Composition Toddler Dolls

Although the composition toddler dolls are far outnumbered by the little girl models made of composition, many fine designs for dolls with toddler bodies were made during the approx­imately 40 years of composition doll production.

BY DIAN ZILLNER. Photographs by Suzanne Silverthorn

Composition Effanbee Walk Talk Sleep Grumpy Doll with painted features and molded hair.

Source: November 1990 • Doll Reader , Pages 70-74

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13in (33cm) Bubbles made by the Effanbee Doll Co. beginning in 1926 in the toddler model. The doll has a composition shoulder head, full composition arms and legs and a cloth body. She has molded hair, an open mouth with teeth and tin sleep eyes. She is marked: "EFFANBEE//BUBBLES//COPYR. 1924//MADE JN U.S.A." She has been re-dressed.

Some of the earliest of these toddler dolls were made by the Effanbee Doll Co. during the 1920s. After Effanbee's successful marketing of the composi­tion Bubbles baby doll in 1924 and 1925, a new design of this doll was produced in 1926, perhaps to take advantage of the company's new slogan advertising dolls that "Walk -Talk -Sleep." The "new" Bubbles had toddler legs instead of the traditional curved baby legs so that she could also fit the "Walk" of the company's logo. Bubbles had a compo­sition shoulder head, full arms and legs and a cloth body. The hair was molded and she had sleep eyes. The company also used the same body construction on its Grumpy doll which had originally been placed on the market in 1912. The Grumpy doll was made in both black and white models. Grumpy had a frowning face, painted features and molded hair.

12in (31cm) black Baby Grumpy doll made by the Effanbee Doll Co. The doll has a composition shoulder head and full composition arms and legs, a cloth body, painted features and molded hair. She is marked in an oval on the back of her shoulder: "Effanbee//Dolls//Walk Talk Sleep."

Effanbee continued its interest in the toddler doll into the 1930s when the doll called Sugar Baby was developed. This doll was all composition with sleep eyes and came either wearing a wig or with molded hair. It was 16in (41cm) tall to 18in (46cm) tall.

The last great composition toddler made by the Effanbee Doll Co. was marketed in 1946 when the manufacture of composition dolls was nearing an end. The new doll was called the Candy Kid. The all composition dolls were dressed as either boys or girls and one popular model wore boxing gloves and shorts. The 1946 Montgomery Ward Christmas catalog featured a 13in (33cm) tall doll with wardrobe in a traveling case that sold for $16.50. The doll had molded hair and sleep eyes.

Although the Alexander Doll Co. did not make as many great toddler dolls as other companies, it did have one line of toddlers that outsold any other dolls of this type.

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FOR SALE Antique 1920’s American Character "Petite" 24” Composition Doll Original wig

FOR SALE Antique Unmarked Horsman (?) 21” Composition Doll Sleepy Eyes

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13in (33cm) Candy Kid made by Effanbee Doll Co. in 1946. This toddler doll is all composition, jointed at the shoulders and hips and has molded hair and sleep eyes. The doll is marked on the back of the head and on its body: "EFFANBEE."

The dolls were modeled after the famous Dionne Quintuplets who had been born in Canada in 1934. From 1935 until 1939, these toddler dolls were manufactured in various sizes from 8in (20cm) to 16in (41cm) wearing many different outfits. The dolls were made of all composition and most of them wore wigs although some did have molded hair. The smaller dolls had painted eyes while the bigger dolls had sleep eyes. The dolls remained on the market until the Quints began to grow up and lost some of their public appeal.

14in (36cm) Dionne Quintuplet toddler made by the Alexander Doll Co. during the mid 1930s. The all composition doll is jointed at the shoulders and hips, has sleep eyes and a mohair wig. She is marked "Alexander" on both her head and her back. She has been re-dressed.

19in (48cm) Baby Sandy doll made by the Freundlich Novelty Corp. from 1939 to 1942. The doll was made to honor tiny movie star Sandra Henvville. The all composition doll is jointed at the shoulders and hips and has molded hair, sleep eyes and an open mouth with teeth. She is marked "Baby Sandy" on her head. She has been re-dressed in factory made toddler clothing from the 1940s era.

