Where Do The Kewpies Live? by Jean Cantwell

To: The Kewpies

1 Bonniebrook

Bonniebrook Lane

Kewpieville (Branson), Missouri 65616

Where do the Kewpie live? The above address would surely reach them. Nobody knows how long they have lived there, but Kewpie lovers know Rose O'Neill discovered them when she was living at Bonniebrook in 1908.

The author, Jean Cant­well, describes a Kewpie to Barbara Walters on a segment of the "Today Show." Mrs. Cantwell is a past presi­dent of the International Rose O'Neill Club and a frequent speaker at Kewpie events. She was the keynote speaker for the United Federation of Doll Clubs, Inc., convention in Kansas City in 1982. Photograph courtesy of the "Today Show."

Source: April 1989 • DOLL READER • The Ultimate Authority, Pages 110-115

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It takes only a bit of imagination to think a few venturesome Kewpies still cavort in the magic glen. When the house at Bonniebrook is rebuilt, the plan includes peopling or Kewping the mansion with varied collections of the charming Kewpies and O'Neilliana.

Some people call Miss O'Neill the creator of the Kewpie doll. In spite of the evidence that she was an extremely creative person, she alluded to her "discovery'' as the Kewpies invaded her "Bird Cafe," her third-floor art studio, in the family borne in the untamed woods of the Missouri Ozarks. According to her autobiography, Charmed Life, they came to her in a dream. She loved the fantasy of their existence and considered them to be real spirits. It was her privilege and that of many who revere her work. In the end, what is the distinction of a "real spirit" as opposed to a "fanciful spirit"?

Perhaps the Kewpie spirits or sprites, according to your personal taste, still live in the forest valley at Bonniebrook. Impervious to the need of food other than human love, which brought them to reveal themselves to Rose O'Neill, and undaunted by heat or cold as proved by their lack of clothing or sunburn lotion, Kewpie sprites can survive in the Ozark woods with no more shelter than to loll under the fragrant petals of wild roses or un­der the shady trees that border the single lane into the O'Neill homestead.

Rose O'Neill Slro!led across the manicured lawn of Bonniebrook, her mansion in the Ozarks woods. The third­floor balcony off her art studio was the" Bird Cafe." Photograph courtesy of Paul O'Neill.

On the other hand, Kewpies that were created by Rose O'Neill in the image of those who shyly ought her loving nature, need shelter, The lus­trous tone of blossoming cheeks on German bisque, the soft invitation of huggable fabric Cuddle Kewps and the cheery wisdom of the selfless Kewpie Band that occupied the Kewpieville of fragile magazine pages along with precious two-sided paper Kewpie dolls must have shelter to be preserved.

Rose was a prodigious producer. There are myriad of Kewpies in vary­ing materials, shapes, attitudes and sizes with a wealth of accompanying ornaments, if there were only Kewpies, 5½in (14cm) tall made of German bisque, the desire to collect Kewpies could be quickly quenched. With hun­dreds of collectors, some who have sought original O'Neill Kewpies over five decades, with thousands of types and styles to seek, the quest continues. Every year since 1968, collections of Kewpies have been displayed at Kew­piesta in Branson, Missouri. Each year, new discoveries of original O'Neill Kewpies and new information about Rose O'Neill and the Kewpies are shown, treasures to be enjoyed by all. In addition to other inhabitants and components of Kewpieville, Rose created completely different styles of art. Her "Sweet Monsters," produced primarily as paper art, were also inter­preted as statues, the tallest being a formidable nine feet. National public recognition came first to Rose through charming romantic magazine illustration and eye-catching advertisements. Delicate old paper is also the medium, which holds the fascinating books and stories that reveal the fanciful nature of her artistic mind.

The homesite of Bonniebrook was sketched by Pearl Hodges for guests at the 1973 Kewpiesta held each April in Branson, Missouri, the home of the International Rose O'Neill Club and the Bonnie brook Historical Society. The family cemetery and the size of the house are indicated. Photograph courtesy of Robert Gibbons.

