Welcome to
      ARTFORM
   In This Issue


Untitled
by
Axel
Lukas

2  Editor's Message
   NIADA Officers

4  The Tale of a Heel
   The history of shoes

6  Artist Interview
    Diana Lence Crosby

7  Collector Profile
    A Tribute: Elsie Orr

8  Artist's Handbook
   How to exhibit in
    a Gallery

9  Changing Tastes
   Evolving styles
    of doll art

10 Tips & Techniques
   Artists secrets

12 Art Dolls Worldwide
   Shin-Seiki - Japan
    Shows in Europe

14 Not for Play
   18th Century                theatrical angels

15 Scholarship Award
    1999 Helen Bullard        Scholarship Award

16 Survival Guide
    So, you've signed
    up for the School

INSERT:
ArtForm Gallery Artists
    Sherry Housley
    Michael Langton
    Junko Liesfeld
    Axel Lukas
    Carla Thompson
    Shelley Thornton
    Elisabeth Flueler-            Tomamichel
    Rober Tonner 

This is an excerpt from
an article printed in the NIADA ARTFORM, an
artists publication published quarterly by NIADA, Inc.

NIADA is a non-profit organization. The mailing
list is not available.
Advertising rates available
upon request.

SUBSRIPTIONS:
United States: $25.00
Foreign: $28.00
US funds only
To subscribe, go to the
ARTFORM Subscription page.

CONTACT:Diana Rew, Communications Director
Email: rewbird@aol.com
for subscription and
advertising information.

V OL U M E 1 / I S S U E 3 / S P R I N G 2 0 0 0

THE MANY FACES -- of Wooden Dolls by Delores A. Smith, NIADA Patron The list of illustrious old wooden dolls extensive: Early English woodens, rare 17th and 18th century wood dolls, Queen Anne type dolls, Queen Victoria's dolls; the Springfield woodens of Joel A. H. Ellis, Schoenhut dolls, peg woodens, Hitty - even contemporary Pinocchio. The prices of these old aristocrats at auction is astounding and beyond the financial means of many. Still, they are enjoyed in print and in museums because doll historians have recorded and preserved their illustrious past. It is astonishing that the demise of the wooden doll was at one time predicted. A detailed study in the Doll Collectors Manual 1964 entitled "The Decline and Fall of the Wooden Doll," by Ruth E. and R. C. Mathes states the following: "And so we come to the end of our second lineage of wooden dolls. Just as the peg woodens forced the Maryanne Georgians off the market, so in turn the technological advances of the 19th century pushed the peg woodens from an aristocratic status to be the menials of the doll world. The modern automated machine, stamping plastic into dolls of all kinds, provides the final blow. Wooden dolls will have a commercial place only under most limited conditions (say as souvenirs), though the creative "Whittling urge" of the hobbyist may help them eke out a miniscule existence." Ruth E. and R. C. Mathes certainly spoke too soon. They did not consider what was happening in NIADA. Patti Hale said, "Some say I'm really a 'whittler-whatever.' I never really learned to carve with the proper tools." One of her primary tools is an old X-acto knife. Michael Langton's new limited edition Hitty Heirloom is being produced using modern high-tech methods making her available to many collectors. Michael also creates one-of-a-kind dolls requiring hundreds of hours of work and study. Mary Ellen Frank of Juneau, Alaska is a self-taught wood carver coming to the craft as a child. She did not become a serious doll artist until the 1990s. She uses traditional northwest Coast carving knives and either Alaskan yellow cedar or Alaskan paper birch wood for her Native Alaskan portrait dolls. Best known for his distinguished African-Americans, such as Malcolm X, Floyd Bell became a NIADA artist in 1992. Malcolm X, 26 inches tall, is made from jelutong wood. Details include carved hair and wooden eyeglasses. Ken Von Essen, well known for exquisite ladies made a departure to impressionism with his 1996 piece, La Moulin Rouge a dancing couple made of Alaskan yellow cedar. To suggest theatrical makeup he colored the woman's face with oil stain. Patricia Ryan Brooks, formerly of NIADA, exhibited Dorothy at a previous NIADA Conference. Dorothy of The Wizard of Oz, hand carved of basswood with on an armature body, followed the yellow brick road to someone's lucky collection. 20th Century commercial companies have also produced remarkable wooden dolls. R. John Wright created a limited edition Geppetto and Pinocchio. Pinocchio was made of alpine maple with hand painted features, is fully jointed, with rooted mohair wig and clothes of felt. Hand carved or whittled dolls lovingly made by dad, grandpa, or uncle after long days of hard work were sometimes a child's only cherished toy. Today, whether wooden dolls are whittled with an old X-Acto knife; created with hand carving tools; or the latest high-tech methods; the high level of craftsmanship and design is unique. Entering this new Millennium, we find that the artistry of the wooden doll safely held in the hands of talented artists. The beauty of these faces and their ability to speak to us without words or sound is a timeless quality. -- DS ABOUT WOOD - Why I Choose Certain Woods by Mary Ellen Frank, NIADA Artist I use two woods for the Northern Native American portrait dolls I carve and use them primarily because the are woods these people use to carve themselves. Alaska paper birch is used for the more northern people (i.e.) Inuit, Athapaskan and Aleut) and Alaska yellow cedar is used for SE Alaskan and coastal Canadian Natives. Both these woods can be found tight grained in cold climates, which makes for the best details. When oiled the color and translucency of the wood resembles skin and feels consistent with furs, leathers, and natural fibers. The tools I use are a mix of NW Coast carving tools including a heavy reliance on adzes and kestrel knives (bent knives with double sided blades). I also use Japanese scorps and conventional detail knives. I don't use power tools anymore because I cannot stand the noise and dust. I don't sand anymore because I hate it, so I have learned a method of scraping the surface that smoothes it. I love how wood smells and feels; it forces me to slow down and revel in the process. -- MEF Photos: TOP 1: Mary Ellen Frank, Untitled, c. 1990s, wood TOP 2: Floyd Bell, Malcolm X, c. 1995, wood MIDDLE: Ken Von Essen, La Moulin Rouge, detail, c. 1996, wood BOTTOM 1: Patricia Ryan Brooks, Dorothy, c. 1990s, wood BOTTOM 2: R. John Wright, Pinocchio, c. 1990s, wood Photo Credits: Don Smith NIADA ARTFORM is a publication for and about NIADA members, patrons and friends of the National Institute of American Doll Artists, a world-wide doll art organization. Each issue features articles about NIADA art dolls and historical and contemporary perspectives of doll art, the practical applications of doll art, networking opportunities, information and resources for learning and change within the NIADA and greater doll art community. Back to Top

Home | About NIADA | Become A Member
Contact Page | The Art of the Doll | Calendar of Events
Conference & School Info | Email

The NIADA Web Site is funded by the Robert McKinley Memorial Fund and the generosity of a few NIADA artists and their friends.
Site space provided by wanlogistics.net
© 1999 NIADA, All Rights Reserved.
CCRevised: 03-15-00