uncommon scent dolls

Posted on May 7, 2011 by Salley Mavor

Almost 30 years ago, I made and sold a slew of these sachets, of which I have only one left. The Uncommon Scent Dolls were about 4 inches tall and filled with pleasant smelling spices, leaves and petals. The pattern is the same as the Nativity dolls I showed in an earlier post here.

Uncommon Scent doll, 1982

I remember picking out different woven fabrics and using the selvage edge as much as possible. This was back in the days when I used the zigzag feature on my sewing machine for the appliqued parts.

I also made these Matruska doll sachets, modeled after the Russian wooden nesting dolls.

doll sachets, 1985

Pocketful of Posies and workshop in Iowa

Posted on May 3, 2011 by Salley Mavor

Go to bed first, a golden purse, from "Pocketful of Posies" 2010

The original fabric relief illustrations from Pocketful of Posies are currently on display at the Muscatine Art Center in Muscatine, Iowa. The exhibit will be up through June 19th. (See traveling exhibit schedule here) I’ll be flying out the weekend of May 21/22 to take part in some events at the museum. On Saturday, May 21, from 10:00 to 5:00, I’ll be teaching a doll making workshop (call the Muscatine Art Center to register). Also, a reception will be held on Sunday, May 22 from 1:00 to 5:00 and I’ll give a gallery talk at 2:00. I’m looking forward to experiencing some warm mid-western hospitality and hope to meet some of you at the workshop and reception!

So far, this is the only scheduled doll workshop on the tour, since I’ve pretty much stopped teaching. I figured since I’m traveling out to Iowa for the weekend, we might as well get together a group of people who want to do my favorite activity, stitch and make little dolls, that is.

detail from "Pocketful of Posies" 2010

a couple of German wooden dolls

Posted on March 23, 2011 by Salley Mavor

This couple lived on a shelf in the living room when I was a child. My parents probably bought them in Germany in the 50’s.

Their sturdy, carved wooden bodies are about 5 inches tall. I love the way the embroidery is painted on.

little standing animals

Posted on March 4, 2011 by Salley Mavor

Update (June 2014): Things have changed in the 3 years since this post was published. After emphatically stating I wouldn’t write another how-to book, I surprised myself this past year by working on Felt Wee Folk: New Adventures, which will be released by C&T in the spring of 2015. Read posts about it here. These animals will not be included in the new book, but there will be lots of other fun dolls to make.

I made this group of animals about 10 years ago, when I was gathering ideas for my how-to book, Felt Wee Folk. They didn’t make the book’s cast, so the little critters have been waiting behind the curtain ever since. I’ve pretty much decided not to write another instructional book (read ahead for more on that), so they can come out on stage, now.

They are made with wooden forms that have a simple dowel on the bottom, with a turned ball on the top. You can find the wood shapes here. At about 2 inches tall and similar to finger puppets, these can stand up by themselves. The small wooden bead “paws” are a choking hazard, so they shouldn’t be added if a young child plays with them.

They look a bit like Halloween trick or treaters in felt costumes, with their hoods and painted faces.

It’s so wonderful to hear from readers who have enjoyed making the dolls and other projects in Felt Wee Folk and many have urged me to write another instructional book. The publisher is willing, too. So why can’t I say yes? I am clearly ambivalent, because I had a great experience working with C&T Publishing. It’s just that I’ve moved on to other things and don’t feel the same push to get it out of my system, like I did 10 years ago. It’s not that I don’t have any ideas for new projects, they’re just more complicated and personal. I’m resisting the pull to work on another book because I want to spend time exploring new ways of working, to experiment and grow as an artist. Just the process of formulating my thoughts for this post has helped me understand why I’ve been dragging my feet.

The trouble is, I know what it takes to produce an instructional book and I also know that I’m not up to it. It’s writing out those pesky directions that has me stumped. When I approached C&T with my proposal for Felt Wee Folk. I had a strong desire to share my ideas, enough to force myself through the quagmire of analysis and explanation. I’ve always had a problem with describing how to make what I do, even back in the days when I designed projects for Better Homes and Gardens. I know that I can do it, but I can’t bring myself to jump down that rabbit hole. I want to give myself over to the mysterious process of creating something without later having to give a detailed description of how I made it.

So, I’ll be sharing projects and ideas from time to time, but without patterns and instructions. Hopefully, my readers will feel inspired enough to want to try a hand at figuring out how to make something of their own!

doll house boxed set

Posted on January 23, 2011 by Salley Mavor

A friend found this wooden box of doll house furniture and dolls in her family’s stuff and gave it to me. I don’t know where they came from or how old they are, but I’m guessing they are northern European, possibly German, from about 100 years ago. It looks like a coffin inside, with padded satin cushioning the furniture and doll bodies. The dolls are about 3 1/2 inches tall.

