What’s your earliest memory with miniatures? How did Lilliput Land come to be in 1976?
Well, I wasn’t a child when I got involved in miniatures. I’m a crafty guy, I’ve always had a workshop. When I lived on Long Island my space was filled with table saws, radial arm saws, and more. Eventually my mother decided to go into business. She had amassed thirteen dollhouses; it was quite the collection. We had Cape Cod dollhouses, brownstones, and colonials. As a teacher, I would take my free time and work in the store. I worked long hours, and that was the arrangement for 10 years. Once the shop’s rent doubled, we decided to go the show route. Early on, my mom did about 24 shows a year. As she got older, we still did about 12 shows a year and I would do the four biggest with her.
My mother was diagnosed with cancer and was intubated for over four months in Florida. This was her fourth episode with cancer. I was down there every other week and kept the business going all that time. I spoke to my wife about keeping the business going once my mother woke up. They pulled her out of the ICU at Boca Raton without my permission and it was a long process of recovery after that. She wasn’t the same. After the first year of her rehab, I redesigned the whole company. I changed the table format, amended the buying and selling procedures, and built the website from scratch. I did it all myself. I hoped that as she recovered, her interest in miniatures would be rekindled. However, her interest waned and she sold lots of her collection. I decided to give things a trial to see how it would work out. For the first few years, I sold at six shows per year. Then, we cut it down to four.
My mother was a tough, consummate sales lady. She taught me what not to do. I have an MBA in Finance, and I know how to run a business. I taught economics for over 30 years. So I know how consumers want a sales rep to approach them and how best to react.
Who are some of your favorite artisans?
My favorite artisan has been and always will be Neil Bateson. He is by far the best artisan I have seen in my life. I’d say the best active artisan today is Mark Gooch.
What miniature events would you recommend to miniature enthusiasts?
What is the most memorable miniature you have ever seen?
I have two memorable pieces in mind. First, Neil Bateson’s secretariat, based on George III’s and made out of rare Indonesian wood called amboyna. And the second piece is a kidney-shaped amboyna desk with a rotating top and hidden drawers. These both come to mind as the most incredible pieces I’ve seen.
Another interesting piece was the combining of Mark Gooch’s carving and furniture skills with June Clinkscales’ painting skills. The museum quality settle (pictured to the left)is a replica of a piece found in Wrightwick Manor. The four painted panels, done in oil, are of classic Tudor figures that have both a human and religious quality. If you check out the oak original, you’ll find that their rendition is right on target. Additionally, Mark included dove-tailed drawers and a silk seat, top and sides.
Other hobbies you enjoy?
The miniature market and buyers have both decreased since Lilliput Land, Inc. has been in business. The 2008 recession really turned the corner on the miniature industry. Most hobbies are expensive and require extra income beyond what a person makes.
The same is true of my hobby of collecting trains. When I actively collected strains, I would put away money in an envelope for the shows I attended. I’ve always been in love with that sort of stuff. I used to collect coins and hobbies were always a big thing for me. You could say I’m a professional hobbyist!
Advice for beginner entrepreneurs or miniaturists?
Starting any business in today’s age is not easy. Starting a miniature business and expecting to make a living on it without resources is going to be difficult. For most people, it’s a part time business. The reason my business has survived so long is because I created a niche where my items are generally one-of-a-kind, researched by me, and in that sense, I create them. I look online, find designs, and then I redesign them. I have also made miniatures on my own in classes, and I know how difficult it is to come to a “perfect” result.
A great example is this desk [pictured to the left: Renaissance Revival Desk by Valentino P. Besarel carved with full figure cherubs, panels carved in relief]. I redid the design so that the legs were original, but of our own making by replacing the cherubs on the bottom so it would fit the rest of the desk. The side drawers slide outward, and the small center drawers utilize the chin on the lion mask as their pull. The desk is of demilune shape, centered by a locking cabinet. Most of my pieces are like that: I work with artists that will do that. And I never make more than four of anything. Look for this work at the Chicago International in April.
