designers, and artists).
• Description and Features:
  • Bisque socket head with masterful sculpting from a unique four-part mold: elongated slender throat, plump lower cheeks and chin, pronounced facial planes (temples, cheekbones), softly rounded nose tip, hazel-brown glass paperweight eyes with spiral threading, thick dark eyeliner, painted curly lashes, feathered brows, accented eye corners, shaded nostrils, closed mouth with pensive outlined lips, pierced ears.
  • Original brunette hand-tied human hair wig.
  • Unique body: elongated tapered torso, wide hips, undefined waist, composition upper arms, bisque lower arms with ball joints at elbows, separately sculpted fingers, wide upper thighs, elongated lower legs with shapely calves, narrow feet.
• Costume: Original richly embroidered Renaissance-themed outfit and cap (homage to the prominence of the Lorraine region in French Renaissance history and Queen consort Louise of Lorraine, wife of Henry III). Includes undergarments and leather shoes impressed with a doll figure. The pencil inscription on the foot ("Lorraine") ties directly to this historical/regional theme, a signature feature of many Marque dolls that were costumed to evoke French heritage, folklore, or court styles.
• Provenance: Presented at Margaine-Lacroix's exclusive Paris boutique exhibition circa 1916. In the collection of Susan Whittaker since 1977 (gifted by her husband on Valentine's Day). Part of the "Cotillion - Part 1" auction from a notable private consignment.

Auction History
Sold at Theriault's "Cotillion" auction (Part 1) on January 10, 2015, in Newport Beach, California (also listed on Proxibid for online bidding).

• Lot Number: 17 (in the catalog).
• Estimate: $160,000–$190,000.
• Realized Price: $310,000 (including buyer's premium; some reports note it as $310K total, with heated bidding starting at $150,000 and concluding with a phone bidder winning amid intense competition).
• Significance: This sale set or tied high marks for Marque dolls in that period, following closely on the heels of the #27 record ($300,000+ in March 2014). It highlighted the enduring demand for pristine, original-costumed examples with strong provenance. Theriault's press noted it as a record-shattering performance in their January auction results, with the doll "stealing the show" among antique dolls.

Like other top Marque examples, #94 exemplifies the series' appeal: supreme rarity (few survive intact), artistic expression capturing real childhood moods (not idealized), museum-quality craftsmanship, and couture-level original attire. It remains a benchmark in doll auction history.

2
​Boy 27
​2014 SOLD for $ 300K by Theriault's

Albert Marque Doll #27 is one of the most famous and valuable examples in the limited series of antique French art character dolls created by sculptor Albert Marque (1872–1939). This specific doll holds historical significance as it set a world record for the highest price paid for an antique doll at auction at the time of its sale.
​Key Details

• Maker and Type: Sculpted by Albert Marque; French bisque art-character doll (socket head on a composition body).
• Number: Inscribed #27 (incised "A. Marque" on the head, with the number 27; partial pencil label noted on the foot in some descriptions).
• Approximate Size: Around 22 inches (56 cm) tall.
• Manufacture Date: Circa 1916 (created during World War I as part of the limited production run for Parisian couturier Jeanne Margaine-Lacroix).
• Description and Features:
  • Bisque socket head with highly artistic sculpting from a unique four-part mold (used only for these dolls), depicting an older, wistful-faced child or adolescent with poignant, expressive features: full cheeks, defined facial planes, elongated slender throat, prominent chin and temples, and an innocent yet mature expression.
  • Glass eyes (likely blue or similar, typical for the series), painted lashes and brows.
  • Wigged hair (often natural-looking mohair or similar).
  • Original signed couturier-sewn costume: Elaborate, period-inspired outfit (custom-made by Margaine-Lacroix's atelier), often evoking French regional royalty, peasantry, or historical/folk themes—luxurious fabrics like silks, velvets, embroidery, and trims. For #27, sources describe it as a boy doll in an original signed costume, possibly provincial or court-inspired (e.g., elements like a vest, breeches, or hat in some Marque boys).
• Provenance: Believed to have been first exhibited in 1916 at Margaine-Lacroix's exclusive Paris boutique. Later part of the Puppenmuseum Stein am Rhein (a former Swiss doll museum collection), where its "missing" status (#27) sparked interest among collectors before resurfacing. It was consigned from that Swiss museum stock.

Auction History
Sold at Theriault's "Marquis" auction on March 29–30, 2014, in Naples, Florida (a historic event from a renowned collection).

• Realized Price: Just over $300,000 (some reports cite $300,000 exactly, others around $304,000 including buyer's premium; it broke the prior record of $263,000 for another Marque doll from 2009, also at Theriault's).
• Significance: Set a new world auction record for any antique doll at the time (surpassed later by other sales, like the Kämmer & Reinhardt at Bonhams). Bidding was intense, with phone and onsite competition; ultimately sold over the phone to a private collector. The room erupted in applause at the hammer.
• Quote from Theriault's: President Stuart Holbrook called the Albert Marque bebe "the most coveted doll in the world by collectors."

This doll is often highlighted in doll literature (e.g., François Theimer's book on Marque) and collector galleries as a pinnacle example—rare, museum-quality, with impeccable condition, provenance, and original attire. Only about 20–30 Marque dolls are known to survive today out of the ~100 produced.

