Itinerary
MAB - Artistic Doll Museum - Maria Micaelli Collection
Maria Micaelli, the doll lady (1931-2020)
The Artistic Doll Museum opened to the public on 14th February, 1998. Four years earlier, Maria Micaelli, a beauty entrepreneur and tireless doll collector, had donated part of her private collection to the Municipality of Suvereto so that everyone could discover and enjoy the fascinating world of dolls, and learn about the history of doll costumes and styles, as well as the materials and manufacturing techniques of the most important Italian manufacturers. Born in Pisa, Maria Micaelli was in Paris studying aesthetics when she bought the first two dolls of her collection at a flea market. On returning to Italy in the 1960s, she was the owner of the Anastasia Beauty Institute in Livorno until the mid-1980s, when she moved to Suvereto, which, at the time, was a land of hunters, miners, lumberjacks and charcoal burners. Micaelli’s relationship with Suvereto was so close that she decided to forge a link with the town through her dolls, which she had been collecting for over thirty years previously. For her, the dolls inspired feelings of protection and care, interest in the artist who had created them, and curiosity about the emotions of those who had owned them before her. “These dolls are my lineage, what I leave behind me on this earth,” she wrote in a correspondence relating to the museum. Maria Micaelli was defined by those who knew her as small and graceful, with dark eyes that released energy on a luminous face. The doll lady’s spirit still echoes in the rooms of the museum in a continuous search for beauty.
Lenci, the Italian dolls that conquered the world
The Lenci company was founded in Turin in 1919 – the First World War had just ended and Italy was looking to the post-war period with great expectations and hope. Between 1919 and 1921, Lenci managed to conquer the Italian doll market due to the uniqueness of its creations which had great visual impact and were highly creative. They were, in a word, modern. Lenci dolls embodied the spirit of a young society – they were designed for a new, savvy clientele and soon found widespread consensus among adults, transcending the playful aspect of the toy. In the 1930s, Lenci dolls, which were widely copied, became a fashion item – a true social phenomenon which crossed the Italian borders and spread and established itself internationally. The dolls were new in terms of technical concept and the material with which they were made – wool felt. Without warp and weft, Lenci felt was not a fabric, but rather a compact wool felt, made of wool fibers mixed with animal hair, pressed together while hot. The image of Lenci dolls was fresh and modern and they were made with light, soft materials, with colours embodying the desire to live, in stark contrast to the heavy, fragile and decidedly démodé and composed contemporary dolls which were based on dolls of the 19th century. The golden age of Lenci was between 1919 and 1929: the dolls, along with the ceramics, furnishings, children's clothing and accessories for women produced by the Lenci company, represented the taste for bourgeoisie of the twenties and thirties. Lenci dolls were owned by many famous people, including Marlene Dietrich and Shirley Temple, and the world of entertainment often proved an inspiration, like the dolls depicting the dancer Josephine Baker and the star Rudolph Valentino.
Lenci, brand history
The Lenci brand was created in 1919 by the couple Elena König and Enrico Scavini. The first company logo was a spinning top accompanied by the motto Ludus Est Nobis Constanter Industria – For us, play is constant work. Ugo Ojetti transformed it into the acronym Lenci, founder Elena’s nickname. The company immediately surrounded itself with artists, some already established, others young people who quickly became famous. Dudovich, the most famous poster artist of the time, designed many of the dolls that would characterize Lenci over time. Lenci dolls even became a passion for adults – the American press of the time reporting stylists and milliners receiving commissions to create clothes and accessories like those worn by Lenci dolls. In 1921, Lenci dolls received a gold medal at the Decorative Art Exhibition in Turin. The company's first catalogue was published in the same year, with seventy models of dolls made to order. In 1923, the Lenci store in Milan’s Galleria Vittorio Emanuele opened, followed by a gold medal at the International Exhibition in Paris in 1925. From 1929, the Lenci company began to feel the bite of the economic crisis and in 1933 manufacturing passed into the hands of the Società Anonima Lenci, with alternating events and fortunes. It was the export blockade of 1936, following the Ethiopian War, that dealt a severe blow to the company, eventually being taken over by the Garella family in 1937. From 1940 onwards, production began to slow down and the bombings of the Second World War, which continued until 1945, destroyed or badly damaged much of the company’s heritage. After the war, a slow recovery followed, until the re-conquest of the American market in the 1950s continued. In 1997, the company was taken over by Bambole Italiane srl, which continued production until 2002, the year of the company’s definitive closure.
