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Relevance: 100% Posted on: 7. Januar 2019
Community of Heirs Sasha Morgenthaler c/o Marco Morgenthaler Limmattalstrasse 381 8049 Zurich (Switzerland) E-Mail morgenthaler[at]manuseum.ch For loan inquiries: City of Zurich Präsidialdepartement Kultur Stadt Zürich Stadthausquai 17 Stadthaus 8001 Zurich (Switzerland) For professional inquiries: Collection Centre of the Swiss National Museum Lindenmoosstrasse 1 8910 Affoltern am Albis (Switzerland)
Relevance: 37% Posted on: 13. Januar 2019
Ernst Morgenthaler, “Three children on the terrace in Höngg,” 1953. Barbara Cameron Morgenthaler In autumn 1924, when I was born, my parents and two brothers lived in Küsnacht on the Lake of Zurich. Mother told me about those times. Our home was an old factory building at the lake’s edge. There was no running water in the house. An old-time fountain with a trough served as our water supply. The factory floor was divided into rooms by curtains. Outside was a shed that Father used as a studio, and a green meadow bordered by poplar trees. Mother looked after the children and the household. She gilded the frames for Father’s paintings. At night she sewed shirts and pants for the boys, dresses for me and clothes for herself. She made all our toys. As was usual at the time, a young girl lived with us and helped. We had a lot of visitors. Friends came on foot or by train, or even in a motor car. Hermann Haller and Hermann Hubacher – two sculptors – rowed their boats across the lake. Discussions about Art lasted deep into the nights. When money got scarce, and there was not enough for the next loaf of bread, Mother gathered a few of Father’s drawings and watercolors and went to show them to someone who was interested in Art, had plenty of money, and maybe some empathy for a struggling young family. “You were raised on carrots and potatoes,” Mother said. I believe her. Father wrote on the back of a little painting that he gave me when I left home, (it was a small painting depicting a red desert with a black camel having a feed of ca rots): “For my dear Barbara, to remember her painting father (who sometimes is a camel, too, but a grey one). What is the difference between the black camel and the grey one? The black camel enjoys eating carrots.” Ernst Morgenthaler, “Fritzli,” around 1920. Shortly after I was born, my five-year-old brother Fritz developed an earache. He became very ill. Mother sat by his bedside through the long winter nights trying to ease the pain. Finally, in spring, an operation cured the middle ear infection. Sasha Morgenthaler, “Children,” around 1920 My eldest brother Gläis (Nickname for Niklaus) started school, and caught whooping cough. Three coughing and vomiting children brought Mother to the edge of despair. She called a friend who was a doctor and a painter. He came and had a look at us: “Yes, they have got whooping cough,” he said. “It will take six weeks up and six weeks down, and then it will be over,” he called from the door and disappeared into Father’s studio. I started walking at an early age. On a beautiful day many friends came to our house and sat in the sun by the wall that dropped into the lake. Mother had to go inside. “Watch the little one that she doesn’t fall into the lake,” she called as she turned the corner. I fell from the wall onto the rocks in the water and had to be rescued. Years later Mother kept warning me: “Always leave your little one in the care of a single person, because in a group everyone thinks that the others are watching the child.” Mother loved and cared for my long, blond, curly hair. I wore my dresses short, so short that the little underpants peeped out. The family moved to Paris and I was left with friends for a few weeks. My long curls proved cumbersome and were cut off. And my short dresses were lengthened. When Mother came to meet us at the station in Paris, she barely recognised me. We lived in suburban Paris in a spacious house with a big garden. The boys loved playing Indians. Mother made tipis for them. She sewed flared pants and feather headdresses. The children of the neighbourhood stood at the garden gate, full of wonder. Then they joined in. My brothers included me in their games. In the back of the garden were stables. Mother went to Les Halles, the Paris market, and bought a little white lamb. She fed it with a bottle. It was weak and died. The boys staged an elaborate funeral with a procession to the grave and a solemn speech. Then Mother brought home two kid goats, one for Fritz and one for me. My goat grew horns and pushed me over. I kept away