By Ann Hays

Victorian ladies’ magazines, newspapers, and books enlightened society women on the latest fashion trends, proper decorum, and etiquette. Privileged society dictated what should be worn by fashionable ladies for every aspect of daily life, from greeting guests in one’s home to attending an opera. These rules manifested themselves in the arena of women’s fitness apparel, and a closer look at some early bisque figures also points to the evolution of certain women’s fashions.

In the late 18th century, a pale complexion was considered a great attribute of beauty. Women went to great lengths to protect their fair faces and hands from the sun.  When planning an outing to the beach, ladies wore face-shading bonnets, shawls, gloves and smock-like bathing gowns. Both modesty and complexion concerns governed their beach attire. Therefore, most of these gowns had weights sewn into the hems to prevent the garment from floating up and exposing their legs. When fashion and modesty were at odds, modesty was the more important virtue. 

At the turn of the 19th century, it became popular for families to seek seaside recreation. Women enjoyed strolling along the beach. With their developed interest in this pastime, a slow revolution began in beach attire. Above-the-ankle gowns were constructed of white cambric or pastel muslin with long sleeves and cuffs. Trousers were worn under the gown and were trimmed to match the gown. A patterned short scarf was added to complete the outfit. The hands were protected by kid gloves and the feet with correspondingly colored sandals. This simple costume was quite feminine and very becoming, but it was also warm for a summer’s day.

Even by the middle of the century, bathing dresses covered most of the female figure. Suits now came to just below the knee but were worn with long bloomers. These were influenced by the innovative ideas of Amelia Bloomer, the early women’s rights advocate. The seaside apparel was often constructed of a heavy flannel fabric. When wet, this material would add considerable weight to the swimmer and immodestly cling to the body. Smaller hats than previous were now fashionable. Illustrations of these costumes can be found in Godey’s Lady’s Book from the 1860s.  

Seaside resorts flourished. Where the water was shallow, rows of small wheeled houses were used by women to change into beach attire. They allowed a modest Victorian woman to spend the day at the beach in complete privacy. Inside, she could change from her layers of petticoats and dress into a multi-layered swimsuit. When ready, a horse would haul the cabana into the surf. The large wheeled vehicles were designed to make minimal tracks in the sand, leaving a beautiful unscathed beach.  

By the 1890s, women generally dressed in black, knee-length wool dresses (swimsuits) fashioned with puffed sleeves and a sailor collar. The dress was worn over bloomers or drawers trimmed with ribbons and bows. Accessories for this swimwear included long black stockings, lace-up bathing slippers, and fancy caps. With more people flocking to the seashore, swimming, surf bathing, and diving gained popularity.  These heavy burdensome wool swimsuits greatly hampered women’s ability to swim and freely enjoy themselves in the water. 

Fashion soon evolved to meet these needs, and by 1910 bathing suits no longer camouflaged the female body. Billowing Victorian bathing skirts and bloomers were reduced to above-the-knee Bermuda-length shorts and blousy sleeveless tops. 

Annette Kellerman, the Australian swimming star, helped influence some of the changes in swimsuit attire. She became famous in 1907 when she appeared in a glass tank in New York. Her skills as a swimmer had a profound affect on synchronized swimming and the inclusion of women as true competitors.

By the beginning of World War I, women athletes participated in swimming competitions. Women’s attire adapted accordingly by becoming shorter and less cumbersome. V-neck designs, fabric stripes, and contrasting color trim-work were very popular. 

Popularized in the 1920s, women’s bathing suits were reduced to a one-piece long top accessorized by a pair of shorts. Some women continued to wear matching stockings.  A kerchief was fashionably worn over the hair. Vogue magazine touted the new “jersey” bathing suits that were emerging in popularity.

Little is known of the history of the bisque “bathing beauties” pictured in this article. Each was acquired in the original straw-filled cardboard box, and the boxes bear no marking as to their country of origin or manufacturer. Some carry varying prices penciled on them in French currency. These examples have similar fine quality features and coloring, but differ in their molded positions and in the material used for their attire.

A few examples that are marked have a three-digit number in the 400 series followed by a capital letter. This number/letter configuration has been attributed to the German firm of Galluba & Hofman, established in 1891 by Hugo Galluba and Georg Hofman. Besides dolls such as these, the firm also produced pincushion dolls and bisque lady dolls. 

The word “Germany” is incised on the pedestal base of the large examples shown in Photo 1. In some cases, markings could not be determined without destroying the fragile fabric. It is known that numerous German firms produced bathing beauties in both bisque and china. The quality of the bisque/china, molding, and painting vary considerably from firm to firm. In most cases, these were sideline products that produced only a small portion of the company’s income. It is assumed that this is why historical information was not recorded about these novelties. What material we have was retrieved in the format of pictorial company catalogues accompanied by brief descriptions. 

It appears that bisque bathing beauties made their debut about 1910. They are considered neither doll nor figurine by most authorities. These bathing beauties vary in size from 3 to 10 inches. Models came with mohair wigs or molded bathing caps. Other variations included cloth attire or molded suits and accessories. Companies such as Alfred Pensky, William Goebel, and Hertwig & Co. also produced bathing beauties. 

The bathing beauty pictured in Photo 2 was produced of fine-quality bisque from a multiple mold process. Close examination reveals that the arms were added as a separate process and the seam lines smoothed. The figure retains the original orange knit suit and black and beige diamond-patterned silk head scarf. Her interesting features include a mohair wig positioned over a solid dome head, white molded ballet-type slippers, and delicate long fingers with separated thumb. A closer look at her oval face also reveals detailed modeling and painting. Characteristic of the Galluba & Hofman firm, this example has dark brown single-stroke eyebrows and intaglio eyes with red lid fold lines. She has coral-colored nostrils and bowed lips. Her slender neck and broad shoulders lead to a beautiful sculptured body. The artistry and degree of expertise to make these figures would have made them expensive. Double figural versions were also produced. 

The bathing beauties in Photos 3 and 4 are sharing a beautiful day at the beach. They are additional examples of the Galluba & Hofman firm, illustrating the expensive multi-part mold process and the variety of positions in which they were modeled. 

As the interest in bathing beauties began to wane, companies such as Goebel went to a pre-colored pink bisque slip. This was both cost effective and time saving. This pre-coloring technique lacks the warmth and depth of the earlier hand-coloring process. In making more cost-effective pieces, some companies resorted to skipping the additional kiln firing after the facial features and swimsuit were painted on. This saved time and lessened the damage. Unfortunately, this shortcut also produced paint flaking and therefore decreased value and desirability in the marketplace. Other cost-saving maneuvers initiated the production of less-complicated figures that could be produced with a simple two-part mold as exhibited on Japanese figures.

There is currently a buyer alert in purchasing bathing beauties. Reproductions are being made in the likeness of their German prototypes. They are being cleverly manufactured to look aged. Unscrupulous individuals are then selling them as authentic older German examples. Generally these reproductions are of good quality, lacking only the crispness of modeling and in some cases showing higher coloration than their earlier sisters. Careful attention to detail in facial features and examination of the bathing slippers is frequently used to differentiate between the antique and new versions.

The desirability of these fine wigged bathing beauties is reflected in their current market values. They are not readily found because admiring collectors quickly snatch them up. They require little care and simply look pretty wherever they are displayed—on a doll house veranda or a simulated beach vignette.  

Buy this Issue: August 2007