It is the paper material, which enhances the Kewpie's most distinguishing characteristic, the Kewpie mile. The Kewpie smile states and demonstrates the Kewpie philosophy. What other doll bears such noble philosophy? "Do good deeds in a Kewpish way, without pomposity." The Kewpies led the rich little girl to share Christmas toys with the poor little girl. They convinced the Grandfather to give up his grumpish ways. They taught the little boy bully to give up teasing dogs. They advocated eating healthful food and conserving energy, but most of all, Kewpies became the symbol of selfless love.

"Loving and Sharing" was the slo­gan in 1975 when the Kewpie "Hug­gers" were chosen for the theme doll of Kewpiesta. It was that year that the members of the International Rose O'Neill Club solidified the pattern to share information about their collec­tions and their knowledge of Kewpiana in a loving manner. Loving and sharing continue to be an important part of Kewpiesta.

The east side of the mansion faced onto the bubbling creek, Bonniebrook. Photograph courtesy of Paul O'Neill.

Patrick left his family in Nebraska when he decided to search out a better place to live in the Ozarks. Bonniebrook is the name he gave to the acreage nine miles north of Branson that he acquired when it was abandoned by a homesteader. Bear Creek border the land on the south side. A feeder creek that rises from a spring runs through the Ozark rock farm. As it ripples over the creek rock and meanders across the road that approaches the house, it is sometimes necessary to dance lightly across un table stepping stones to cross the creek. This musical brook is as pretty as its name implies. Having acquired the deed to Bonniebrook, he brought Meemie and the children to Missouri. Rose had already moved to New York City to pursue her fortune as an artist, but she soon came to visit her family at Bonniebrook. They lived in a double cabin. The Ozarkers called it one cabin with a dog nm between. She wrote of hanging her fancy doodads from New York behind a sheet where the dirtdaubers found a place to nest.

In time, Patrick, with the able help of his son, John Hugh, began to build the three-story mansion in the woods. Patrick's knowledge of palatial homes in the East and in West Europe a sufficient to design the architecture. Rose's success in New York demanded an art studio for her, and she helped finance the construction of Bonniebrook, including her "Bird Cafe," the studio on the third floor.

Bonniebrook was the source inspiration for the major portion of Rose's work. Frequently, she drew the illustrations for magazines and novels published in New York at her easel in the "Bird Cafe." She wrapped them around a smoothly whittled stick in preparation to posting them to New York by leaving them in the fork of a designated tree, the "Fairy Tree," for the postman on horseback to pick up. It wa after a long night of work to meet a magazine illustration deadline that she fell asleep on her daybed and discov­ered the Kewpies in her dream.

The Bonniebrook Historical Society (Box 263, Branson, Missouri 65616) has completed phase one in rebuilding Bonniebrook with the construction of the footings and basement walls of Bonniebrook. Reconstruction is under the leadership of the current president, Lois Holman. Photograph courtesy of Lois Holman.

Rose produced several series of Kewpie pages for various magazines. A series for The Ladies' Home Journal was called "Kewpieville." The only hu­man in the series was Scootles, the Baby Tourist. Scootles was soon inter­preted as a doll. There is no doubt Rose was inspired to select a tourist as an appropriate character, because she was accustomed to tourists as a part of the daily routine in the small town of Bran­son. Fishing and other water activities on Lake Taneycomo brought tourists to Branson from the time it was estab­lished shortly after the turn of the century. Silver Dollar City theme park, the Shepherd of the Hills Pageant and the world's largest country western live theatre district have increased the influx of tourists to rank Ozark Mountain Coun­try as the third largest in Missouri.

Rose's art studio at Bonniebrook was furnished with the famous daybed where she dreamed the Kewpies, wicker and leather chairs, Indian rugs, first edition books written by her famous friends and her own artwork. Photograph courtesy of Paul O'Neill.