Anything else you would like to add? What do you want miniature fans to know about you?
Reputation has always been important to me. Be as honest as you can be. Integrity is an important part of my business. It’s important that people know what they’re getting is exactly what I say it’s going to be. You never have to worry about me, because I will always bend over backwards. I’ve never had a bad check in all the years I’ve been doing this business. And that’s something I’ve always prided myself on. My philosophy of decoration has been that every piece in your house does not have to be a collector’s piece. You ought to pick a piece that the eye can focus on, whether it’s in a roombox or a dollhouse room. You can finish the rest of the room around that particular piece. I may not have the accoutrements necessary for the room, but there’s no need to put a collector’s piece in every corner of the room. You want one piece to shine. Don’t overcrowd a room. Every time I make a piece of my own, I give it to my daughter. That way, there’s not only major artisans represented in her dollhouse, but also me.
Marty Stark heads up Lilliput Land, Inc., which began in 1976. A family-run business, the Lilliput Land, Inc. team hopes that miniature enthusiasts will enjoy all the time and effort that goes into their collection of dollhouse miniatures for sale. For more information and to shop, visit the Lilliput Land website.
That would be as a kid walking through Madurodam, a theme park in the Netherlands with Dutch miniature buildings. You can walk around them and even control some actions like opening a dam and so forth. It’s really great for kids and parents. Kids see the miniatures as big toys, while parents recognize the buildings and are fascinated about how detailed they are.
What are 1-2 pivotal experiences you had with architectural design?
As a kid, I always made buildings with Lego or paper and cardboard. I always thought they were great, but when I was a kid there was no Internet to post them or get inspired by the designs of others. Now, when everyone sees what others make by posting pictures and instructions, I think it’s easier to get inspired by the work of others. Hobbies are easier to get involved in.
How did you first get started making Ittyblox miniatures?
I started making Ittyblox miniatures after I came across the 3-D printing platform Shapeways. I was 3-D designing for render-purposes during my study in architecture, but when I found out that this software allows you to create physical full color models without all the painting and gluing hassles, I was hooked. I could never get the right amount of detail I wanted in my miniatures, but now with 3-D printing, I could. On Shapeways, I could even sell the prints to others, so other people can grow a collection too without having to make them (either physically or digitally).
Did you ever work in a larger scale?
I have tried different scales, but the 1:1000 scale allows me to make both houses and skyscrapers within the reasonable boundaries of 3-D printing. For instance, the regular railroad scales are nice for villages and farms, but a city would be too big. I only make buildings in the same scale, because they can all be connected with one other. I take a lot of time to make a building; it would not be as satisfying if ittyblox buildings couldn’t be used together.
Do you have a favorite building you’d like to mention?
Well, I am currently running a Kickstarter to get three sets of Paris buildings funded. One of them is the Sainte Chapelle. In this Gothic chapel, I really tried to get everything out of the current 3-D printing possibilities. Little details or too thin walls will break, so it is always a choice between printablity and detailing.
What’s the most challenging aspect of your work with Ittyblox?
The most challenging is to model buildings within certain technological constraints without making these constraints visible. It’s like building a sand castle: you cannot make thin parts, but you can add detailed reliefs. Details of only .1 mm are visible, but walls have to be 20mm in order to stay intact. The trick is to make buildings not too bulky by adding chimneys that don’t stand out much, and so forth.
I was probably four years old, and spending the summer with my maternal grandparents. There wasn’t any other children around, so my granny gave me my mother’s childhood toy furniture: a 1:6 scale bed, 1:10 scale cupboard, armchairs, and an enamel bathtub. I spent the major part of the summer playing with those and making up stories. I still have the cupboard and that old, rusty, enamel bathtub.
How did you first get started making miniatures?