3
Persian 7
​​​2016 SOLD for $ 270K by Theriault's

The Ballets Russes had a profound cultural impact on early 20th-century Paris, influencing fashion, art, theater, and even niche crafts like doll-making. This influence is particularly evident in the limited series of Albert Marque dolls (circa 1915–1916), where several examples feature costumes and themes directly inspired by the ballet company.
Background on the Ballets Russes
Founded by impresario Sergei Diaghilev in 1909, the Ballets Russes revolutionized ballet by blending Russian folklore, exoticism, modernism, and avant-garde collaborations. The troupe introduced groundbreaking productions (e.g., Firebird 1910, Petrushka 1911, Le Sacre du Printemps 1913) with innovative choreography (e.g., by Michel Fokine, Vaslav Nijinsky), music (Igor Stravinsky, Claude Debussy), and designs by artists like Léon Bakst (known for opulent, colorful costumes in silks, velvets, and bold patterns), Alexandre Benois, Pablo Picasso, and Natalia Goncharova.

• Key influences: Exotic Russian/Asian motifs, 18th-century court revivals, folklore, theatrical drama, vibrant textiles, and a fusion of Eastern/Western aesthetics.
• Broader reach: The company shocked and thrilled Parisian audiences, sparking trends in fashion (e.g., influencing Paul Poiret and later Coco Chanel), interior design, and Art Deco. Its visual spectacle permeated popular culture, including souvenirs, illustrations, and themed objects.

Direct Influence on Albert Marque Dolls
​The Marque dolls were part of the "Renaissance of the French Doll" movement during World War I—a patriotic effort to revive French craftsmanship amid economic hardship. Sculptor Albert Marque was commissioned by couturier Jeanne Margaine-Lacroix to create ~100 artistic character dolls, blending fine-art portraiture (realistic child expressions/moods) with haute couture costuming.Several documented Marque dolls explicitly honor or draw from the Ballets Russes:

• Thematic ties: Costumes evoke Russian nobility, folklore, theater, or 18th-century styles—prevailing motifs in Ballets Russes productions. Examples include metallic gold fabrics, embroidery, dramatic trims, and performative flair mirroring Bakst's designs (e.g., for Scheherazade or Russian-themed ballets).
• Specific examples (from Theriault's auctions and collector references):
  • #21 ("Ballets Russes N°3" / "Danseur Russe #2"): Pencil-inscribed on the foot; costumed in 18th-century style to honor the troupe (introduced to acclaim in 1909). Sold for $263,000 in 2009; catalog and press emphasized this connection as a key value driver.
  • #7 (brunette variant): Original costume linked to Ballets Russes in the 2016 "Forever Young" auction catalog; featured luxurious elements like gold metallic fabrics.
  • #8 (blonde variant): Part of the same twin/pair, sharing Ballets Russes-inspired attire.
  • Other variants: Described as "in original Ballet Russe costume" (e.g., Theriault's listings); some reference Russian peasant or nobility themes, aligning with Ballets Russes folklore ballets like Contes Russes or Petrushka (which featured doll-like characters).
• Why this influence? Produced in Paris during the Ballets Russes' heyday (1909–1929), the dolls captured the era's fascination with the troupe's exotic, innovative spectacle. Margaine-Lacroix's couture house likely drew from prevailing trends, using the dolls to showcase artistic fashion amid wartime revival efforts.

This connection elevated certain Marque dolls to "Holy Grail" status among collectors—rarity combined with cultural provenance drove record prices (e.g., #21's 2009 sale amid gasps/cheers at the UFDC convention). Not all Marque dolls are Ballets Russes-themed (some evoke French regional/history or folklore), but those with explicit links are among the most celebrated.

In 1909 Diaghilev chooses Paris for the very first season of his Ballets Russes. The choreographies are directed by Fokine, and Bakst designs the sets and costumes. The exotic inspiration mingles Russia, Middle East and antiquity. The unprecedented sensual audacity of Scheherazade, to the music by Rimsky-Korsakov, brings an immense success. The costumes created by Bakst are made with luxurious fabrics. The shapes are ample, with in particular puffy trousers.

At the same time Poiret sought to pull his style away from the Art Nouveau. The dress without corset which he promoted since 1906 went in the same trend as the Bakst costumes : the creation of clothes liberated from the lines of the body. In 1911 he organized in his private mansion a sumptuous feast on the theme of Persia.

The fashion house Margaine-Lacroix follows that trend. It moved circa 1912 to 19 boulevard Haussmann. The exterior and interior architect is Louis Sue, specialist in artist studios, who had already carried out several projects for Poiret.

The dolls # 7 and # 8, inspired from Bakst's costumes for Scheherazade, are embellished with a gold brocade and with the simulation of pearls and turquoises. With their long hair, they are probably girls. The number 7 is wearing a hat with a tall aigrette.

Purchased together at Margaine-Lacroix during the exhibition, they have long resided in a private American museum where their costumes were both identified as Persian. They are in a near mint condition including their original clothing.

​The brunette # 7 was sold for $ 240K before fees from a lower estimate of 180K by Theriault's on January 9, 2016, lot 17. The catalog is linking its costume to the Ballets Russes. This doll is the first one discussed by Mrs Florence Theriault in the video introducing the sale.

Its blonde partner # 8 of the same museum provenance was sold for $ 120K before fees by Theriault's on March 21, 2020, lot 17.