from him. Barbara as a child mannequin, modeled by Sasha. In Paris everybody closed their window-shutters at night. I slept in Mother’s room. Our window stayed open. One night I awoke to see a head in the window frame. Mother jumped up and turned on the light. Something fell to the ground. In the morning we found footsteps in the gravel and a ladder stood against the wall. From then on Mother closed our shutters every night. I saw Mother sitting at the table with pencil and ruler. She was drawing plans for a house. Soon we moved back to Switzerland. I stayed with my grandmother in Berne for a few months. Meanwhile, our house in Höngg near Zurich was built under Mother’s supervision. It was in the country, ten minutes’ walk from the last tram station. Cows with bells ringing grazed in the fields. There was a pig farm on the hill. The River Limmat flowed past below. We ran through the lower garden gate into the woods along the creek down to the river. In summer we swam across the canal, walked upstream along the river bank and drifted down in the river’s strong current. Two black dogs belonged to the family. Sasha Morgenthaler with her brother Curt von Sinner and her children Niklaus (l.) und Fritz. Jan had long curls. Simuk’s fur was short and sleek. Mother built an enclosure under the house and bred Flemish sheep-dogs with Jan and Simuk. It did not become a financial success…
Relevance: 31% Posted on: 7. Januar 2019
Community of Heirs Sasha Morgenthaler c/o Marco Morgenthaler Limmattalstrasse 381 8049 Zurich Switzerland E-Mail morgenthaler[at]manuseum.ch Acknowledgements The website has been financially supported by the Präsidialabteilung der Stadt Zürich (City of Zurich), the Ernst Göhner Stiftung and the Cassinelli-Vogel-Stiftung. We are deeply grateful to the Collection Centre of the Swiss National Museum in Affoltern am Albis, the Toy Museum Zurich, and Steffan Biffiger. Copyrights All rights, including the copyright on contents, images, photos and other data on the website, are reserved by the Community of Heirs of Sasha Morgenthaler, the National Museum Zurich and the Collection Centre of the Swiss National Museum, or the individual original creators. No part of this publication may be reproduced without the prior permission in writing of the copyright holders. Source of photographic material Homepage/Toy Museum: Marco Morgenthaler Estate owned by the City of Zurich: Miriam Künzli Translation Steven Parham Data protection This website uses cookies. Cookies are small text files that are saved on your computer permanently or temporarily when you visit this website. We employ cookies to analyse traffic on this website for statistical purposes as well as improving the site. Cookies can be partially or completely deactivated at any time in your browser in the Options menu. Website Concept and design: Manù Hophan (www.manuseum.ch) and Marco Morgenthaler, Zurich. This website on Sasha Morgenthaler was produced with WordPress and Elmastudio’s Theme Ubud.
Relevance: 31% Posted on: 31. Dezember 2017
Erbengemeinschaft Sasha Morgenthaler c/o Marco Morgenthaler Limmattalstrasse 381 8049 Zürich Schweiz E-Mail morgenthaler[at]manuseum.ch Dank Die Website wurde finanziell unterstützt durch die Präsidialabteilung der Stadt Zürich, die Ernst Göhner Stiftung und die Cassinelli-Vogel-Stiftung. Wir danken auch dem Sammlungszentrum des Schweizerischen Nationalmuseums in Affoltern am Albis, dem Zürcher Spielzeugmuseum und Steffan Biffiger. Urheberrechte Die Urheber- und alle anderen Rechte an Inhalten, Bildern, Fotos oder anderen Dateien auf der Website gehören ausschliesslich der Erbengemeinschaft Sasha Morgenthaler, dem Landesmuseum Zürich bzw. dem Sammlungszentrum des Schweizerischen Nationalmuseums oder den Urheberinnen und Urhebern. Für die Reproduktion jeglicher Elemente ist die schriftliche Zustimmung der Urheberrechtsträger im Voraus einzuholen. Fotonachweis Homepage/Spielzeugmuseum Zürich: Marco Morgenthaler Nachlass im Besitz der Stadt Zürich: Miriam Künzli Datenschutz Diese Website verwendet Cookies. Cookies sind kleine Textdateien, die beim Besuch dieser Website in Ihrem Computer dauerhaft oder temporär gespeichert werden. Zweck der Cookies ist insbesondere die Analyse der Nutzung dieser Website zur statistischen Auswertung sowie für kontinuierliche Verbesserungen. In Ihrem Browser können Sie Cookies in den Einstellungen jederzeit ganz oder teilweise deaktivieren. Website Konzept und Design: Manù Hophan (www.manuseum.ch) und Marco Morgenthaler, Zürich. Diese Website über Sasha Morgenthaler wurde mit WordPress und dem Theme Ubud von Elmastudio realisiert.