I always wanted a dollhouse, but in my childhood it wasn’t available. Hungary was under Russian occupation, so Barbie-like items couldn’t be find in the toyshops, and dollhouses were considered a bourgeois whim. I had to grow up and get a temporary job in Paris, France, to meet the intoxicating world of miniatures. Strolling on the Montmartre on a Sunday afternoon I found a shop window with a large, Parisian-style house in the front. It was the Dentelles et Ribambelles, owned by Léa Frisoni, and that afternoon sealed my fate. I spent a large part of my daily allowance there and when I repatriated to Hungary, I started to build my first dollhouse.
Where does the interest stem from?
I wanted to become an architect just like my dad, but physics definitely wasn’t my forte in secondary school. I became an economist, but nothing can extinguish my love for architecture. Wherever I travel, I take photos of the buildings: Art Nouveau and Art Deco buildings are to die for, and I love the magnificent French chateaus and mansions, the breath-taking Gothic cathedrals, as well as the cozy, English half-timbered cottages.
Besides this, I like gastronomy; I’ve collected quite a few cookery books and I enjoy baking cakes, though I prefer the healthier versions in real life. This gives me continuous inspiration to create new pieces in miniature.
Why did you make the switch from economics to miniatures?
Being an economist is a tough task. I can’t recite how many times I heard during lectures that if I do this or that, I can be imprisoned. Charming, isn’t it?
My family is packed with people with artistic skills: my paternal grandmother was a folk art artist specialized on embroidering, weaving and lace making, who was granted with the highest honor possible in Hungary: the Master of Folk Art. She taught me different techniques and spoke a lot about colors and patterns creating harmony in interior design. My father is an architect, our house was packed with albums and books about architectural designs and styles. It showed quite early that I inherited their skills and I would follow them somehow. Though I chose corporate finances, I was and I am a creative person… can’t sit tight and do nothing. I always have to create something. Miniatures simply put all of my previous hobbies under one roof: my love for architecture, gastronomy, glass painting, decoupage, mosaic making… I can practice all of them and more when I make miniatures.
Do you remember the very first miniature you ever made?
My first miniature was a dollhouse. I built it without practice and knowledge, so it had several flaws and errors but I was very proud to have it. It does still exist, though I emptied it. I created it to form a simple white cube which can be opened into half, so currently it is closed and serves as a table for my Inn to the Devoted Peasant Girl dollhouse, which is a medieval English inn from Nottinghamshire.
What is your favorite type of miniature to make?
Though I’m a foodie, my favorite thing is creating the exterior of a building. I enjoy building houses, and aging the exteriors is always the most fun. I especially like the old houses with broken pipes, leaks, old plaster, and more.
Do you have a favorite type of miniature food you like to make?
I don’t have a particular favorite, but I have to admit I like the ones which require either research or a challenge. I like working on historic food, where I can learn about the era, get more information about the eating habits, interior design, life in general and so forth.
Career highlights you would like to mention?
Winning a scholarship to the Guild School was definitely one, and getting my Fellow Cube two years later. It was an honor to make wrought iron furniture in a courtyard which belongs to a Mulvany & Rogers house. I consider my latest roombox a highlight as well: it is a 1 inch scale Cape Cod style living room. This was my first American theme roombox, which earned me 1st prize in an International contest organized by the Hungarian Doll Society. It is one of my personal favorites as well, which will remain in my possession.
How did you first become involved with The Guild of International Miniature Artisans?
I met Molly Cromwell 9 years ago in Vienna on one of her tours for miniaturists where my food was very well received. She offered me a table at her Orlando Show and talked me about the Guild and the scholarship opportunity. First I became a regular member, then a year later I applied for scholarship and won it.
For those that don’t know, what is the value of the Guild?
I think the biggest value of the Guild is Guild School and a Guild School scholarship. The Guild School itself is a perfect opportunity to learn new methods, to meet people who have the same interest, and it’s a place where you can share your knowledge. As it is located in a small town in the NorthEast of the U.S., it is very pricy to go there from Central and Eastern Europe (especially if we take into account the far lower wages and salaries). Therefore the scholarship provides an amazing chance to those who have the talent. For me, it meant a lot and I still profit from it when I create new items.