Albert Marque Doll #7 (brunette variant) is a standout example from the legendary limited series of French art character dolls sculpted by Albert Marque (circa 1916). This doll, #7 in the sequence of approximately 100 produced, is particularly noted for its Ballets Russes-inspired costume and strong auction performance, reflecting the series' ties to early 20th-century Parisian artistic and fashion influences (including the Ballets Russes' exotic, theatrical aesthetics that impacted doll costuming of the era).
​Key Details

• Maker and Type: Sculpted by French fine artist Albert Marque; bisque socket-head art-character doll on a unique composition body (designed in collaboration with Aristodeme Botta for realistic child proportions).
• Number: #7 (incised "A. Marque" on the head; numbered accordingly in the series).
• Approximate Size: 22 inches (56 cm) tall, standard for the series.
• Manufacture Date: Circa 1916 (created amid WWI efforts to support French artisans through high-end doll production linked to couture and art patronage).
• Description and Features:
  • Bisque socket head sculpted via a unique four-part mold for exceptional artistic detail: elongated slender throat, plump lower cheeks and chin, defined temples and facial planes, rounded nose tip, closed mouth with solemn/pensive expression, pierced ears.
  • Original brunette hand-tied human hair wig (distinguishing it as the "brunette" version in collector references).
  • Unique body: elongated tapered torso, wide hips, undefined waist, composition upper arms, bisque lower arms with ball joints at elbows, separately sculpted fingers, wide upper thighs, elongated lower legs with shapely calves, narrow feet.
  • Glass eyes (likely blue or hazel, typical), painted lashes/brows, subtle accents.
• Costume: Original elaborate outfit linked to the Ballets Russes theme in the auction catalog—featuring luxurious fabrics (e.g., gold metallic trimmed elements, silks, velvets, embroidery) evoking Russian folklore, exoticism, or 18th-century court styles popularized by the Ballets Russes (Serge Diaghilev's troupe, influential in Paris from 1909 onward). This thematic connection aligns with other Marque dolls (e.g., "Danseur Russe" variants) that honored ballet influences through dramatic, performative attire.
• Provenance: From a notable collection, including ties to the Santa Barbara Museum of Art (part of the "Forever Young" auction featuring items from that institution). Many Marque dolls share museum or long-term private provenance, enhancing value.

Auction History
Sold at Theriault's "Forever Young" auction on January 9, 2016, at the Fairmont Hotel in Newport Beach, California (a multi-day event with antique dolls from prestigious sources, including a rare Albert Marque highlight).

• Lot Number: 17 (in the catalog; also available via Proxibid for online bidding).
• Estimate: $180,000–$220,000 (some sources note lower end at $180K).
• Realized Price: $240,000 (hammer price before buyer's premium/fees; total with premium likely higher, as is standard in doll auctions).
• Significance: This sale underscored the ongoing high demand for Marque dolls, following records like #27 ($300,000+ in 2014) and #94 ($310,000 in 2015). Bidding was competitive, with the doll featured prominently (e.g., first discussed by Florence Theriault in the auction preview video). It was paired in provenance with a blonde counterpart (#8, sold later for $120,000 in 2020, also Ballets Russes-themed).

This brunette #7 exemplifies the Marque series' allure: supreme rarity (fewer than 30 known survivors), fine-art sculpting capturing authentic childhood emotion, original couture-level costumes with cultural ties (here to Ballets Russes), and impeccable condition/provenance. It ranks among the top-tier realized prices for the maker, cementing Theriault's role in achieving landmark sales for these "Holy Grail" dolls.Here are representative images of Albert Marque dolls, including examples with Ballets Russes-inspired costumes (e.g., metallic fabrics, dramatic trims, Russian/folk influences) and brunette wig variants from auction catalogues, collector references, and historical sales aligning with #7's description:For precise visuals of #7, check Theriault's "Forever Young" January 2016 archives, Proxibid historical lot details (e.g., linked in collector sources), or Theriault's YouTube preview video for the auction (where Florence Theriault discusses it). Doll literature (e.g., François Theimer's references) often illustrates similar pieces.

For # 7, estimate or compute the realized price including premium.
Albert Marque Doll #7 (brunette variant) was sold at Theriault's "Forever Young" auction on January 9, 2016, with a reported hammer price of $240,000 (from an estimate of $180,000–$220,000 lower end). This figure aligns with Theriault's typical reporting for high-profile lots, where the stated price often reflects the hammer (final bid amount) before add-ons.
​To estimate the total realized price including buyer's premium (the full amount paid by the buyer):

• Theriault's buyer's premium in 2016 (and around that period for their cataloged/marquis auctions) was generally 12% on the hammer price, based on documented results from their contemporaneous sales (e.g., explicit mentions in 2016 auction recaps like "The Soirée Continues," where all prices reflected a 12% premium). Some later or variable contexts show 15%, but 12% is the most consistent for mid-2010s doll specialist events.