Relevance: 16% Posted on: 23. Juni 2019
Ernst and Sasha Morgenthaler, painted by Ernst Morgenthaler. “Laughter and Tears in Equal Measure”1 Steffan Biffiger Ernst Morgenthaler was born in rural Kleindietwil in the Lower Emmental in 1887, where he spent his childhood and adolescence. His long-term friend Hermann Hesse described young Ernst from a photo taken around 1892: “The family photo depicts the painter’s parents and their five children. One of Ernst’s brothers, who was a passionate drawer, appears particularly alert and talented but died at the age of sixteen. The father sits in dignity, like a sovereign amongst his people, by his side the mother gentle and humble; young Ernst, however, sits on the right with his mouth open, fat and naïve, healthy and somewhat dozy, completely unaware of the possibility that he might ever grow up to be anything other than a stolid, healthy and happy peasant boy.”2 His father Niklaus Morgenthaler, scion of a house of peasants, was a railway engineer at the Langenthal-Huttwil train company; he went on to become Bernese Regierungsrat (senior civil servant) and the family moved to Bern in 1897. In 1903 Niklaus was voted into the Swiss Council of States. Every-day life was characterised by work and there was little time to spare for cultural activities. In Ernst Morgenthaler’s own words: “There was no muse beside my crib to show me the right way. She did appear one day, but that was quite late—a real Bernese muse. She only opened her fat eyelids when I was in my late 20s.”3 After several false starts he joined Cuno Amiet at Oschwand in 1914 as a twenty-seven-year-old and stayed for eighteen months to learn the craft of oil painting and its free application. Amiet’s artistic temperament as well as his direct style of painting and his lightness and aplomb made a great impression on Ernst. Following his academic studies with Eduard Stiefel at the Zurich University of the Arts and with Fritz Burger in Berlin, the time he spent painting in Cuno Amiet’s company came as a relief. At last he was able to resolve his vocational indecision and decided to become a painter. His initial dependency on Amiet’s style—evident in the landscapes and representations he produced during his stay at Oschwand—quickly yielded to his own formulations in terms of theme and design. He found his way “from fabulating drawing to painting”4 and created his own artistic world. His encounter with Sasha von Sinner, who was six years younger and joined Cuno Amiet at Oschwand shortly after him for a year, was to be fateful. Sasha, whose full name was Mary Madeleine Sascha, came from a Bernese family of patricians and she was born on the Schlössli estate»5 in 1893 at Schlösslistrasse 29 in Bern, as the youngest daughter of Eduard and Marie (Mary) von Sinner-Borchardt, where she grew up with three siblings.6 At 52 her father had married the 19-year-old daughter of Carl Wilhelm Borchardt, a Jewish mathematics professor from Berlin, but he died six months after Sasha’s birth. As a mother of four she became a widow at the age of 27. She had a large circle of friends, organised house concerts, and in 1905 began to study medicine—in 1915 she became the first Bernese woman to defend her doctoral thesis at the University of Bern. During this period her children were raised by nannies, which negatively affected Sasha’s elder sister Lily in particular; Sasha, however, rapidly gained self-confidence and independence. Lily described her