Another famous toddler was also used as a prototype for a doll maker. The Freundlich Novelty Corp. designed a Baby Sandy doll named after the tiny movie star Sandra Henville who had become popular so quickly from her short-lived movie career.

These toddler dolls were marketed from 1939 until Sandy's movie career was over in 1942. There were several different model made of the dolls in sizes from 8in (20cm) to 16in (41cm) tall. The smaller doll's eye were painted while the larger editions had sleep eyes. The dolls were all composi­tion with molded hair and originally came with a pin showing a picture of Baby Sandy.

One of the most famous doll de­signs made in composition also hap­pens to be in the shape of a toddler doll. Although the variety of Rose O'Neill Kewpie dolls can provide a collection all by themselves, the composition Kewpie is designed with a short stocky body which places this doll in the tod­dler category.

13in (33cm) all composition Kewpie doll designed by Rose O'Neill. This doll was made by the Cameo Doll Co. in the 1940s. She is jointed at her shoulders and hips and has molded hair and painted features. Her dress may be original.

She was made by the Cameo Doll Company for many years in both a black and a white model. Both the 1945 and the 1947 Sears, Roebuck and Co. Christmas catalogs list the dolls in the 13in (33cm) size priced from $1.65 to $2.57. The dolls are jointed at the shoulders and hips, have molded hair and painted features. The same company also made another f toddler when Rose O'Neill's Scooamoust/es was produced from composition in sizes from 8in (20cm) to 16in (41cm) tall. The last great Rose O'Neill Cameo composition toddler was made in 1946 when the Giggles doll was produced. The doll is all composition with painted eyes and molded hair with a bun in the back. Both the Scootles and the Giggles composition dolls fetch top dollar in today's doll market when they are in original condition.

13in (33cm) Jo Jo made by the E. I. Horsman Co. in 1937. She is all composition with a mohair wig and sleep eyes. She is jointed at the shoulders and hips and wears her original cotton print dress and one-piece underwear. She is marked "Horsman Jo Jo" on the back of her neck.

The E. I. Horsman Co. probably produced more different designs of tod­dler dolls than any other company. Many of these dolls were unmarked but a few still survive in their original boxes. The Montgomery Ward Christmas catalog for 1945 listed a 16in (41cm) tall Horsman toddler doll with sleep eyes and painted hair priced at $5.50. The doll is similar to all of the unmarked toddler dolls that were ad­vertised in the toy catalogs throughout the 1940s.

A Horsman toddler with a better design was marketed in 1937. The doll was called Jo Jo and was 13in (33cm) tall and came with a wig or with molded hair. The dolls were dressed either as boys or girls and some had tin sleep eyes.

11in (28cm) Dream Baby made by Arranbee Doll Co. The all composition toddler has molded hair, painted eyes and open mouth. He is marked "Dream Baby" on both his head and his body. He is a product of the 1940s and has been re-dressed.

Several other doll companies made toddler dolls over the years including the Arranbee Doll Co. Although the trade name, Dream Baby, is usually associated with baby dolls, the com­pany did manufacture a toddler doll with the Dream Baby mark on its back. The doll is all composition with molded hair and painted eyes. As a doll design it is not of great merit as is the design which produced the toddler doll made by the American Character Doll Co. called Puggy. This 12in (31cm) tall doll was first manufactured in 1928 and is made of all composition. He has molded hair, painted eyes and is marked "A Petite Doll." He has an unusual quizzical pouty expression and is one of the most expensive of the tod­dler dolls when found in excellent con­dition.

16in (41cm) unmarked all composition toddler doll jointed at the shoulders and hips. This boy doll has molded hair and painted eyes. He wears his original cotton suit and bonnet and dates from the mid 1940s.

Although there are lots of composi­tion toddler dolls still available to to­day's collectors, many of them are of the non-descript unmarked variety that were shown in the toy sections of the Christmas catalogs all through the 1940s.