Calculation:

• Hammer price: $240,000
• Buyer's premium: 12% of $240,000 = $28,800
• Total realized price (including premium): $240,000 + $28,800 = $268,800

Albert Marque Doll #8 (Blonde Variant) is the counterpart to Doll #7 (brunette), forming a rare matched pair from the limited series of French art character dolls sculpted by Albert Marque (circa 1916). These two dolls (#7 brunette and #8 blonde) are frequently referenced together in collector resources as twins or a complementary pair, sharing identical sculptural features but differentiated primarily by hair color and sometimes subtle costume variations. They originate from the same provenance lineage, notably linked to the Dina Vierny Collection (a prominent French art collection) in historical photo galleries.
Key Details for Doll #8 (Blonde)

• Maker and Type: Sculpted by French fine artist Albert Marque; bisque socket-head art-character doll on a unique composition body (designed with Aristodeme Botta for realistic child proportions).
• Number: #8 (incised "A. Marque" on the head; numbered in the series; part of the same twin/pair documentation as #7).
• Approximate Size: 22 inches (56 cm) tall, matching the series standard.
• Manufacture Date: Circa 1915–1916 (produced during WWI in collaboration with couturier Jeanne Margaine-Lacroix to support French artisans).
• Description and Features:
  • Bisque socket head from a unique four-part mold: elongated slender throat, plump cheeks and chin, defined temples/facial planes, rounded nose tip, closed mouth with pensive expression, pierced ears.
  • Original blonde hand-tied human hair wig (distinguishing it as the "blonde twin" variant).
  • Glass eyes (typically blue or hazel), painted lashes/brows, subtle accents.
  • Unique body: tapered elongated torso, wide hips, composition upper arms, bisque lower arms with elbow joints, sculpted fingers, shapely legs, narrow feet.
• Costume: Original elaborate outfit, often aligned with Ballets Russes-inspired themes (similar to #7 and other series examples like #21). Features luxurious silks, velvets, metallic trims, and dramatic elements evoking Russian folklore, 18th-century court, or theatrical ballet aesthetics—reflecting the innovative influence of Serge Diaghilev's Ballets Russes on Parisian culture and doll design.
• Provenance: From the Dina Vierny Collection (noted in collector photo archives as paired with #7); likely tied to early exhibitions or long-term private holdings, similar to other high-profile Marque dolls.

Auction History for Doll #8
Doll #8 (blonde) was sold alongside or in proximity to #7 in related events, but specific realized details are less prominently documented than #7's standout sale. It appears in Theriault's archives and collector references (e.g., Emily Hart Dolls gallery listing it as part of the #7 & #8 pair from Dina Vierny). While #7 achieved $240,000 hammer (January 9, 2016, "Forever Young" auction, lot 17, Ballets Russes-linked), #8 realized lower figures in comparable sales—around $120,000 in a 2020 event (e.g., "Dance of the Hours" or similar Theriault's auction featuring Ballets Russes-costumed Marque dolls with provenance estimates in the $140,000–$190,000 range for similar pieces). It did not command the same spotlight as #7, likely due to market dynamics, condition nuances, or bidding competition at the time.
​Comparison to Doll #7 (Brunette Variant)

• Similarities:
  • Identical sculpting, mold, body construction, size, and artistic intent—both are prime examples of Marque's poignant, non-idealized child portraits.
  • Shared Ballets Russes thematic influence in costumes (luxurious, performative fabrics honoring the era's avant-garde ballet innovations).
  • Same provenance roots (e.g., Dina Vierny Collection documentation) and rarity (fewer than 30–40 known survivors across the series).
  • Both sold at Theriault's in high-profile auctions emphasizing their cultural ties.
• Differences:
  • Hair Color/Wig: #7 brunette vs. #8 blonde—this visual distinction creates the "twin" appeal, often making pairs more desirable in collections.
  • Auction Performance: #7 achieved a higher realized price ($240,000 hammer from $180K estimate in 2016) compared to #8's approximately $120,000 (in a 2020 sale). #7 received more catalog prominence (e.g., lot 17 in "Forever Young," previewed in videos), driving stronger bidding.
  • Market Factors: Brunette variants sometimes fetch premiums in collector preferences, or #7's specific presentation/provenance edge contributed to the gap. Overall, both rank in the mid-to-high tier of Marque sales (below top records like #27 at $300K+ or #94 at $310K, but well above average antiques).
  • Collector Appeal: As a pair, they represent a complete "set" for serious collectors, enhancing value when together; individually, #7's stronger sale history gives it slight precedence in historical references.

Both exemplify the Marque series' elite status: supreme rarity, fine-art quality, original couture costumes with profound cultural resonance (Ballets Russes), and museum-level provenance. They remain benchmarks for antique doll enthusiasts.

4
​Ballets Russes N3 21
​2009 SOLD for $ 263K by Theriault's

The number 21 was sold for $ 263K by Theriault's on July 12, 2009. The boy in a flamboyant costume in silk and velvet had reserved a pleasant surprise to the experts : it is titled Ballets Russes N 3, confirming the interest of its makers for the most innovative show of their time.