Many years later, when Rose had returned to live at Bonniebrook again, to repair her fortune, she created the Ho-Ho doll. It was not one to be dressed, but rather, to inspire. As the Kewpie inspires to selfless love, so the Ho-Ho inspires to wisdom and laughter.

Although her first novel, The Loves of Edwy, was written when she lived in Nebraska, her second, The Lady in the White Veil, was written at Bonniebrook and much of the symbolism of Garda and The Goblin Woman can be traced to her family relationships at Bonniebrook.

It was on her first trip to Bonniebrook, by train followed by a horse and wagon ride through the shifting shadows at Bonniebrook, that she had the first inkling of the primordial shapes that were to become the draw­ings of her "Sweet Monsters" and the subsequent statues. Bonniebrook is Rose's last resting place. In a private cemetery, five of the O'Neill family lie.

Of all her homes, Bonniebrook holds the strongest tie to Rose O'Neill.

Rose O'Neill died in 1944. Bonniebrook burned in 1947.

The inspiration for Rose O'Neill's major artworks came when she lived at Bonniebrook. She paints a Kewpie as she warms at the fireplace of her Ozarks home. She wore a Japanese kimono over her original mantle designed by her sister, Kallista. Photograph courtesy of Paul O'Neill.

No matter how prodigious an artist may be, if her work i not consciously preserved, as with the house at Bonniebrook, it will deteriorate or disap­pear. In 1966, an organization with Pearl Hodges as founding president was formed to honor Miss O'Neill with a celebration called "Rose O'Neill Days," April 1 through 8, 1967. The local group grew to become the Inter­national Rose O Neill Club, with the stated purpose, “To preserve the mem­ory of Rose O'Neill and inform the public about her works and to promote the cultural arts." Under the constitu­tion, the International Rose O'Neill Club was authorized to preserve the memory but not to preserve artifacts or own property; consequently when it became possible to lease the Bonniebrook homesite for $1.00 per year, another non-profit organization was formed with a constitution that would permit ownership of property. Many of the members of the Bonniebrook Historical Society and the International Rose O'Neill Club are the same people working toward a common goal, to rebuild Bonniebrook.

On April 20, 1984, the Bonniebrook Homestead was placed on the National Register of Historic Places.

Fund raising was set up in three phases. The first has been completed.

In 1987, the foundation and basement walls on the brook side of the house were poured. The footbridge, which the O’Neill called “The Alarm”, was replaced.

Phase two will see the construction of the exterior framed building and roof. Phase three provides for the interior finish. Numerous fundraising activities of the Bonniebrook Historical Society and a grant from Gannett Newspapers, Inc., brought the $12,000 for phase one and approximately $82,000 of the pro­jected $120,000 planned for phase two.

The Bonniebrook Historical Society will benefit from antique shows in Springfield, Missouri. "The One Rose S. W. Missouri's Antique Shows helping to rebuild Ro e O'Neill's home, Bonniebrook" will occur two times a year, usually in May and October at the University Plaza Trade Center. Cliff Harral on, with the help of his wife, Helen, is the manager of the shows. With the generosity of Mr. Harralson, the loving giving of such devoted mem­ber as Mrs. Anna F. Stretcher, and others who contribute to the building of the dream, Rose's home, the home of the Kewpies, Bonniebrook will be rebuilt.

Kewpies will abound inside, displayed with O'Neilliana galore, and the Kewpie outside that only Rose O'Neill could see, will delight the members of the Bonniebrook Historical Society and the International Rose O'Neill Club at Kewpiesta and tourists by the droves as they add still another pleasure to their vacation trip to the Ozarks, Branson, or is it Kewpieville, Missouri?

The First Quarter of the ''Golden Age of Paper Toys,'' 1800 to 1825, by Blair & Margaret Whitton

The 19th century should be considered the "Golden Age of Paper Toys." Ingenuity and variety of toys published and the artistry and depth of color reached their highest level during this period.

