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When it comes to doll repair, Sandy Hohne does it all

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When it comes to doll repair, Sandy Hohne can do it all, and quickly, too. She sculpts, paints, patches, makes wigs, and replaces eyes and teeth. In her Cockeysville work room, Hohne repairs dolls made in the early 1800’s up to the present. Her tools include a drill press and band saw for replacing doll parts, even surgical clamps for restringing the arms and legs.

In her doll repair shop on York road, Sandy Hohne repairs dolls made of wood, China, tin, wax, cloth, bisque, composite materials, hard plastic, and vinyl. The dolls range in age from the early 1800's to the present.  (Algerina Perna/Baltimore Sun) Sandy Hohne uses Mr. Clean Magic Eraser to clean a doll's leg.  (Algerina Perna/Baltimore Sun) Never knowing when they'll come in handy, Sandy Hohne saves all doll parts. (Algerina Perna/Baltimore Sun) Sandy Hohne places eyes inside a bisque doll head, circa 1900, made by Simon and Halbig. (Algerina Perna/Baltimore Sun) Sandy Hohne works on the legs of a reproduction Victorian bisque doll. (Algerina Perna/Baltimore Sun) Sandy Hohne restrings the head of a Madame Alexander doll by using forceps to grab the bungee cord which is used to string the arms, legs and head. (Algerina Perna/Baltimore Sun) Sandy Hohne wipes the face of a Madame Alexander walking doll in her repair shop on York road. (Algerina Perna/Baltimore Sun) Sandy Hohne fixed the hand of this Schoenau & Hoffmeister doll by drilling holes where the missing fingers were; installing wire, wrapping it with putty. The final step is painting.  (Algerina Perna/Baltimore Sun) In her doll repair shop on York road, Sandy Hohne makes a heel from cardboard for a doll's shoe, then paints it to match the rest of the sole. (Algerina Perna/Baltimore Sun) The finish on this Gofun doll circa1940's from the Orient, most likely Japan, is made from oyster shell and glue. (Algerina Perna/Baltimore Sun) Sandy Hohne works on a Terri Lee doll, made between 1946-1962. The Terri Lee doll company is named after the nickname of the founder's daughter.  (Algerina Perna/Baltimore Sun) The following dolls are the property of Sandy Hohne, and Rita McCloskey, owner of the "All About Dolls" business. The dolls represent the evolution of materials used in doll-making that were mass-produced since the 1880's.  From left: China doll from the 1880's;  tin doll from 1890; a bisque doll from 1900 (bonnet); a Schoenhut wood doll from 1915; an infant Dream Baby doll from 1924 (wrapped in white); a "Patsy-Type" doll from 1928 made of composition (wood pulp and glue); Shirley Temple composition doll from the 1930's; "Sweet Sue" hard plastic doll from the 1940's (pale green); and a "Tiny Tears" vinyl doll from the 1950's. (Algerina Perna/Baltimore Sun) Sandy Hohne holds a pair of hand-blown glass doll eyes that are one hundred years old. She made the rocker mechanism for wire and putty using a lead weight that holds them together and causes the eyes to "sleep."   When it comes to doll repair, Sandy Hohne can do it all and quickly,too. She sculpts, paints, patches, makes wigs, restrings legs, arms and heads, and replaces eyes and teeth. (Algerina Perna/Baltimore Sun) Sandy Hohne cleans the face of a Madame Alexander doll using water and a Mr. Clean Magic Eraser, her tool of choice for cleaning dolls. The eraser can be used on any doll with the exception of composite dolls made of wood pulp and glue. (Algerina Perna/Baltimore Sun) The logo of doll manufacturers Schoenau and Hoffmeister is engraved on the head of a doll. (Algerina Perna/Baltimore Sun) Stacey, a doll collector who did not want to give her last name, holds up a Shirley Temple doll from the 1930's made of composite material: wood pulp and glue. (Algerina Perna/Baltimore Sun) In the foreground are two of the dolls based on the Dionne quintuplets. As she cleans and restrings dolls brought for repair by a customer, Sandy Hohne recounts the true story on which the Dionne quintuplet dolls from the 1930's were based. The five girls were born in Canada in 1934 and raised as wards of the Canadian government until age nine. Both Canadians and Americans were fascinated by the "miracle babies," the first documented quintuplets to survive infancy. The American company, Madame Alexander, made a set of dolls with the characteristics of each girl. At left is "Cecile."  A cottage industry of everything quintuplet developed around the children. The Canadian government made hundreds of millions of dollars but the children saw little of it, and as adults, settled in court for a pittance of what the government had made over the years. (Algerina Perna/Baltimore Sun) andy Hohne, left, examines a doll brought for repair by Stacey, a collector who does not want to give her last name. The 1930's Mae Star doll by Effanbee has a mechanical record player that works with a key-wind. The doll plays the lullaby, "Rock-a-bye Baby." (Algerina Perna/Baltimore Sun) Sandy Hohne repairs dolls of all shapes and sizes. This is for a DARKROOM feature. Interview and photograph Sandy Hohne re-stuffs, patches and re-connects an arm onto Mae Star, an Effanbee composition doll from the 1930's.  (Algerina Perna/Baltimore Sun)

Hohne, 58, began making dolls twenty-six years ago. When the porcelain slip to make molds became too hard to find and doll supply companies went out of business, she transitioned to doll repair in 2004. She describes old dolls as, “fascinating. If they could talk, they’d tell secrets that little girls have been telling them for ages. They have an interesting history.”

Stacey, a doll collector who doesn’t want her last name to be used, and who recently brought more than a dozen dolls to Hohne for repair, says, “No one’s as good as her. She’s amazing and fast. I won’t go anywhere else.” As they chatted, Hohne repaired twenty-two of Stacey’s collectables in less than four hours.

While younger customers bring in American Dolls for tightening the arms and legs, most doll collectors are in their “fifties or older.” She says the aging of collectors is a problem. “A lot are down-sizing and there’s no new collectors coming into the fray,” thus devaluing the dolls. An eighteen-inch Shirley Temple doll in mint condition now sells for $125, whereas from 1995 to 2000, the height of the doll collecting era, it would have fetched at least $500, she says. “Right now is a good time to buy, not to sell.”

She describes old dolls as, “fascinating. If they could talk, they’d tell secrets that little girls have been telling them for ages. They have an interesting history.”

Like a sportscaster rattling off baseball stats, Hohne recites facts, figures and anecdotes about dolls. As two of the Dionne quintuplet dolls lie on a work table, Hohne recounts the true story on which the dolls were based. The five Dionne girls were born in Canada in 1934 and raised as wards of the Canadian government until age nine. Canadians and Americans alike were fascinated by the babies, the first documented quintuplets to survive infancy. The American company, Madame Alexander, made dolls with the characteristics of each girl. A cottage industry of everything quintuplet developed around the children. The Canadian government made hundreds of millions of dollars but the children saw little of it.

Hohne has a connection to the dolls she repairs. “I just felt I need to preserve these old dolls that someone loved.”

She traces the evolution of what materials were used to mass-produce them from the 1800’s onward: wood in the 1800’s; China in 1880; tin in1890; bisque in 1900; composite (wood pulp and glue) in the 1920’s and ’30’s; hard plastics in the 1940’s, and vinyl in the 1950’s up to the present.

Her favorite doll is the Barbie. “You could pretend you were a young lady,” she reflects. “I worry that today little girls aren’t playing with dolls as they did. They’re playing with video….I think make believe is an important part of growing up.”

aperna@baltsun.com


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