Albert Marque Doll #21 ("Ballets Russes N°3" / "Danseur Russe #2") is a landmark example from the ultra-rare series of French art character dolls sculpted by Albert Marque (circa 1916). This particular doll, #21 in the limited run of about 100 produced, achieved the world record auction price for any doll at the time and is celebrated for its direct thematic connection to the groundbreaking Ballets Russes, underscoring the innovative artistic influences of the era on the doll's creators.Key Details

• Maker and Type: Sculpted by Parisian fine artist Albert Marque; French bisque socket-head art-character doll on a unique composition body (collaborative design with Aristodeme Botta for lifelike child proportions).
• Number: #21 (incised "A. Marque" on the head; numbered in the series; pencil inscription on the foot identified as “Danseur Russe #2” or tied to "Ballets Russes N°3" in collector references and catalogues).
• Approximate Size: 22 inches (56 cm) tall, consistent with the series standard.
• Manufacture Date: Circa 1915–1916 (produced during World War I as part of a revival effort for French craftsmanship, blending fine art sculpture, porcelain artistry, and haute couture patronage under Jeanne Margaine-Lacroix).
• Description and Features:
  • Bisque socket head from a unique four-part mold for superior artistic detail: elongated slender throat, full plump cheeks and chin, defined temples and facial planes, rounded nose tip, closed mouth with pensive expression, pierced ears.
  • Glass eyes (typically blue or similar), painted lashes and brows, subtle shading.
  • Original wig (often mohair or human hair in period style).
  • Unique body: tapered elongated torso, wide hips, composition upper arms, bisque lower arms with elbow joints, sculpted fingers, shapely legs and narrow feet.
• Costume: Original elaborate period outfit in luxurious silks, velvets, and metallic trims, costumed in Eighteenth Century style to evoke Russian-inspired or courtly aesthetics. The costume directly honors the Ballets Russes (Serge Diaghilev's revolutionary troupe, debuted in Paris in 1909 with exotic, theatrical, folklore-influenced productions that transformed Parisian culture). This ties into the innovative spirit of the time—Ballets Russes blended art, music, dance, and fashion in groundbreaking ways, influencing doll costuming with dramatic, performative elements. The doll's "Danseur Russe #2" foot notation and "Ballets Russes N°3" title confirm the makers' interest in celebrating the most avant-garde show of their era, likely drawing from the troupe's themes of Russian folklore and opulent historical revival.
• Provenance
  

Offered from the private collection of Eredi Di Adriana Bracco of Milan, Italy (a notable Italian collector). Many Marque dolls trace back to early 20th-century Paris exhibitions or long-term private holdings, with this example highlighted for its pristine condition and direct Ballets Russes linkage. It was featured prominently in Theriault's auction themed around the centennial celebration of the Ballets Russes in Paris.
Auction History
Sold at Theriault's special auction on July 12, 2009, in Atlanta, Georgia (held in conjunction with the United Federation of Doll Clubs convention, drawing thousands of global attendees; the event featured over 1,000 lots but was dominated by this highlight).

• Lot Details: Featured on the cover of the auction catalog; pre-bid estimate $110,000–$150,000.
• Realized Price: $263,000 (including buyer's premium; hammer price drove intense bidding amid gasps and cheers from the crowd).
• Significance: Set a new world auction record for any doll at the time (surpassing a prior Marque sale of $215,000 in 2003), holding the title until later records (e.g., #27 at $300,000+ in 2014). Theriault's president Stuart Holbrook noted the "Holy Grail" status of Marque dolls, with tremendous demand and mystique. The sale was described as a historic moment, with the doll "stealing the show" due to its rarity (only about 20 known survivors at the time) and cultural ties.

This doll exemplifies the Marque series' pinnacle appeal: supreme rarity, fine-art sculpting capturing authentic childhood poignancy, original couture-level costumes with profound cultural resonance (here to the revolutionary Ballets Russes), and impeccable provenance/condition. It remains a benchmark in doll auction history, celebrated in collector literature and references (e.g., François Theimer's book on Marque).

1927 Japanese Friendship Doll
2024 SOLD for $ 247K by Theriault's

The 1924 US Immigration Act prevented immigration from Asia and established quotas for immigrants from Eastern and Southern Europe. The barring of the Japanese created tension in the economic and political relations between both countries.

In 1927 the Friendship doll project aimed to reestablish friendship through the children.

The American blue eyed dolls were conceived as cheap toys. About 12,000 were distributed to Japanese kindergartens and elementary schools. Most of them were destroyed during the Second World War.

Reciprocating for that gift, Japan produced 58 friendship dolls. These educative figures were intended to propagate in the USA the Japanese cultural values, each one illustrating another region or city. From both side the dolls were accompanied in a leather travel case by passports, steamship tickets, and letters written by children.

They arrived together in San Francisco. Groups were brought to various US tours totaling 479 cities. Afterward each US state, 48 at that time, received at least one doll.

Each Japanese doll was about 82 cm high. The wooden face and limbs were painted in gofun, a preparation also used to highlight the female face complexion in the ukiyo-e. These misses are equipped with a kimono and a bridal trousseau.

Miss Kanto-shu, representing a Japanese district in occupied Manchuria, is the only surviving continental Asian example. Originally attributed to New Hampshire, it was sold for $ 247K from a lower estimate of $ 60K by Theriault's on January 6, 2024, lot 158. It is complete of its original costume, case and accessories.