Lenci, craftsmanship and art
Lenci dolls combine entirely artisanal workmanship with highly artistic creativity. From a clay model of the front part of the head (the face), two metal molds were obtained. Felt was placed between the molds, moistened and treated with glue, and then pressed. After drying, the back part (the nape) of the doll’s head was fitted and then filled with a mixture of crushed felt mixed with glue. The doll’s features were then painted by hand in several careful steps: first the eyes, then the mouth, and finally the pink of the cheeks sprayed on. The ears were sewn on by hand at a later stage. The head was then connected to the body by means of metal pins, which also had the task of giving articulation to the arms and legs. The body was made in the tailoring shop by sewing different pieces of felt together inside out, and then turning them inside out, with the help of special hooks for the smaller parts, such as the fingers. Next, the doll’s padding was inserted by hand. The padding inside the first dolls was made of chipboard, however in later models it was made of carded felt and kapok, a very light natural fibre which is pleasant to the touch and used for giving softness and lightness to the doll. Once the doll’s body was ready, its hair was applied, originally in tufts of mohair wool sewn on by hand, but later in wigs of continuous synthetic thread applied directly onto the doll's head. Meanwhile, the tailoring shop proceeded to create the doll’s clothes and accessories, a complex wardrobe composed of numerous pieces. To decorate some outfits, hundreds of pieces of carved felt were needed for the flowers, leaves, borders and strips. Some examples also used silk organza and occasionally cotton. Finally, the doll’s accessories, such as the wooden racket on display here, were handcrafted in the carpentry shop.
Lavinia and Azzurra's dream
The first Lavinia doll was made by Lenci in 1930. It went into production again in 1985 in 1999 pieces – a testament to the success and undiminished charm of the creation. In the 1980s, Lenci represented one of the highest expressions of Italian know-how - the ability to imagine, invent and dare recalls a historic moment in Italian sailing to which the Lavinia doll is linked: "Azzurra's dream", the first Italian sailing boat to participate in the America's Cup, in 1987. Gianni Agnelli, the father of the adventure, took part with Karim Aga Khan and a group of entrepreneurs. A symbolic figure of Italian capitalism, the lawyer was a passionate sailor and it was not difficult for Cino Ricci to convince him to build a competitive boat and put together a winning crew from scratch. Between 1983 and 1987, Azzurra’s unexpected victories made Italy dream and, during one sailing competition, the Lavinia doll was donated by the Aga Khan to the ladies of the participants in the regatta. Lavinia is a doll with adult physiognomy – a woman full of composure, with a serious expression. The rich and voluminous dress she wears is one of the most laborious ever made by Lenci. The bodice is tight, with sleeves that puff out at the shoulder and tight on the forearm, and a double ruffle, trimmed with pink serrated felt, decorates the neckline. The white silk organza skirt is edged with the same pink ruffle and is decorated with small felt flowers, in pink, red and blue, with green leaves and even smaller polka dots. Each single fragment was handmade and sewn one by one onto the fabric of the dress. The ensemble is completed by fine white organza underwear, with panties and a frilled petticoat, high stockings, and garters, also decorated with small flowers. High heels and a marabou hairdo give the doll a sophisticated look. Lavinia is clutching a handkerchief between her fingers.
Violetta, a romantic heroine
Violetta is the symbolic doll of the museum and was inspired by Violetta Valéry, the romantic heroine protagonist of the opera “La Traviata” by Giuseppe Verdi. The doll is part of the series with an adult face, and appears in one of Lenci’s oldest catalogues, which is undated, but almost certainly dates back to the years between 1925 and 1929 – the company’s golden age of production. The dress she wears is faithful to the romantic fashion of the early-19th century – made of straw-yellow silk organza, it is made up of a bodice with puffed sleeves, decorated with small flounces, and a wide skirt with three flounces in shades of yellow and pink at the hem. On her head, a classic hat with flowers and ribbons frames her face and black hair. The doll on display is missing the organza scarf on her shoulders and the handkerchief between her fingers that completed the ensemble. Violetta Valéry hails from Verdi's opera, which was first performed at the La Fenice Theatre in Venice in 1853. She is a young woman who leads a life of luxury in Paris, which is animated by parties and rejecting stable sentimental ties, due to the serious illness that marks her destiny early on. It is Alfredo Germont (phonetic transcription for pronunciation /ʒɛrˈmɔ̃/) who makes her discover true love – with him, far from the Parisian worldliness, she experiences moments of intense and unexpected happiness. However, Violetta's dissolute life puts Alfredo's reputation at risk so Alfredo’s father convinces her to end the relationship. For love of Alfredo, Violetta lies to him, leaving him with a long letter in which she writes that she is returning to the arms of a previous lover. Shortly thereafter, Violetta gets sick. On her deathbed, she receives a letter from Germont senior, who begs her to forgive him and reveals that he has told the truth to Alfredo, who then rejoins her. The two protagonists have just enough time to reunite and swear eternal love to each other, before Violetta dies in Alfredo's arms.