Illustration on the right shows a large 16in (41cm) tall all original composition boy with painted eyes and molded hair. He may be the same doll shown in the Montgomery Ward Christmas Catalog for 1945 priced at $2.10.

16in (41cm) unmarked all composition toddler doll jointed at the shoulders and hips. She is all original and dates from the 1940s. Her dress and bonnet are of light blue dotted Swiss with pink trim.

The toddler doll shown in Illustra­tion on the left is a much nicer example but she is also unmarked. The doll has a wig, sleep eyes and wears her original clothing. Collectors should not pass up these dolls when they are all original because these inexpensive dolls made it possible for many little girls to own dolls who would never have had that opportunity if the doll market had only consisted of the more expensive Alex­ander and Effanbee models.

The more desirable composition toddler dolls continue to rise in price with the toddlers from the major doll companies bringing $200 and up when dressed in original clothing. Because fewer toddler dolls were made, it seems likely that this trend will continue. It is not hard for a modern doll collector to become interested in toddler dolls after seeing a Candy Kid, Scootles or Dionne Quint doll in original condition. Maybe that is what has happened at doll shows and auctions and that explains why the prices continue to soar.

The Gene Marshall Collection: Bringing Back Hollywood's Golden "Daze"

Admirers of the Gene Marshall Collection transcend age, gender and ethnicity. It is not simply that these dolls are lovely, or that their costuming is unparalleled in the world of fashion dolls. Rather, it is the intangible that we find alluring-for to purchase one of these icons of 1940s nostalgia is to purchase a round-trip fantasy ticket to Tinsel Town at a time when Hollywood glamour reigned supreme.

This article is 18 years old and the Gene dolls are highly collectible and very popular even today. We found in the article interesting and relevant info that we would like to share with you.

BY JILL L. JACKSON

The Starlight Canteen Duo. Each doll limited to 2,500 worldwide. It's celebrity night at the canteen. Gene dances with the boys, Madra pours the coffee, Trent hosts the show in military regalia, then the three of them do a skit for the guys and gals.

Source: December 2002 • Doll World , Pages 28-33

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Go ahead. Pick a costume, any costume. Read the story card attached. Instantly you are transported to the back lot of Monolithic Pictures, a fictional studio where a fictional cast of stars can be found anytime, filming its latest fictional drama for the silver screen.

Ah, there is Gene Marshall, the stunningly beautiful Hollywood starlet, with a heart to match. Everyone loves Gene. Well, everyone but Madra Lord. She's the sophisticated, glam­orous one over there. Madra has paid her dues and climbed over a lot of people to get where she is. She's not about to be upstaged by a newcomer like Gene. Oh, here comes Trent Osborn. He's devilishly handsome, don't you think? There are always rumors floating around Hollywood about him and some pretty, new face. Mmmm! There is Violet Waters, the newest star on the set. Not only is she lovely, but what a voice! Shhhh. The director has arrived. They're getting ready to shoot a scene.

"Quiet on the set," calls a voice. "Scene lV, take #1. Lights ... camera ... action!"

Winter's Romance. Edition limited to 2,500 worldwide. Gene is thrilled to light the big city's holiday tree, relishing the brisk East Coast weather.

Are you beginning to get the picture? Not only does the Gene Collection dazzle the eye with costumes reminiscent ·of a post­World-War-II Hollywood extravaganza, it imbues each doll with a distinct character and personality, and invites us to get to know them personally. It invites us to a private, front-row viewing of the Golden Age of Hollywood. So, if you missed it the first time around, now is your chance to share the dream.

It takes a lot of creative, dedicated people to produce Hollywood magic. Interviews with some members of the "Gene team" reveal this is true, even when the fantasy is mini

in scale, and made of vinyl.

MEL ODOM-THE MAN BEHIND THE MAGIC

Mel Odom is the talented artist who literally dreamed "Gene Marshall, Girl Star" into existence. I caught up with him at Blue Star Studio Inc., his New-York­ based company where he graciously answered some pointed questions.