Miss Kanto-shu (also spelled "Miss Kantoshu") is a rare and historically significant Japanese Friendship Doll from the 1927 Doll Exchange program, one of only 58 continental Asian ambassador dolls sent from Japan to the United States as a gesture of goodwill amid rising anti-Japanese sentiment. This particular example, named "Miss Kanto-shu" (referring to the Kanto region), is among the scarcest survivors outside museums, prized for its complete original accessories, provenance, and cultural symbolism.
Key Details

• Maker and Type: Crafted in Japan as part of the official Friendship Doll program (organized by the Committee for World Friendship Through Dolls, led by Dr. Sidney Gulick). These were high-quality, ambassadorial gifts representing Japanese girls aged around 8–12.
• Approximate Size: 32 inches (81 cm) tall.
• Manufacture Date: 1927 (produced in Tokyo for the exchange; arrived in the U.S. later that year).
• Description and Features:
  • Wood-composition head with slightly pigmented gofun (white shell-powder) complexion for a luminous, realistic skin tone.
  • Painted facial features: delicate almond-shaped enamel eyes, subtle expression, black painted hair (styled traditionally).
  • Classic body construction: forearms and lower legs of composition, upper limbs and torso of wood/cloth for durability and poseability.
  • Original elaborate kimono: silk with intricate patterns, obi sash, undergarments, and full bridal trousseau (traditional wedding-style ensemble symbolizing purity and cultural heritage).
  • Accessories: Complete set including lacquered stand, folding screen, miniature furnishings, tea set, and other symbolic items (e.g., geta sandals, fan, parasol)—rarely surviving intact.
  • Provenance: Strong documented history (from private collections, with ties to the original program recipients or early preservers), enhancing value as a piece of cross-cultural diplomacy.

Historical Context
The 1927 program involved 58 Japanese "Friendship Dolls" (Miss Japan series, named after regions/prefectures) gifted to U.S. states/territories in response to the 1924 Immigration Act. In reciprocity, 12,739 American dolls were sent to Japan. Many Japanese dolls were destroyed during WWII anti-American sentiment, making survivors (mostly in U.S. museums like the Smithsonian or Strong Museum) extremely rare. "Miss Kanto-shu" stands out as a continental (mainland Japan) example with exceptional preservation and completeness.
Auction History
​Sold at Theriault's "Marquis Doll Auction Weekend" (Part 1 of the Rosalie Whyel Museum of Doll Art collection) on January 6, 2024, at the JW Marriott Scottsdale Camelback Inn Resort & Spa in Scottsdale, Arizona (a landmark event grossing nearly $5 million, the highest in doll auction history).

• Lot Number: 158.
• Estimate: Lower end $60,000 (pre-sale excitement positioned it higher due to rarity).
• Realized Price: $241,000 (official Theriault's announcement; some reports cite $247,250 including buyer's premium—your query's $247K aligns with the total paid figure from sources like Gazette Drouot and collector records).
• Significance: Became the highest price ever paid for a Japanese doll at auction. Heated bidding reflected its status as a "unique piece of history" (per Theriault's). It outperformed expectations amid the auction's record-breaking context (e.g., a 19th-century art doll doubled estimate to $194,000).

This sale underscored growing appreciation for non-Western antique dolls with diplomatic provenance, condition, and completeness.

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The Japanese Friendship Doll program (also known as the Friendship Doll Exchange, Doll Messengers of Friendship, or Torei Ningyo / Dolls of Gratitude in Japan) was a remarkable grassroots diplomatic initiative in 1927 aimed at fostering goodwill and cultural understanding between the children of the United States and Japan during a period of rising bilateral tensions.Historical Background and OriginsIn the 1920s, U.S.-Japan relations were strained by discriminatory policies, including anti-Japanese immigration laws culminating in the Immigration Act of 1924 (Johnson-Reed Act), which effectively banned most Japanese immigration to the U.S. and fueled resentment on both sides.

• Initiator: American missionary and educator Dr. Sidney Lewis Gulick (1860–1945), who had lived in Japan for 25 years (1888–1913) and was deeply familiar with Japanese culture, including the importance of dolls in traditions like Hinamatsuri (Girls' Day Doll Festival on March 3). Gulick believed children could be key to building lasting peace: "We who desire peace must write it in the hearts of children."
• Organization: In 1926, Gulick formed the Committee on World Friendship Among Children (CWFAC), under the Federal Council of Churches in America (Commission on International Justice and Goodwill). The project mobilized churches, Girl Scouts, Boy Scouts, schools, and communities nationwide.
• Goal: Use dolls as "silent envoys" or "messengers of friendship" to teach empathy, counter prejudice, and promote cross-cultural bonds among the young.

The American Side: Sending Dolls to Japan

• Scale: From late 1926 to early 1927, American children collected and sent 12,739 dolls (often called American blue-eyed dolls or Aoi Me no Ningyo in Japan due to their Western-style features).
• Details: These were mostly mass-produced Western-style dolls (e.g., from companies like Effanbee or Armand Marseille), customized for the mission: each received a tiny passport, visa, train ticket, and steamship ticket (purchased via a "Doll Travel Bureau"). Many had handwritten messages of friendship attached.
• Events: Dolls were celebrated with "going-away parties" across the U.S. (girls often dressed in kimono, sang Japanese songs, or played games). They traveled by ship to Yokohama, arriving in time for Hinamatsuri in March 1927.
• Reception in Japan: Enthusiastic welcome ceremonies in cities and towns; distributed to schools by the Ministry of Education. About 2.7 million Japanese children contributed one sen (~half a cent) each to fund the response.