sister as follows: “It was in Sasha’s nature to be at peace with herself from the very beginning; disregarding everything around her, she made her own way and instinctively followed her inner voice. Mother’s intellectual and musical ‘fuss’ got on her nerves and she distanced herself from it. She lived in her fantasy games, took care of her animals, dressed up her dolls, played with the model railway and climbed up chestnut trees. She painted and she drew.”7 Card sent by Sasha to her brother, undated. The letters she wrote to her older brother Rudi, who died at a young age, were filled with illustrations and vignettes, and are revealing.8 The house concerts at the Engeried (Engestrasse 77), where the family had moved in 1899, were legendary: “And so there were parties at our place at the Engeried: musical evenings of fabulous beauty to which I still think back and remember as being wonderful experiences! Sonatas, trios and quartets rang out into the mild summer evenings until late at night. Passers-by would stop on the Engestrasse and gladly listen.”9 Paul Klee in his studio in Bern, 1902. Photo from Sasha’s photo album, 1915. Paul Klee often attended these concerts as a violinist. Even before his marriage in 1906 he had been introduced to the von Sinner household by his friend Dr Felix Lewandowsky, a dermatologist who was the same age as Klee. The two daughters, and especially Lily, adored the man who was eleven and fourteen years older than them, respectively.10 Klee quickly recognised young Sasha’s talent and persuaded her mother to let her leave the Gymnasium (grammar school), where she was the only girl in a classroom of boys; at the age of sixteen she went to the Ecole des Beaux-Arts in Geneva, where she studied drawing, sculpturing, painting and anatomy between 1909 and 1913. In 1914 Sasha von Sinner then joined Cuno Amiet in Oschwand for several months, where she met Ernst Morgenthaler; following this and upon Klee’s advice, she went to Munich in 1915/1916—where Morgenthaler also took painting classes with Klee. Sasha also went to the Hungarian Simon Hollósy’s school for painting, where she continued her anatomical studies. Nevertheless she also spent much time at Klee’s house. In this period Ernst Morgenthaler was deeply impressed by his conversations with Paul Klee and how they imparted “a plethora of inspirations”11, but also how Klee persuaded him to focus on his own initial, innocent work in which he had striven to capture his impressions directly on canvas. Ernst and Sasha enjoyed being together…
Relevance: 12% Posted on: 28. Dezember 2018
Barbara Cameron Morgenthaler, «Sasha Morgenthaler – meine Mutter» Erinnerungen der nach Australien ausgewanderten Tochter Barbara an ihre Mutter und die Entstehung der Sasha-Puppen. «Wenn kein Geld im Haus war fürs Brot, nahm die Mutter Zeichnungen und Aquarelle unter den Arm und ging zu wohlwollenden und wohlhabenden, sich für Kunst interessierenden Bekannten. Ich sei mit Rüebli und Härdöpfeln aufgewachsen, sagte mir die Mutter.» Steffan Biffiger, Ernst und Sasha Morgenthaler – «Das Lachen und das Weinen werden sich die Waage halten» Der Kunstwissenschaftler Steffan Biffiger, Verwalter des Nachlasses von Ernst und Sasha Morgenthaler, beschreibt den künstlerischen Werdegang des Paares. «Während eines Aufenthalts in Paris schreibt Ernst an Sasha: ‹Was für schöne Puppen Du machst! Du würdest mit Deiner Phantasie noch auf hundert andere Dinge kommen, wenn Du Ruhe und Zeit hättest. Aber Du hast weder Ruhe noch Zeit, Du bist zum Sklaven Deiner Fabrik geworden.