S. & J. Fuller's paper doll booklet titled Frank Feignwell's Attempts to Amuse His Friends on Twelfth Night. Dated 1811.

Source: May 1990 • DOLL READER • The Ultimate Authority. Pages 56-62

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The 19th century should be considered the "Golden Age of Paper Toys." Ingenuity and variety of toys published and the artistry and depth of color reached their highest level during this period. We see the best in hand-coloring and later, the finest examples of color lithography. This was 100 years of great changes. It was the period of the Industrial Revolution. Here we will concern ourselves with the first quarter of this century, 1800 to 1825.

One man who did much to promote the availability of a variety of paper toys in the last few years of the 1700s and into the early 1800s was Georg Hieronimus Bestelmeier of Nurnberg, Germany. Bestelmeier was a merchant who issued a large black and white catalog of novelties, toys, scientific objects and other items. His 1803 catalog showed and listed 1200 saleable objects. lllustrations 1 through 3 present a variety of paper toys that he offered. Bestelmeier's catalog also listed scores of games, the majority of which were educational. Listed here are a few examples, with brief descriptions as shown in the 1803 catalog.

1. "A natural history A, B, C game in Latin and German for spelling to­gether with thorough instructions for Reading, Writing and Arithmetic. This was for children of all ranks. There are also 26 nicely illuminated copper plates drawn after nature."

2. "A Historical Game with 24 sheets, which contains pictures of famous scenes from history."

3. "A Banker's Game with various il­lustrated game boards."

4. "A New Charade Game for the useful entertainment of company, also for teachers and educators, to be used with their pupils."

5. "A Lottery Game of letters and words for children and grownups with 24 colored sheets."

6. "A Revolution or Mathematical Triangle Game with 32 triangles and a picture of the Bastille with instruc­tions in French and German."

In an effort to stay in a somewhat chronological order, mention should be made that paper dolls, educational cards and board games plus puzzles continued to be published in greater volume during the 1800s.

From the Bestelmeier 1803 catalog, item number 48: "The French Card Game has eight cards. They are painted on both sides like Tarroe Cards. When someone thinks of one card selected, one can guess this card through the arrangement of other cards. An enclosed printed sheet with the rules tells how to proceed."

The first commercially published paper doll originated in England and other publishers soon offered their ideas for paper dolls. One of the early English publishers was S. & J. Fuller of London, which operated an establishment called the "Temple of Fancy.”

They operated both a publishing and retail shop, dealing in paper products. In 1810, S. & J. Fuller offered a small cased booklet containing a moral story with a number of hand-colored cutout cardboard figures. Each figure was equipped with a rear horizontal paper strap at the base of the neck. This would accept the neck of a movable head. The single head was moved from one costume to another as the reader followed the story. Titled The History and Adventures of Little Henry, this early endeavor proved to be an extremely good seller. At least five editions were published in 1810. A companion piece, The History of Little Fanny, appeared in the same year and it, too, survived a number of editions. A number of similar booklets ap­peared the following year: Frank Feignwell's Attempts to Amuse His Friends, The History of Little Ellen or the Naughty Girl Reclaimed and Young Albert, the Roscius. In 1812, Phoebe the Cottage Maid and Hubert the Cottage Boy appeared. These were followed by Cinderella or The Little Glass Slipper, History of Lauretta or The Little Savoyard and Lucinda the Orphan or The Costumes. All were published in at least two or three editions.

From the Bestelmeier 1803 catalog, item number 173: "A small Chinese Shadow-Game. It consists of black box in front a velvet curtain. In the rear opening an exchangeable wall can fit in and behind that are two short lights. There, one holds the figures, making movement that fits the speech. If this is skillfully done, the onlookers can see an amusing show from the front. This game has 12 moveable and non-moveable figures.