What advice would you give to new miniaturists?
Put faith into yourself, believe that you can achieve your aim. When you are using new materials, always try first before you apply the item on your final piece, and make sure to use good quality materials.
Favorite miniature you own?
I adore the glass items made by the amazing German artist Gerd Felka. I have a small collection of his beautiful whisky bottles, vases, bowls, and tiny perfume bottles.
What inspires you?
Everything: a play in a theater, an old city, a film, a painting, a good book.
What is the most memorable miniature you have ever seen by another artist?
I can recite dozens of work. Everyone who has visited the Thorne Rooms at the Art Institute of Chicago would agree with me that those are the most marvelous miniatures we have ever seen. Same goes for Mulvany & Rogers,whose houses are outstanding; they capture details in a unique way.
But if I can choose only one, it would be a mind-blowing iron bed with a “working” dragon that spits flames, made by my former Guild School instructor, Alan Hamer. He told me it was me who inspired that bed when he sent me some photos about the half made bed, and I just told him my ideas about how to finish it.
Why miniatures?
It is simple: because we can create things in miniature we can’t afford or can’t have in real life. I will never have the chance to own a French townhouse, a Cape Cod cottage or a French Chateau in real life, but I can built them in miniature. I create dreams and test my limits with every new project, and I gain knowledge about different historic periods. I think that is what still appeals me, the continuous challenge. I’ve learnt way more about history, architecture, cuisine and interior design from making miniatures than I had learned in previous decades.
What’s to come from Orsi’s Miniatures?
My next miniature show will be the Chicago International where I will introduce both new food items and new metalwork. Currently, I work on a quarter scale house, but this is only a short excursion. Quarter scale is really not my favorite, we lose too many details, so I will stick to 1 inch scale in the future. I will widen my historic food line from Tudor to Victorian, concentrating on historically accurate raw food. Because we tend to forget the apples, pears, melons, and more weren’t the same as they are today.
Words you live by?
The sky is your limit. Your sky. Your limit.
Other activities you enjoy?
There are many things on my plate I enjoy besides miniatures, though I have to tell you miniatures infiltrated almost every hobby of mine, they are simply feeding on each other. I like traveling and visiting cities, particularly historical parts, as history is my absolute favorite. I like doing research on different historical eras when I work on a project.
I like cooking and eating, though my cakes and pastries are more on the healthy side. Interior design has been part of my life since my teenage years. I particularly enjoy DIY-ing around the flat, especially furniture painting. Certainly I like reading and adore my e-reader as it makes possible to bring a large library with me every time I’m traveling. Last but not least, I like classical music. In elementary school, I specialized in music so it has been part of my life since childhood. Music always reflects our mood, our personality, and it brings joy and helps to bear the loss. I simply can’t exist without music.
Orsi’s Miniatures was created by Orsolya Skultéti, who is originally from Hungary. Take a closer look at her exquisite work by visiting the Orsi’s Miniatures website. Shop her miniatures on Etsy, and follow updates on Facebook and Orsi’s Minis blog!
The Independence Seaport Museum is currently exhibiting Silver Ships of the Seven Seas, a collection of miniature ships. The 2015 holiday presentation of Silver Ships will be presented on recycled lumber castoffs from the construction of Schooner Diligence. Philly Seaport’s miniature ships were collected by Jacobus and Louisa Pierot during their travels in the late 20th century. The ships were gifted to the museum by Louisa in memory of her late husband.
The Seaport Museum’s miniature ships will be on display throughout the month of December. In addition, visitors and Philly locals are encouraged to visit the Museum on Saturday, December 12 from 11 AM to 5:45 PM for holiday activities and entertainment, all free with museum admission.
On Saturday, December 12, 2015 at 5:30 PM, the Independence Seaport Museum will celebrate its annual Parade of Lights on the Delaware River. This lighted boat parade will feature a working port, with tugboats and other vessels decorated in lights.
See below for additional Seaport Museum holiday events taking place on December 12:
The Silver Ships display, a holiday tradition featuring dozens of miniature silver ships from the museum’s collection.