Q. Mel Odom was already an important illustra­tive artist in his own right. Why risk it all for dolls?

A. I had been illustrating for 15 years and was get­ting a little bored. There would be passion involved with the creative process. I felt I could no longer bring that excite­ment to my work. It was time to incorporate other things I loved.

Q. Did you worry that the art world would cease to take you seriously as an artist?

A. No. Illustrating has always been considered an illegitimate child of art. I was used to that. In doing Gene, I had to incorporate my knowledge of art, fashion, movies, storytelling and photogra­phy. Gene is the hardest thing I have ever done.

At forty-something, I have become the poster boy for other artists and illustrators wanting to embark on a second-generation career.

Q. Why Gene, and the 1940s and 1950s?

A. I had been thinking about Gene for a Jong time. The1940s was a period of time in Hollywood unequaled for glamour and romance. It was a great influence on fashion and helped shape American history. I felt no one could do it better than I. If you know you can do something better than anyone else, you should do it.

Q. Can you describe the Gene Collection concept in one sentence?

Fascination. Edition limited to 2,002 world­wide. Violet poses for the cover of her first stereophonic album and finds a fasci­nating prop at the photo shoot to add to the mystery.

A. Gene is all about optimism. She reflects the best side

of Hollywood with none of the less glamorous aspects. She is an optimistic history of ourselves.

Q. What feelings do you want to evoke from people see­ing your creations?

A. Loosen up! Play! Gene is a toy for adults. When work is getting tiresome, I take a few minutes off. Often I pick up some toy and begin to play with it. I start to relax. That frees my mind and allows the creative juices to start flowing again.

Q. What sets the Gene characters apart from other fash­ion dolls?

A. Just that. They are characters. Each has its own dis­tinct personality. When designing for Madra, for example, we discuss whether Madra, with her personality, would wear that particular costume or color. Sometimes we love a cos­tume, but decide it really is something Gene would wear. The stories and dress have to be true to the character in order to create personalities.

Q. What is your favorite part of creating each year's new collection?

A. Going to the Picture

Library and checking out photographs from the 1930s, 1940s and 1950s, looking for ideas for costumes. Then I like to go to the fabric shops. Most of the good fabric shops in New York are all in the same district, so you can just go from shop to shop, almost like bar hopping. It's really fun to go with some­one who shares my enthusi­asm for beautiful fabrics and design. Sometimes a piece of cloth is the beginning idea for a costume.

Q. Who sifts through all the ideas to determine the few chosen for each year's collection?

A. The Gene Team-a very talented group of people who

work with the collection, and ultimately decide which products are the most viable.

Q. What do you envision for Gene in the future?

A. Gene's story in animation. Her story really is a fairy tale, and like other enduring fairy tales, it contains life lessons and characters we can all identify with. That's already in the works. It's what I had as an ultimate goal from the very beginning. As a child, I lived Disney and still watch a lot of cartoons.

Torch Song. Edition limited to 3,000 worldwide. Violet is fea­tured in a television spectacular in a scene set in a 1920s speak­easy, and is a hit in homes from coast-to-coast.

Q. Who do the characters, Gene, Madra, Trent and Violet, represent to you?

A. They are sort of composites of early movie stars. Gene is

meant to represent an entire generation of movie stars. She has Loretta Young's eyebrows, Lisbeth Scott's hairline, the shape of Ann Southem's face, Lana Turner's lips and Gene Tierney's eyes.

Madra is who you would get if you put Betty Davis and Joan Crawford in a blender, along with just a smidgen of Lucille Ball, and puree. She is demanding, forceful and a little insecure, so she always needs to be the center of attention. There is also a humor­ous edge to her and a flair for the dramatic. These traits come out in some of her flamboyant costumes.

Trent is a combination of Errol Flynn and Cary Grant, with a touch of Ronald Coleman. I wanted him to look like a man who was outspoken enough to have gotten his face slapped once or twice. He had to be a little bit of a rogue to be able to hold his own with Gene and Madra, both very strong characters.