›» Zum 125. Geburtstag von Sasha Morgenthaler brachte SRF 2 Kultur am Freitag, 30. November 2018 ein kurzes Radio-Feature: «Die Puppen von Sasha Morgenthaler sind weltberühmt. Doch wer war die Frau, die sie geschaffen hat?» Dauer: Minute 19:12 bis 23:35 Moderation: Sandra Leis, Redaktion: SRF 2 Kultur Aktualität Marianne Fehr, «Sie sind immer noch da», in: Schweizer Familie 37 (2015), S. 18–24. Aus Anlass der Ausstellung im Kunstmuseum Thun 2015 geht Marianne Fehr, Redaktorin der Wochenzeitschrift «Schweizer Familie», der Geschichte der Familie Morgenthaler über drei Generationen nach. (Lead) «Sasha erfand die weltbekannten Sasha-Puppen, Ernst war ein angesehener Maler. Die Morgenthalers und ihre Freunde waren über Jahrzehnte ein wichtiger Künstlerkreis der Schweiz. Ihr Schaffen wirkt bis heute nach.» — «(…) In der Familie Morgenthaler sei Sasha das ‹absolute Epizentrum› gewesen, erinnert sich ihr Enkel Jan: ‹Sie war Innen-, Justiz- und Aussenministerin in einem.› Er stand ihr als Primarschüler für die Puppenbäuche Modell, für zwei, drei Stunden gab es einen Fünfliber.» Der Artikel kann hier als PDF heruntergeladen werden. Suzanne Oswald, «Sasha Morgenthaler und ihre Puppen», in: Das Werk. Architektur und Kunst 40 (1953), Heft 1, Wohnbauten – Hausgerät, S. 25–30. In diesem Artikel aus den 1950er-Jahren geht die Autorin näher auf die Arbeitsweise von Sasha Morgenthaler ein. Mit 6 Schwarzweissfotos (Stofftier, Puppen, Mannequins). «Sasha will mit den Puppen, die sie macht, etwas ganz Bestimmtes. Schon immer hatte sie ‹die Marotte im Kopf, daß Kinder durch gute Puppen zu größerer Menschlichkeit erzogen werden könnten›. Vielleicht, daß Puppen, die so menschlich sind, Kinder gleichsam zwingen, sie gut zu behandeln. Vielleicht, daß ein empfindsames Kind zu einer Sasha-Puppe eine Beziehung finden kann, die so innig und wesentlich ist, daß in ihr sich Sashas Anliegen erfüllt.» Der Artikel kann über e-periodica (ETH Zürich) als PDF heruntergeladen werden. Hans Kasser, «Sascha Morgenthaler – Neue Puppen und Mannequins / New Dolls and Model Figures», mit Fotos von Werner Bischof, in: Graphis 1/2 (1944), S. 94–98 (deutsch/englisch). In dieser ersten Ausgabe des Magazins Graphis schreibt der Autor über die Mannequins von Sasha Morgenthaler an der «Zürcher Modewoche» und stellt sie in einen Bezug zu den Puppen. Mit Schwarzweissfotos von Werner Bischof. «An der ‹Zürcher Modewoche› dieses Frühjahrs begegnete man überrascht dreissig Mannequin-Puppen, die ein ganz ungewohnter Liebreiz beseelte. Sie waren nicht im üblichen Sinne schön, es haftete ihrer Ausführung fast etwas Improvisiertes an.» Der Artikel kann in der International Advertising & Design Database (IADDB) gelesen und als Einzelseiten gespeichert werden. Auf der Website des Magazins Graphis ist das ganze Heft als digitales Magazin erhältlich. Eine unvollständige Link-Liste, die bei Bedarf ergänzt wird. www.sashadoll.com — Die umfangreiche Website von Susanna Lewis mit Informationen zu Sasha-Puppen, Link-Liste, Bibliografie und vielem mehr. Hier können auch ihre Bücher zu den Sasha-Puppen bestellt werden. www.sasha-puppen.ch — Eine Website von Steffan Biffiger, Kunsthistoriker und Kunstkritiker, Autor mehrerer Künstlermonografien, u. a. über Ernst Morgenthaler (www.kunstundbuch.ch), und Verwalter des Nachlasses Ernst und Sasha Morgenthaler in Thun. Die Website präsentiert vor allem Fotos von Puppen.