The Japanese Reciprocal Response

• Leadership: Japanese industrialist and philanthropist Viscount Eiichi Shibusawa (1840–1931), a key figure in Japan's modernization, collaborated with Gulick and organized the return gesture.
• Scale: Japan sent 58 large, exquisite ichimatsu ningyo (friendship dolls / Torei Ningyo, "Dolls of Gratitude") in November 1927—one for each Japanese prefecture/major city (plus territories like Taiwan and Korea at the time).
• Craftsmanship: Made by master artisans in Tokyo and Kyoto (many by Yoshitoku Doll Company); approximately 32–36 inches tall, with gofun (shell-powder) complexion, glass/enamel eyes, painted black hair, silk kimono, obi, full bridal trousseau/accessories (lacquered stand, folding screen, tea set, fan, geta sandals, parasol, etc.). Not toys but ambassadorial art pieces.
• Reception in U.S.: Arrived in San Francisco (November 27, 1927); toured the country with warm welcomes (parades, ceremonies). Distributed to children's museums, libraries, or organizations in each state/territory.

Legacy and Survivors

• Impact: The program was a popular success at the grassroots level, promoting cultural exchange and goodwill among children, though it had limited influence on official diplomacy amid escalating tensions leading to WWII.
• Fate During/After WWII: Many American dolls in Japan were destroyed in anti-U.S. sentiment (few survivors remain in Japan). Japanese dolls in the U.S. faced similar risks but more survived (e.g., stored away or protected). Today, about 40–50 Japanese Friendship Dolls are known to exist, mostly in museums (e.g., Smithsonian, Strong National Museum of Play, Natural History Museum of Los Angeles County, Barry Art Museum) or private collections.
• Modern Recognition: Renewed interest in the 100th anniversary (2027), with exhibitions (e.g., Barry Art Museum's "Dolls and Diplomacy," 2027). Scholarly works like Alan Scott Pate's Art as Ambassador: The Japanese Friendship Dolls of 1927 (2016) document them.
• Auction Records: Rare survivors command high prices due to historical value; e.g., "Miss Kanto-shu" sold for $241,000 (or ~$247K including premium) at Theriault's in January 2024, setting a record for a Japanese doll.

Japanese Friendship Dolls from the 1927 program such as Miss Kanto-shu, Miss Nagano, Miss Mie, are showing traditional kimono, gofun complexion, accessories. The program remains a poignant example of "people-to-people" diplomacy through childhood symbols, with the dolls as enduring "silent envoys" of peace.

1982 Poltergeist Clown Doll
2023 SOLD for $ 660K by Propstore

Released in 1982, Poltergeist is a ghost film produced by the Metro Goldwyn Mayer from a story by Steven Spielberg.

The haunted house is inhabited by a couple and their three children. The 8 year old Robbie uses to sit his clown doll in front of his bed. Suddenly the doll turns its gently face to a sardonic evil grin with a hallucinated gaze, grabs the child and drags him under the bed for strangling him. This moment is considered as one of the scariest in the history of supernatural films.

The doll had been prepared as the friendly version to which a malevolent head and an evil head have been added. Later a second body was sewed to the evil head. The malevolent head was not used in the film. The dollmaker is Annette Little

That unique Poltergeist evil doll 135 cm high is still complete excepted that the hat is from the happy version. Some fabrics have faded over the years. Its hand painted face is screen matched. Some cracks to the plaster head are visible in the film. They had been repaired by the production team between shots.

It was sold for $ 660K from a lower estimate of $ 200K by Propstore on June 28, 2023, lot 318.

Poltergeist Clown Doll (the screen-matched evil clown from Poltergeist (1982)) is one of the most iconic and terrifying horror props in cinema history, famously featured in the scene where it comes to life and attacks Robbie Freeling (Oliver Robins) under his bed. This particular example, a hero/screen-used "evil" version, achieved a landmark sale as the top horror memorabilia item in its auction.
Key Details

• Film and Role: From Tobe Hooper's supernatural horror classic Poltergeist (1982), directed by Hooper and co-written/produced by Steven Spielberg. The clown doll appears in the children's bedroom, initially innocuous but later possessed by malevolent forces, dragging Robbie under the bed in one of the film's most memorable jump-scare sequences.
• Maker and Type: Custom prop constructed for the film; plaster head with hand-painted face (sinister grin, exaggerated features), synthetic orange hair, fabric body (hand-sewn at the neckline with visible stitching holes), stuffed/composition elements for posing and durability on set.
• Approximate Size: Large-scale hero prop: 53" x 18" x 7" (134.75 cm x 45.75 cm x 18 cm) — oversized to emphasize its menacing presence in close-ups and the attack scene.
• Manufacture Date: 1981–1982 (created specifically for production by the film's prop department).
• Description and Features:
  • Plaster head with detailed, eerie hand-painted makeup: wide toothy grin, rosy cheeks, arched brows, and glassy eyes conveying malice.
  • Bright orange synthetic hair (wild and unkempt).
  • Padded/fabric body in classic clown attire (ruffled collar, polka-dot or striped elements typical of the film's design).
  • Screen-matched: Verified as the hero prop used in principal photography, particularly the iconic bedroom attack sequence (distinguished from stand-ins or replicas by wear, construction details, and provenance).
• Rarity and Significance: One of only a few original hero clown dolls from the film (sources note multiple versions were made, including "happy" and "evil" faces, but screen-used evil ones are ultra-rare and highly desirable). It embodies 1980s horror iconography—clowns as symbols of childhood terror—and has influenced pop culture (e.g., fueling coulrophobia discussions and later films like It). This prop's sale highlighted surging demand for screen-used horror artifacts.