Violet Waters is a smooth blend of Lena Hom and Dorothy Dandridge-beautiful and sultry, with a voice to match. Their music, like Ella Fitzgerald's, was a gift to the world.

Q. ls it true you used your own feet as models for Trent's?

A. (Laughter.) Yes.

Q. You have been described as charismatic, shy, flamboyant, fun-loving, driven, exacting, empathetic, boyish and sexy. How would you describe yourself?

A. Focused. Self-disciplined. The person I am now, artistical­ly, and the things I enjoy peaked at about age 8. I loved illustrat­ing, fashion and cartoons, which I thought of as drawings coming to life. I loved them then, and I still do.

Q. What would you like people to know about you that they may not already know?

A. I have great friends, a lot of them from my school days and he Baptist church I went to. My mother says I'm very lucky to have such good friends. My friends say I am the luckiest person they know. I have to agree with them.

JIM HOWARD-DESIGNER TO THE STARS

Jim Howard is one of the fashion designers on the Gene Team. He started as a fashion

illustrator for such well-known names as Neiman Marcus and Saks. He is a self-confessed movie buff, and sews the prototypes for most of his own designs.

Moulin Noire. Edition limited to 2,002 worldwide. Madra is the toast of Paris in a special nightclub appearance-and when she takes an admirer under her wing, she proves that no translator is needed when it comes to the language of love.

Q. How did you come to work with the Gene Team?

A. I first met Mel at a party given by a mutual friend, but lost track of him when I moved. While visiting a museum, I saw these gorgeous dolls. I thought they were vintage. As it turned out, they were Gene dolls done by Mel, and he was due in Albuquerque soon for a signing. I went, and stood in line with everyone else. Needless to say, Mel was surprised to see me.

I started doing one-of-a-kind, re-dressed Genes on my own. Eventually, I was asked to do some for the Gene collection.

Q. Which is your favorite costume, and what was your inspiration?

A. I really enjoyed doing Starlight Canteen. I can still recall the

Hollywood Canteen from old movies. I also remember my sister hosting the State Door Canteen in Houston when I was young.

Q. What do you do when you aren't working?

A. I've always had a passion for antique dolls, so I have been doing reproduction antique dolls and costumes. I completed an entire wardrobe for a 27-inch Gaultier, including wigs, hats and shoes, for the United Federation of Doll Clubs competition.

I am also hosting the 2002 Gene Convention in Albuquerque in October.

Q. Do you do anything just for fun?

A. Dolls are just plain fun. I am amazed that I am having this much fun with a second career at my age.

Q. Since you broached the subject, just between the two of us, what age are you?

A. 71.

BORAM KIM-DIRECTING TRAFFIC AND MAKING TOUGH CHOICES

Boram Kim is Product Development Manager for the Gene col­lection. When I first spoke with Kim, she was researching Marine officers' dress uniforms. It seemed the original Major's uniform worn by Trent Osborn in Starlight Canteen was not quite con-ect. After much futile hunting, it was decided, for the sake of authenticity and production schedules, to demote Trent to Captain, an easier uniform to reproduce. Kim and I had a great time fantasizing scenarios to explain his fall from grace, finally deciding he probably was caught casting a flirtatious glance at the Colonel's daughter.

To Have and To Hold. Edition limited to 3,750 worldwide. It may only be a movie, but Gene's parents get misty-eyed when they see her walking down the aisle in this fabulous 1940s wedding gown.

Q. Bo ram, I'm told you are the "needles and pins" of the Gene team because you "hold together all the different aspects of a new project." Would you agree?

A. Well, I wear a lot of hats. Primarily, I act as go-between for the different entities involved: Ashton Drake Galleries, Gallery Marketing Group, the factory and members of the Gene team. But as you know, I never know what the day is going to bring.

Q. I'm told you have to make the hard decisions. The rest of the team can let their imaginations run wild, but you must decide if the project is viable. Is that true?

A. Nothing is really a one-person decision. I think of myself as a negotiator.

Q. What is the most unusual problem you have encountered?

A. (Laughing) I think I'll plead the fifth on that one.

KIRK SWANK-WORDSMITH

Top of the Morning. Edition limited to 3,750 worldwide. Trent looks dapper as the groom-a role he's played many times!