Relevance: 8% Posted on: 29. Dezember 2017
Toy Museum Zurich A small selection of Sasha Morgenthaler’s estate is on permanent display at the Zurich Toy Museum, in collaboration with the City of Zurich and the Swiss National Museum. There are additional thematic special exhibitions for limited periods of time. (Photos: © Sabine Kämpf) Atelier E.B: Passer-by, Garage Museum of Contemporary Art, Moscow, 2020 Photos: Ivan Erofeev © Garage Museum of Contemporary Art, Moscow 2020 An installation with two mannequins, three dolls, one arm of a mannequin and several studio shots by Sasha Morgenthaler is shown in the exhibition “Atelier E.B: Passer-by” in Moscow until May 10, 2020. Atelier E.B is the joint fashion label of designer Beca Lipscombe and artist Lucy McKenzie. During the coronavirus crisis, the exhibition is shown online in a virtual tour. “Sasha Morgenthaler was a Swiss artist and doll maker, who also developed innovative designs for commercial mannequins during her career, such as for the windows of Jelmoli department store in Zürich. Morgenthaler’s artisan-produced dolls are noted for their realism and particular attention to detail, whilst the significance of upholding racial diversity is also present throughout her designs as part of the desire to create a picture of universal childhood. Morgenthaler had been disturbed by the falsely cheerful demeanours of her dolls in infancy and wanted to produce something that children traumatised by the horrors of World War Two could relate to. Included as part of the exhibition is a selection of photographs and printed material together with an original Sasha doll.” — Taken from the exhibition guidebook (Serpentine Galleries) Serpentine Galleries, London, 2018/2019 In the frame of the Atelier E.B: Passer-by exhibition, two photos from Sasha Morgenthaler’s studio were exhibited in addition to an original doll. Atelier E.B is the joint fashion label of designer Beca Lipscombe and artist Lucy McKenzie. The exhibition was also shown in Paris (Lafayette Anticipations) in 2019. Glacier Garden Lucerne, 2016/2017 For the first time in central Switzerland, the Glacier Garden Lucerne exhibited diverse dolls and stuffed animals made by artist Sasha Morgenthaler. (Photo © The Glacier Garden Lucerne) “The Morgenthaler Continent” at the Art Museum in Thun, 2015 The Morgenthaler family from the Canton of Bern lived in the early 20th century surrounded by a large network of relationships, where important artistic and intellectual currents of the time encountered and influenced each other. Personalities like Cuno Amiet, Paul Klee, Hermann Hesse, Robert Walser, Karl Geiser, Othmar Schoeck and Wolfgang Pauli were close friends of the family. The exhibition Der Kontinent Morgenthaler (The Morgenthaler Continent) explores the web of relationships in the arts and sciences surrounding the painter Ernst, the artist and doll maker Sasha, the poet Hans, the psychiatrist Walter as well as the next generation members, architect Niklaus and the psychoanalyst Fritz Morgenthaler, by means of numerous exhibits and documents. In the exhibition, the artistic vision of the co-curator Pascal Barbe encounters the art historical approach and thus reflects the mutual enrichment of the then and now. (Photos © David Aebi) The former Sasha Morgenthaler Doll Museum in Zurich In 1976 the City of Zurich was endowed with Sasha Morgenthaler’s artistic estate. The Doll Museum on Zurich’s Bärengasse remained open until 2008. (Photos © Trudi Löffler)
Relevance: 6% Posted on: 29. Dezember 2017