The woman’s hour-glass figure makes me think these were made in the age of corsets.

I like the man’s baggy pantaloons and formal shirt and jacket.

There are 3 little carved cats.

The dolls’ eyes seem too cutesy compared to everything else in the box. Maybe they are Betty Boop’s grandparents!

The miniature basket and woven chair seats are perfectly made.

visit to Studio Goodwin Sturges

Posted on January 14, 2011 by Salley Mavor

I recently visited Studio Goodwin Sturges in their new location in Providence, RI. Judy Sue Goodwin-Sturges and I have known each other since I took her illustration classes at RISD in the mid 70’s. We’ve worked together on books since she started her studio in the 90’s. In addition to teaching, she represents a wonderful group of artists, some of whom are former students, and matches them up with publishers. Here she is in her studio office.

The studio moved from Boston to this window lit space in the back of her house. It’s located a few streets from where my mother grew up in Providence.

I saw a felt banner I made years ago displayed with some of the studio’s books. I didn’t know that they were involved with Puff the Magic Dragon and Judy Collins’ Over the Rainbow books. There’s a nice note from Peter Yarrow.

The Studio is a wonderful, supportive agency that has developed hundreds of children’s books.

One box filled room was full of books that Judy Sue moved from Boston. We combed through dozens of boxes until we found my books. She’s trying to down size, so she gave me most of what she had.

One of my early dolls was propped up on the center table at the studio. Her shoes and vest are made of leather.

It’s the same doll that I’m making in the photo below, which was taken by my roommate at RISD in 1976.

salley at RISD 1976

I also saw the framed pin display I made for Judy Sue sometime in the 80’s. This way she could see her collection. The custom-made cow may show my first use of bead udders.

: pin display, 1980’s

Visiting the new studio, with so many visible memories, makes me appreciate how much support I’ve received from Judy Sue to do what I love to do! I’ve written about how she encouraged me during my student years at RISD in earlier posts here. I love this picture of her with some of her former students, including Ashley Wolff and Holly Berry. Thanks Judy-Sue!

Judy-Sue (back), Salley, Ashley Wolff and Holly Berry, 1980's

Treasures (skating gnomes)

Posted on December 13, 2010 by Salley Mavor

This special group of wooden gnomes came from my husband’s family. I love unpacking them at Christmas time because they look ready to jump out of the box, like northern European versions of Mexican jumping beans.

They seem like they are skating or nervously hopping on one leg. They’re tiny, too, about 1 1/2 inches tall.

To keep up with new posts, please subscribe to this blog (top right column on the home page). Your contact info will not be sold or shared. If you’d like to see more frequent photos tracking the projects in my studio, please follow me on Facebook and/or Instagram

Treasures: 1920’s flapper doll

Posted on December 5, 2010 by Salley Mavor

Among the treasures my mother left me are some well-worn porcelain “flapper dolls”. She was born in 1925, so she must have played with them in the late 1920’s.

my mother, Mary Hartwell (Mavor), age 4

I can imagine my mother’s little girl hands grasping this doll, moving its arms up and down, and dressing and redressing its solid body until the paint wore off.

1920's flapper doll, 3" tall

Even these broken doll parts were saved for me to find 75 years after their useful toy life was over. They are in reserve, ready to contribute to some future piece of art. I cannot tell when or if a leg or arm section will ever be the “right” object to add and have to be careful not to let sentimentality guide my decisions.

porcelain doll parts

For now, it’s enough to have and enjoy my mother’s childhood treasures.

Shirley’s Thanksgiving Centerpiece

Posted on November 29, 2010 by Salley Mavor

Shirley from Madison, Mississippi sent me these pictures of her wee folk tableau. She said, “At the urging of one of my daughters I’m sending you some photos from our Thanksgiving table decoration. Thanks for the inspiration to make such fun little people.”

I like they way she captured the spirit of Thanksgiving by giving this woman a rolling-pin. The dolls look comfortable in their natural environment, surrounded by moss, flowers and branches. Great job, Shirley, and thank you for sharing a part of your Thanksgiving celebration!

She learned how to make these dolls from my how-to book, Felt Wee Folk: Enchanting Projects. It’s rewarding to see how people use the patterns and directions from the book as a spring board to creating their own characters and scenes.