As head writer for the Gene Team, Kirk Swank spins the inven­tive web of dialogue that allows the Gene characters to speak to us. A theater major in college, he has performed in a number of theater productions, including Professor Harold Hill in the Music Man, and Major Stanley in the Pirates of Penzance.

Q. Kirk, what part of working with the Gene Team do you least enjoy?

A. Deadlines, but they are also some of the most exciting

times. There's nothing like a deadline to get the creative juices flowing.

Q. Which comes first, the stories or the costumes?

A. Usually the costume or character comes first, but some­times we work backwards.

Q. Where do you get your best ideas?

A. In the shower, when it's least convenient.

Q. The name Kirk Swank could easily be a Gene character. With your theatrical background, if you were to place yourself in a Gene scene, what part would you play?

A. I would be the kind of goofy

second lead. I'm always joking around, and I don't have that really handsome movie-star look.

Playing the Field. Edition limited to 2,002 worldwide. Trent shows up in England for the 1953 Coronation Cup polo match, dressed and ready to step in for the American team.

Q. Which is your favorite project?

A. We staged a radio show with the collectors at convention, along the lines of the shows done by Bob Hope for the armed services troops, where he jokes around with different movie stars. We called it The Les Moore Show. We wrote scripts for each char­acter then got volunteers from the audience to come up and play their paits in front of a microphone. They really did a great job. The collectors ai·e wonderful.

Q. Your favorite source for infor­mation?

A. The Chicago Public Library. It has a great system that can be tapped into by computer. We call the library the tallest building in Chicago because it has the most stories. (Sounds of both of us groaning.)

Q. Tell us a secret that most people don't know about the Gene collection.

A. I'm not sure I should tell this, but I'm one of the characters in the Gene story, even though you don't see me. I'm Buddy Lewis, the songwriter. I wrote the sheet music included with Violet Waters, Swing Time Serenade.

JOAN GREEN-BREATHING LIFE INTO THE DREAM

No behind-the-scenes story would be complete without a few words from Joan Greene. Joan has recently changed positions to pursue other endeavors, such as her newest book, In Search of the Teddy, but for eight years she was the acknowledged "heart " of the Gene Team.

Q. Joan, when did you start work­ing with the Gene project?

A. At its inception in 1994. We began with some of Mel's sketches, and ideas of who he wanted Gene to be, and took them to reality.

Dark Desire. Edition limited to 3,000 worldwide. Madra chats with a fan about a courtroom scene in The Lady or the Spider, in which she's on trial for the mysterious murder of her second husband-or was it her third?

Q. How did you go about that?

A. The dolls and costumes were to be produced in Asia. The company was accustomed to making simple things like molded plastic water pis­tols. They had never done anything of the quality we wanted. I had to teach them virtually everything, from rib­bon embroidery to chain stitches for real hooks and eyes (no metal or hook-and-loop tape) and French seams for stockings. I had to teach them some of the lost arts.

Q. What was there about Gene that sparked your enthusiasm and loyalty for the project?

A. The story, "small-time girl makes good." It is very similar to my own. I could relate to it, and I wanted her to succeed.

Q. Of which project are you most proud?

A. The Young Designer of America Program. One of our win­ners now has designs exhibited in the Santa Barbara Museum of Art. Another received an art design schol­arship. And one of our winners, who is legally deaf, now has a design being worn in a Broadway play.

We changed people's lives.

Q. Biggest flop?

A. Misjudging the difference between what collectors tell you they want, and what they really want. They say they want costumes of everyday clothes like they wore, but what they buy are the fancy ball gowns.

Q. Who dubbed it the Gene Team?

A. Ashton Drake in 1996.

Q. What would you like to leave as your legacy to the Gene Team?

A. That I helped make the Gene Marshall Collection a brand. I helped get it off the ground. Mel brought us a dream ... I helped breath life into it.

The Wonders of Jan McLean

Zealand doll artist Jan McLean talks about her ever-evolving passion-dolls.