In 1811, S. & J. Fuller published one of today's most sought after paper dolls, the Protean Figure or Metamorphic Costumes. This male figure had a wardrobe of 12 costumes with accessories, all very complete, some 90 pieces in all. Each costume, along with its appropriate accessories, was enclosed in its own envelope. A 13th envelope contained a colorful backdrop with a slit at the bottom in which the feet of the central figure could be inserted. All 13 envelopes were stored in a fitted slipcase.

In America, a Boston publisher, J. Belcher, offered a Little Fanny in 1812. This was a pirated version of the Fuller rendition. A second American version of Little Fanny appeared in 1821, published by a Mary Charles of 71 South Second Street, Philadelphia, Pennsylvania. The price was advertised as "plain 18¾ cents, colored 25 cents."

The third American edition of The History of Little Fanny appeared in 1825, published by Morgan & Yeager at the Juvenile Bookstore, No 114 Chest­nut Street, Philadelphia. This edition did not have the colored cutout figure, just color plates of Fanny in seven different costumes.

From the Bestelmeier 1803 catalog, item number 218: "The English Model Doll (paper doll) which is a nice entertainment for girls. She is painted on a thin cardboard. You may dress or undress it, the dresses are to be laid on it. In the same way there are also male figures available, also some on horseback, instructions are included."

The tinseled picture was a very in­teresting paper item in vogue in Great Britain during this early period. It was closely related to the paper theater, which also enjoyed immense popularity during the first three-quarters of the 19th century. The tinseled picture was a craft that developed from the theatrical portraits, which had origi­nated in the very early 1800s. The black and white prints showed actors and ac­tresses of the period, dressed as a particular character and posed in a dra­matic position. Each sheet was labeled with the actor's name and the character he or she played. During the period 1810 and on, the idea of painting in the background and decorating the figure with bits of tinsel, ribbon, feathers, bits of cloth and other items, caught on. This art form developed into a popular pastime for young people.

During the same period that the tinseled pictures enjoyed much popu­larity, the paper theater was equally accepted. The English theater was enjoyed by the people of London, so why wouldn't their children accept it in miniature form. Paper theater publishers such as William West were active from 1811 to 1836. J. K. Green worked for West, learned the trade and went into business for himself. Competitors such as Hodgson & Company, in business from 1822 to 1830, published nearly 70 plays. A number of smaller publishers were active in this early period.

S. & J. Fuller's paper doll booklet titled Cinderella or The Little Glass Slipper. Dated 1819, contains the story in verse. Cinderella's head is moved from character to character as the story is read. Shown are six costumes and the Royal Coach.

The German publishers were also active during this period. Most of the plays were published strictly for chil­dren to enjoy, usually adapted from light opera or from fairy tales. The "Ombres Chinoise Theater" or shadow theater appeared in various forms dur­ing this time. Its history pre-dates this period, having first appeared in China before the time of Christ. This form of shadow theater found in China and later in Java, Greece and Turkey, was mainly performed for adult audiences. When the shadow theater was introduced in Europe, it was still aimed at adult audiences but was soon published as a toy for children. An early example of an "Ombres Chinoise Theater" for children was illustrated in Bestelmeier's 1803 catalog.

A Boston publisher, J. Belcher, offered his rendition of Little Fanny in 1812.

Paper soldiers were also of great interest. Early paper sheets, showing rows of soldiers, dated as early as the mid 1740s. The first commercially printed soldier sheets were published in Strasbourg, located in Alsace, a territory on the eastern border of France. In the early 1740s, Strasbourg was visited by Louis XV and a company of color­fully uniformed soldiers. A local printer by the name of Seyfried, observed the interest of the townspeople in this visit and he decided to print sheets showing the guards in their colorful uniforms. The idea proved to be a most profitable one for Seyfried and other publishers in Europe who were quick to take up the idea. Some of the prominent publishers or paper soldier sheets that followed were Silbermann, Fischback, Gerhardt and J. F. Striedbeck.