Der Katalog zur Ausstellung «Der Kontinent Morgenthaler» im Kunstmuseum Thun, 2015, stellt die Familie Morgenthaler und ihre Freunde vor, die über mehrere Generationen das kulturelle Leben der Schweiz prägten. Der Kontinent Morgenthaler. Eine Künstlerfamilie und ihr Freundeskreis Herausgegeben von Helen Hirsch, Kunstmuseum Thun, und Pascal Barbe. Broschiert, 208 Seiten, 79 farbige und 70 Schwarzweiss-Abbildungen, 17 × 24 cm, ISBN 978-3-85881-466-1, Scheidegger & Spiess, Zürich 2015, Fr. 49.–. Veränderte und aktualisierte Neuauflage der lange vergriffenen, umfassenden Übersicht zu Sasha Morgenthalers Puppen. Ein Essay zur künstlerischen Arbeit von Sasha sowie Erinnerungen ihrer Tochter Barbara beleuchten das Umfeld der Entstehung der weltweit bekannten Puppen. Sasha Morgenthaler. Sasha-Puppen / Sasha Dolls Herausgegeben von Steffan Biffiger. Mit Texten von Barbara Cameron Morgenthaler und Annemarie Monteil und Fotografien von Christine Seiler. Gebunden, 120 Seiten, 150 Farbabbildungen, 24 × 24 cm, Texte D/E, ISBN 978-3-03828-026-2, Till Schaap Edition, Bern 2014, Fr. 48.–. Sasha Dolls: The History | Clothing and Patterns | Serie Identification Das Standardwerk in drei Bänden (auf Englisch) der Autorinnen Susanna Lewis, Ann Chandler und Anne Votaw. Sasha Dolls: The History — By Anne Votaw, with Ann Chandler and Susanna Lewis. Published by Reverie Publishing Co., 2011. ISBN: 978-193248559-2. Price $50.00. The book is hardcover with dust jacket, 9 × 12 inches, 144 pages, full color. This book is the first comprehensive history covering the four generations of Sasha dolls from 1945 to 2001, with the unfolding of Sasha’s work as a doll artist, and the behind-the-scenes events surrounding each of the three productions of serie Sashas. The book contains more than 300 photographs of serie and studio dolls, many never seen before in print. Included are historical photos of Sasha Morgenthaler’s early artwork, plus family photos and material from her personal scrapbook. There is a detailed identification guide to the Studio Sasha dolls. Sasha Dolls: Clothing and Patterns — By Ann Chandler and Susanna Lewis, with Anne Votaw. Published by Three Anns Publications, 2012. ISBN: 978-0-9849279-0-6. Price $50.00. The book is hardcover with dust jacket, 9 × 12 inches, 144 pages plus pattern sheets, full color. In this exciting second volume about Sasha dolls, we take you into the amazing world of clothing worn by Sasha Morgenthaler’s captivating studio dolls. We bring you a very large collection of knitting and sewing patterns inspired by the 20 inch studio dolls’ wardrobe, but resized to fit the serie girls, boys, toddlers and babies. All of Sasha’s clothing themes are represented here, including the classic, farm, existential, and ethnic styles. The book includes 80 knitting and 60 sewing patterns, 30 embroidery and smocking patterns, and four very large pages (26 × 36 inches) of full size sewing patterns. There are more than 300 photographs of serie and studio Sasha dolls to illustrate the clothing and to give you inspiration. Sasha Dolls: Serie Identification — By Susanna Lewis, with Ann Chandler and Anne Votaw. Published by Three Anns Publications, 2013. ISBN: 978-0-9849279-1-3. Price $50.00. The book is hardcover with dust jacket, 9 × 12 inches, 160 pages, full color. This is the third and final volume about Sasha dolls, a very comprehensive and thoroughly researched guide to the identification and dating of the serie, or manufactured, Sasha dolls. Collectors are invited to examine every detail of their 16–17 inch boys and girls and 12–13 inch babies and toddlers, to learn about the first-ever mass produced vinyl play dolls designed by an artist. With more than 750 photographs, the guide includes all the details of the dolls, clothing, packaging and publications of the three serie productions in Germany and England from 1965–2001. Additional chapters cover special serie dolls styled by Sasha Morgenthaler herself, the mysterious counterfeit Sasha dolls, and a guide to the care and preservation of Sasha dolls. Beispielseiten und Bestellung der Bücher über die Website von Susanna Lewis. Band 1 («The History») gibt es auch bei Amazon.de, Orell Füssli, Ex Libris usw. Eine Besprechung von Band 1 und Band 2 mit Informationen zu den Autorinnen finden Sie hier.