BY KATHRYN BAKER

Left: Grace wears striped clam diggers underneath her color­ful costume. She measures 21 inches. Center: Bunny, a 25-lnch porcelain beauty, represents a girl from California. The Lollipop Girls Collection is limited to 5,000. Right: Lily's beaded silk velvet waistcoat and cuffs beautifully accent her wine-red silk velvet dress. She measures 21 inches.

Source: June/July 2001 • Doll Reader , Pages 42-45

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"My interests include dolls, palm­istry, spiritual subjects, dolls, family history, movies, books, dolls, good wine and good company, family and probably dolls," states Jan McLean.

Hanna doll by Jan McLean.

After spending 10 minutes with Jan, you will be engulfed by her laugh­ter and her positive attitude. Her love of a good time and her passion for dolls has led Jan to a fulfilling and success­ful career as a doll maker. This year, she celebrates the 10th anniversary of her first visit to the American Interna­tional Toy Fair in New York City.

"Our very first year at Toy Fair in 1991," she explains, "we came home with orders for hundreds of expensive dolls. We thought we had died and gone to heaven. We could­n't believe our good fortune. It was as if it was meant to be."

A retired intensive care and trauma nurse, Jan carried on more than one tradition that was started by her grandmother.

"My mother was a registered nurse, as was her mother," she says. "I was the third generation in my family to choose a career as a nurse. My mother and grandmother did not carry on their professions after they married. They were involved in the arts as sculptors and portrait artists."

Lucy, 25 inches, wears a soft apple dress that reveals Jan's love of dyed fabrics.

Jan's grandmother also served as a source of inspi­ration to her when Jan was a child. "She taught me to believe that all things were possible," Jan explains. "I only had to believe that I could achieve whatever I desired and it would hap­pen. She was right."

This inspiration led Jan to retire from nursing to pur­sue her passion for dolls, even though she did not know what to expect. Jan's first creation was Isabel Googly, a reproduction German doll from the 1920s. "I sat up all night just looking at it, amazed that earth could be turned into such a thing of beauty," she says. "It still amazes me that I can create a face from a lump of clay and that I can breath life into cold, hard porcelain."

Dolls also became a form of therapy for Jan. "For me, dolls were an all-consuming pas­sion that took over my life at a time when I needed them. The tragedy and horror of losing siblings was unbearable," says Jan about a sad time in her life, "but making dolls and teaching others was very therapeutic for me and my students. Many had sad sto­ries like mine. We all loved the joy of creation, and I am sure the hours of laughter and friendship helped many when they needed it."

When Jan followed her instincts in 1991 and took her creations to the American International Toy Fair, "I had no idea why I had even consid­ered going to New York in 1991 in the middle of the Gulf War," she exclaims. "We were so green and totally shell­shocked. When we ar­rived at Toy Fair, we were so depressed and tearful be­ cause everybody else had such beautiful displays and flowers and drapery, and we had a white table­ cloth. We wanted to shrivel up and die."

The box containing the dolls that Jan and her company had shipped from New Zealand to New York be­came lost in transit and ar­rived the night before Toy Fair opened. Jan and her crew were trying to finish assembling the dolls as Toy Fair opened. "Then a miracle happened," she relates. "Dealers loved the dolls, which we thought were awful compared to every body else's. As fast as we put them together, the dealers snapped them up. It was unbelievable! People were 10 deep around our booth for the whole show. I hid under the table, un­able to cope with the excitement. The dealers crawled under the table, too. Many friendships were formed under that table. Our lives have never been the same since."

LEFT TO RIGHT: Nellie's fiery tem­per and pouty expression are In con­trast to her cream sllk dress. She measures 21 inches. • Grace, a 21-inch doll, wears linen shoes that match her vibrant costume. • Hannah's peach silk velvet dress with lace collar and cuffs reveals Jan's flair for matching colors and fabrics. She measures 26 Inches. • Rose loves her black velvet hat. She measures 21 Inches.