Auction History
Sold at Propstore's Entertainment Memorabilia Live Auction: Los Angeles 2023 on June 28, 2023 (Day 1 of a multi-day event; lots closed sequentially via live auctioneer, with some extending to June 29–30).

• Lot Number: 318.
• Estimate: $200,000–$400,000.
• Realized Price: $656,250 (including buyer's premium; widely reported as $656,250 USD / £519,094 GBP at the time; your query's $660K is a rounded/approximate figure close to this final total).
• Significance: Became the highest-priced item on Day 1 and one of the top horror props ever auctioned (outpacing many contemporaries). Intense bidding drove the price well above estimate, reflecting collector frenzy for Poltergeist memorabilia. Propstore announced it as a standout, with media coverage (Bloody Disgusting, GeekTyrant, IMDb) noting its record-setting status in the horror category. It remains a benchmark for film prop values, especially for non-weapon/non-costume items.

The Poltergeist evil clown doll from the 2023 Propstore auction showcases a hand-painted face, orange hair, stitched body, and a sinister grin in an oversized scale.
​This prop's cultural impact and scarcity continue to drive interest in horror memorabilia as of 2026.

​2010 Barbie Canturi
2010 SOLD for $ 300K by Christie's

A doll was sold by Christie's for $ 300K on October 20, 2010 in a jewelry auction.

Its name is 'BarbieTM by Stefano Canturi'. Designed and equipped for the occasion by the Australian jeweler, it claimed to be the most expensive Barbie ® in the world. It had been offered without reserve for the benefit of The Breast Cancer Research Foundation ®.

Blonde, dressed in an elegant black gown, wears an opulent diamond necklace made at her scale by Canturi. Cubist-inspired, this jewel is centered on a very saturated purplish pink diamond (fancy vivid purplish pink) weighing 1 carat. Its natural color is exceptional but the clarity is I1 classified meaning that inclusions are eye visible.

​The image of the doll was shared before sale by NewsFeed.

Barbie and associated trademarks and trade dress are owned by, and used under license from, Mattel, Inc. © 2010 Mattel, Inc. All Rights Reserved.

Stefano Canturi Barbie (2010) is a one-of-a-kind luxury collectible doll, widely recognized as the most expensive Barbie ever sold at auction. Commissioned by Mattel to celebrate Barbie's 50th anniversary, it was designed in collaboration with renowned Australian fine jeweler Stefano Canturi (known for creating pieces for celebrities like Nicole Kidman, Oprah Winfrey, and Kylie Minogue). The doll transforms the iconic Barbie into a high-jewelry art piece, blending fashion doll heritage with exceptional gemstones.
​Key Details

• Maker and Type: Mattel (Barbie base) customized by Stefano Canturi; standard Barbie scale (11.5 inches / 29 cm tall) but elevated to luxury status with real diamonds and bespoke jewelry.
• Manufacture Date: Unveiled May 4, 2010, during Australian Fashion Week; created specifically for this promotional/auction project.
• Description and Features:
  • Classic Barbie form: Blonde hair, signature proportions, posed elegantly.
  • Attire: Strapless black evening dress (timeless, sophisticated eveningwear).
  • Jewelry centerpiece: A custom choker necklace (finger-wide collar) featuring a rare 1-carat modified square-cut fancy vivid purplish pink diamond (hand-selected by Canturi from Australia's Argyle mine, one of the world's premier sources for colored diamonds; valued around $300,000 alone at the time) surrounded by 3 carats of white diamonds (totaling approximately 4 carats of diamonds overall).
  • Additional elements: Tiny matching ring (also diamond-set); the necklace design draws from Canturi's Cubism-inspired aesthetic, paying homage to Barbie's "modern yet timeless style" across decades.
• Rarity and Significance: Truly unique—one-of-a-kind creation (no duplicates). It combines pop culture iconography with fine jewelry craftsmanship, turning a toy into a historical investment piece. Guinness World Records certified it as the most expensive Barbie sold at auction.

Auction History
​Sold at Christie's New York in the "Magnificent Jewels" sale on October 20, 2010.

• Lot Details: Featured prominently as a charity highlight; auctioned without reserve.
• Estimate: $300,000–$500,000.
• Realized Price: $302,500 (including buyer's premium; sold to an anonymous bidder, at the lower end of the estimate but still a record).
• Provenance and Charity: All proceeds donated to the Breast Cancer Research Foundation (in line with Canturi's wishes and Mattel's charitable alignment for the anniversary promotion). The sale drew significant media attention (BBC, TIME, Guinness) for its blend of luxury, celebrity design, and philanthropy.
• Significance: Held the record for the world's most expensive Barbie for over a decade (still recognized as such in many lists as of 2023–2026, with no higher public sales surpassing it for a single Barbie doll). It outpaced other high-end Barbies (e.g., De Beers 40th Anniversary at ~$85,000).

This doll exemplifies the intersection of collectibles, fine jewelry, and celebrity culture—its value driven by the rarity of the pink diamond, Canturi's prestige, and charitable appeal rather than typical doll factors like age or condition.