French publishers were also active in the production of paper soldier sheets. The Pellerin family was probably the most prominent in this field. In 1782, Jean-Charles Pellerin (1756 to 1836) purchased a building in Epinal, France, and started printing sheets with illustrations of a religious nature. When Napoleon became a popular fig­ure in France, Jean-Charles' primary production changed from religious subjects to those of Napoleon and his various military campaigns. Pellerin was advised in these military illustrations, as to the authenticity of uniforms and scenes of battle, by engravers who had formerly served under Napoleon.

A fine example of colorful tinseled pictures circa 1815.

The publishing of game boards came about in the 1700s. Men have played board games for more than 4000 years. Board games laid out as a race game, with round tokens, have been found buried in early Egyptian graves. The game of "Goose" seems to have had an early beginning. A similar game was played by the ancient Greeks. The game, as collectors know it today, is called the "Game of Goose." It was developed by Francisco de Medici (1541 to 1587). It was a form of race game in which tokens were moved from point to point, sometimes landing on a hazard and paying a penalty or landing on a reward and receiving a bonus forward move. The roll of a pair of dice determined the move.

In England, early game boards were mounted on canvas or linen after printing and hand-coloring. They then were folded and placed in protective slipcases made of cardboard and identi­fied with a decorative title label. Game instructions were printed on the game itself or on an accompanying booklet.

The following two examples of Eng­lish folding game boards provide a good cross section of games published in this early period. The "Historical Pastime or a New Game of the History of England from the Conquest to the Accession of George III" was published by J. Harris and J. Wallis of London, England. Published in 1803, it was basically an educational game, a circular track game starting at an outside point and working inward, through 157 small circular illustrations to the central point marked George ill. Scores of earlier rulers, prominent people and events all part of English history, are illustrated. The folding game sheet fits into its original protective slipcase. "The Panorama of London or a Days Journey Round the Metropolis" was published by John Wallis in 1810. The circular track game showed 50 small scenes, in­cluding prominent buildings of the period, theaters, monuments, scenes on the river Thames, cathedrals, important gatherings and notable public events, a bit of everyday life in London in the year 1810.

English paper theater proscenium published by Skelt, circa 1830.

The German publishers offered a large number of educational games during this period. Some examples are mentioned in the list taken from Bestelmeier's 1803 catalog. The French, as mentioned before, produced adult games dealing with a military theme and later many had a theme of political propaganda. Later games, instructing the young, became the vogue and a wide variety were available.

Moving on to other types of paper toys, we should mention the "Harlequinade" which made an appearance in America during this period. Titled "Metamorphosis or a Transformation of Pictures," this American "Harlequinade" was published by Samuel Wood & Sons, 357 Pearl Street, Phila­delphia. Printed in black and dated 1816, it has the usual three vertical folds and two horizontal folds. The first of four panels shows Adam and the Serpent coiled around a tree. When the top flap is turned up, the figure becomes Eve, when the bottom flap is turned down, the image becomes a mermaid. The second panel shows a lion standing on his hind legs. When the top flap is lifted up, a griffin appears. When the lower flap is turned down, the griffin becomes an eagle holding an infant in one claw. The third panel shows the young man, who years before, had escaped from the eagle's claw. By lifting the upper flap the young man is shown at a table weighing and counting gold. By dropping the lower tab, a heart is revealed signifying life. The last panel shows an elderly man with a cane. By dropping the lower flap, it shows this man in a sick bed. By raising the upper flap, a skeleton appears, so death comes. The accompanying verse tells the story of Adam and Eve, then the birth, growth, work, old age and death of man.

An unusual paper item called the "Myriorama" or "Endless Change of Landscape"

While a few early paper toys appeared in America before 1825, a variety of them were published in Europe. One unusual item called the "Myr­iorama" or "Endless Change of Landscape," is an intriguing toy. It consists of a series of cards, each showing a part of a landscape. The illustrations were so arranged that horizontal lines on the side edges of all cards matched. Hence the cards may be arranged side by side in any order and always produce a perfect landscape. The cards are engraved and softly hand-colored.

The article copied partially.