The life of a doll maker forces Jan to wear many hats. She is a sculptor and designer, a manufacturer, importer, ex­porter, wholesaler, retailer, marketer and manager. In addition, Jan has a broad knowledge of fashion and fabrics, in­cluding colors, dyes and garment con­struction, mold making, slip casting, porcelain painting and wig making.

A talented team of 12 people help make Jan's dolls a success. "Each doll is a result of many hours by skilled craftsmen and women," she says. "We all have a passion for what we do, and we still get thrilled with the birth of each new creation."

Jan's studio is housed in a converted warehouse in an industrial part of Dunedin, New Zealand. A retail shop and gallery are located on the main street in Dunedin. Visitors can take a tour of the studio by appointment, where they can see dolls being made. Visitors can also view Jan's extensive collection that is housed in her studio. "I am a hoarder of wonderful treasures," she admits. "I have boxes and boxes of special pieces. I am a hunter of fabrics and laces. I col­lect beads from the many countries I visit in addition to leather for the fab­ulous shoes that match the costumes. Sometimes the leather can act as a trig­ger for a costume design."

An avid people watcher, Jan also collects "images of faces, expressions, fashion and colorings. I study people all the time. I am fascinated by the human condition, especially babies and adolescents."

For her 2001 collection, Jan has taken on a new challenge. She has pro­duced a line of vinyl dolls that she feels measure up to the quality of her previous creations. "I feel I have achieved an ex­ceptionally high-quality vinyl doll with the very best quality fabrics, laces, wigs and eyes for a very good price," she says.

Each of the new vinyl dolls has manicured fingernails, top and bottom eyelashes, a name bracelet and the Jan McLean Designs label on her costume. In addition, dreamy eyes, full lips and incised nostrils help to give the new dolls an air of elegance and sophistica­tion. "Each doll unfolds and surprises me," Jan says. "I never know what is going to happen. I have an idea, but my hands create something different."

Odette, a 27-inch lady dressed In a dark, mauve-gray evening gown, is limited to 500.

The beautiful vinyl dolls Jan cre­ated for 2001 wear gorgeous, colorful costumes. "Like the dolls," she explains, "the costumes also just evolve. A picture or a piece of fab­ric will spark an inspiration. A color or combination of colors may be the trigger. Then I work on the design, first draping the doll with a color that I have de­cided on. Then I do sketches. Then I pull out all the boxes of 'stuff,' looking for the perfect combination. Stuff flies in all di­rections as the idea becomes real­ity. It can take days and weeks, or it can happen in a couple of hours. There is no magic formula."

It is hard to believe there is no magic involved when you look at Paige, Hannah, Lucy, Lily, Amy, Bonny Louise, Grace and Rose. Each doll in the vinyl collection

is limited to 3,500.

There are also two new ad­ditions to the Lollipop Girls col­lection for 2001. Cissy, a girl from Sydney, Australia, has hot-pink hair, black leather bell-bottom pants and hot-pink boots that match her hair. And Bunny, a girl from California, has blonde hair. She wears a tight, black leather miniskirt, matching bolero vest, open­ neck white shirt and long, red boots. Each of the new Lollipops is limited to 5,000.

Odette, a 27-inch lady dressed for a night on the town, is also part of the new collection. The redhead wears a tight -fitting, dark mauve-and­

gra y evening gown. A blue-gray marabou stole is draped over her shoul­ders, and she wears patent leather shoes. Odette is limited to 500.

In addition to working on this year's and next year's collection, Jan finds time to spent with her husband, Graeme, who works alongside Jan run­ning the doll business. "I met him when I was 17 years old, and we have been together ever since." The McLeans have four children.

Two live in London, England, and two live in Queenstown, New Zealand. After a busy

day, Jan and Graeme enjoy excursions with their golden retriever, Jack. "Jack is a source of delight and loves to run like the wind and swim," she says. "Every night we walk him along the beach, which gets me away from the studio."

"Every year is a challenge," Jan continues, "as I try something new. I guess I try to reinvent myself every year to stimulate collectors with some­thing different." What wonders we have to look forward to.