Relevance: 5% Posted on: 28. Dezember 2018
Barbara Cameron Morgenthaler, “Sasha Morgenthaler – My Mother” A daughter who emigrated to Australia remembers her mother and the origin of the Sasha Dolls. “When money got scarce, and there was not enough for the next loaf of bread, Mother gathered a few of Father’s drawings and watercolors and went to show them to someone who was interested in art, had plenty of money, and maybe some empathy for a struggling young family. ‘You were raised on carrots and potatoes,’ Mother said.” Steffan Biffiger, Ernst and Sasha Morgenthaler – “Laughter and Tears in Equal Measure” Art historian Steffan Biffiger, who is the executor of Ernst and Sasha Morgenthaler’s estate, tells of the couple’s artistic evolution. “During a stay in Paris, Ernst wrote to Sasha: ‘The dolls you make are so beautiful! If you had the peace and time for it, your imagination would produce hundreds more. Yet you have neither peace nor time—you’ve become a slave of your factory.’” On the occasion of Sasha Morgenthaler’s 125th birthday, SRF 2 Kultur broadcast a short radio feature on Friday, 30 November, 2018 (only in German): “The dolls made by Sasha Morgenthaler are famous around the world. But who was the woman who created them?” Length: from minute 19:12 to minute 23:35. Moderation: Sandra Leis, editorial department at SRF 2 Kultur Aktualität Marianne Fehr, “They Are Still There,” in Schweizer Familie 37 (2015), pp. 18–25 (only in German). On the occasion of an exhibition at the Art Museum in Thun, Marianne Fehr, editor of the weekly Schweizer Familie magazine, examined the history of three generations of the Morgenthaler family. (Lead) “Sasha invented the world-famous Sasha Dolls, and Ernst was a renowned painter. The Morgenthalers and their friends were an influential circle of Swiss artists for decades, and their work resonates to this day.” — “[...] Sasha’s grandson Jan remembers that Sasha was the Morgenthalers’ ‘absolute epicentre’, and that ‘she was Home Secretary, Attorney General and Foreign Secretary all in one.’ As a primary-school child he served as the model for dolls’ bellies, and he received five Swiss Francs for two or three hours of modelling.” A pdf of the article can be downloaded here. Suzanne Oswald, “Sasha Morgenthaler and Her Dolls,” in Das Werk. Architektur und Kunst 40 (1953), Volume 1, Wohnbauten – Hausgerät, pp. 25–30. In this article from the 1950s, the author delves into Sasha Morgenthaler’s work methods. It contains six black-and-white photos (stuffed animals, dolls, model figures). “Sasha makes her dolls with concrete intentions in mind. She had always had ‘the quirk that good dolls would help teach children to be more humane’. Possibly because dolls that look so human force children to treat them with care. Or possibly because a sensitive child can establish a relationship with a Sasha Doll that is characterised by intimacy and significance, thereby fulfilling Sasha’s intentions.” A pdf of the article (only in German) can be downloaded via e-periodica (ETH Zurich). Hans Kasser, “Sasha Morgenthaler—Neue Puppen und Mannequins / New Dolls and Model Figures,” with photos by Werner Bischof, in Graphis 1/2 (1944), pp. 94–98 (German/English). In this first edition of the Graphis magazine, the author writes about Sasha Morgenthaler’s model figures that were exhibited at the Zurich Fashion Week and connects them to her dolls. Includes black-and-white photos by Werner Bischof. “At the ‘Zurich Fashions Week’ this spring it was surprising to be confronted with thirty mannequin models which showed unusual charm. They were not beautiful in the normal sense, there was in fact something almost improvised in their design.” The article can be read in the International Advertising & Design Database (IADDB) and saved as individual pages. The entire volume is available in digital format on the website of the Graphis magazine. An incomplete list of links which can be extended as necessary. www.sashadoll.com — Susanna Lewis’s extensive homepage with information on Sasha Dolls, a list of links, bibliography, and more. Her books on the Sasha Dolls can be ordered here. www.sasha-puppen.ch — Web page by Steffan Biffiger, art historian and art critic, the author of several artist monographs on (amongst others) Ernst Morgenthaler (www.kunstundbuch.ch), as well as the executor of Ernst and Sasha Morgenthaler’s estate in Thun. The web page mainly presents photos of dolls.