Cocotte: “I only love roses I didn’t pick”
In the France of the Belle Epoque, between 1871 and 1914, a Cocotte was a frivolous woman who had romantic relationships outside the canons of morality and marriage in aristocratic and upper-middle-class social circles. For her favours, a Cocotte was paid with luxury goods, often reaching high standards of living and positions of notoriety, while still remaining under the weight of the merciless judgment of morality. Cocottes were often singers, actresses, muses or companions of artists, entertainers of prominent personalities, and a point of reference for taste and fashion. Being a Cocotte was also a way to emancipate oneself, to escape poverty and find one’s own public role beyond the confinement of the domestic walls and the private roles of mother and wife. Cocotte is the title of a poem by Guido Gozzano, in which the poet recalls an encounter he had as a child on a beach on the Tyrrhenian Sea with a “bad young lady” – a Cocotte. Despite being urged by his parents not to speak to her anymore, Gozzano’s memories of her remained vivid. In fact, in his verse “I only love roses I didn’t pick”, Gozzano refers to a desire that was long dreamed of but never fulfilled.
Sara and Lisa of Casa Dolfi
The history of the Dolfi family and brand began in the early 19th century in Val Gardena, a valley in the Dolomites – a land of wood carvers and high-quality artistic carpentry. Dolfi wooden dolls are testimony to one of the oldest professions in Val Gardena, undertaken by its inhabitants during the long, cold winter months of forced rest in order to earn extra income. Over the course of three generations, from the first creations of Franz, grandfather of the company’s founder Adolf Comploi, to the latter’s children, Dolfi gradually achieved international fame. In fact, by 1970, Dolfi was already present in over 60 countries around the world – the brand recognised for its world-class excellence thanks to artisan mastery and entrepreneurial spirit.
Argenta, when dolls become disturbing…
With her wide-open eyes and toothless mouth, Argenta induces a common feeling aroused by dolls – anxiety, which can sometimes lead to terror. The word that expresses this sensation is pediophobia – the fear of dolls, ventriloquist's puppets and marionettes, puppets worked by strings. The sensation affects both children and adults and ranges from a simple feeling of discomfort to not being able to bear the sight of the object. With their artificial nature, dolls recall the features of real people, but in a static way – indecipherable and impassive expressions, and inaccurate proportions of the face and body – elements that make us perceive them as something familiar but at the same time foreign. Cinema has made the doll one of its horror icons, such as Chucky, the protagonist of “Child’s Play”, Dolly Dearest – the doll that kills, up to the more recent Annabelle – the protagonist of three films, the Billy doll from the Saw film series, and the life-size porcelain doll from the film “The Boy”, which the parents take care of as if it were a real child.
The Sardinians, a couple dressed up in history and tradition
This pair of late-19th century dolls wearing Sardinian folk clothing is extraordinary testimony to the particularity of the island’s traditional clothing. Until the early-20th century, traditional clothing, which was different from the folk costumes worn during celebrations, continued to be worn in everyday life – some garments were common to the whole of Sardinia, whereas others were characteristic, in terms of shape or colour, of specific towns or areas of the island. For men, the recurring elements of popular clothing were the headdress (the most common of which is called the berretta), and the white shirt (made of coarse linen for working and everyday clothes, and thin linen or cotton for festive occasions). A tight bodice was placed over the shirt, with fine fabrics on the front, over which a sleeveless jacket was worn. A black skirt was often worn over white linen trousers, with black gaiters and shoes completing the outfit. For women, the headdress was an essential element – among the lower classes, uncovered heads were only allowed inside the home, never in public. The white shirt, which was worn even during mourning, was always accompanied by a corset, which was low-cut, more or less rigid and had many different styles. Over that, the corittu – a jacket made of fine fabric which was open at the front. The skirt, which was always long and wide, was pleated and decorated at the back. The outfit was completed by an apron and black or brown leather half-heeled shoes. The great geographical variability of fabrics, embroidery, accessories, colours and styles was dependent on the social class, profession, and economic resources of individuals.
Pierrot, tears of an unattainable love
With his large white suit, made of trousers and a jacket with large black buttons, the small cap on his head and his whitened face onto which a tear falls in memory of his impossible loves, Pierrot is one of the most famous masks. Pierrot is romantic and dreamy, and lives unrealizable and poignant loves, such as his unattainable love for the Moon, or for Colombina, a seductive and mischievous Venetian maid, who is in love with Harlequin. The origin of Pierrot is Italian: originally a cunning, double-crossing rogue, Pedrolino is one of the main characters of the Commedia dell'Arte, appearing for the first time the late-16th century. Thanks to Italian interpreters, Pedrolino arrived in France in 1673, before his fame spread to Germany. The French mime artist, Jean-Gaspard Debureau (1796-1864), perfectly embodied the 19th-century Pierrot, giving him a dynamic, strong character, which he transmitted through mime with his great expressive abilities and his unusual gymnastic and interpretative skills. Pierrot's character changed over time, until he became as we know him today: melancholic, with a sad look, his heart always in pain. Pierrots and Pierrettes of different shapes and colours are on display, along with cheerful Harlequins.