The Ship Model Shack’s lighted model ship display. The Ship Model Shack is the home of the Philadelphia Ship Model Society, the oldest ship modeling society in America.
Santa’s “Workshop on the Water” where guests can make holiday ornaments and gingerbread boats.
A selfie with Santa before he heads out to lead the parade.
Live music from a local high school choir.
Photo op with Calico Jack, a greedy scrooge-like pirate.
Face painting by a local artist.
The Independence Seaport Museum is located at 211 S. Columbus Blvd in Philadelphia, PA 19106. The museum is open daily from 10 AM – 5 PM. For more information about the miniature ships on display or this year’s Parade of Lights, call 215-413-8655 or visit the Philly Seaport website. Make sure to check out the latest museum updates on Instagram, Facebook and Twitter.
Honestly, I think the earliest memory I have is visiting a family friend’s house where they had a scale model of their home. It blew my little mind; I recall running around checking if they included all the details like the garden hose or the house number… I really was fascinated. I had to be about 8 or 9 years old, I’m guessing.
How did you first get started making miniatures yourself?
I really kind of fell into making miniatures. I’ve been a fine artist most of my life doing everything from pencil to paint on paper and what not, but was growing bored with the same 2-D art. Truth be told, I only made my first real miniature sculpture a few months ago. For me I think the interest partially stems from growing up such a toy freak, I used to make mini dioramas out of foam for my action figures and hotels for my Treasure Trolls.
What miniature projects are you currently working on?
I’m currently working on my third piece in a new series I’m putting together of different seedy storefronts that have some weird connection to my past. My current project is a bar next to a tattoo shop in a less than friendly neighborhood, let’s just say. The sculpture is based on my experiences, years ago, being a tattoo artist in Rochester, NY.
My technique is pretty all over the place, I use mostly found objects and repurposed items. By default, I have become a hoarder! I try to make everything myself including all the advertisements and signage; that was a nice way to incorporate my Graphic Design background.
Most of my building structures are made out of foam, chip board, plaster and plastic, then finished off with several layers of paint and weathering techniques.
What cities have you created miniature replicas from? We saw a miniature building from Miami, Arizona.
Actually the church in Miami, AZ is the only replica of a building so far, the other projects have been fictitious locations that were created by me. I plan to do a few more local to Chicago locations though once I finish this current series.
What’s the most challenging aspect of your miniature making?
For me, it’s the overall composition of my pieces; I tend to want to crop my view point to give a little more interest for the viewer. I always like when things are thoughtfully cropped, as a viewer you look at it and it just feels right. Aside from that… padlocks, the size of a half grain of rice; I need better tweezers!
What advice would you give to new artists miniaturists?
Well since I’m still getting started myself, I feel I’m constantly learning and looking at everything with a miniature eye. If I had to give advice to another person just like me, I would say, make what you see, not what you think you see. Really take the time to study the nitty-gritty, the stuff that everyone disregards at first glance, that is what you need to remember to include.
Favorite miniature prop you’ve made for one of your miniature scenes?
My favorite miniature prop I’ve made has been a small 10 gallon bucket with some newspapers and beer can sitting around it. I used a hairspray cap, paperclip and masking tape to create it. The beer cans were painted capacitors from an old computer microchip board. Great fun!
Favorite miniaturists you’d like to mention?
I really love the works of miniaturist Alan Wolfson, the amount of elaborate depth that he puts into his pieces is fantastic. I am inspired to create that amount of detail and depth every time I look at his work. I’m a big fan of Randy Hage as well. He is really one of the reasons I thought I wanted to give building miniature environments a try.
What is the most memorable miniature you have ever seen?
I’d say anything from Alan’s Subway series. I love how he creates the different views of street level and the subway level. No crack or bolt is left out.
What inspires you?
I am inspired by everything around me. I pretty much am surrounded by art 24/7, so I like to think I have a bottomless well of inspiration, provided I don’t get in my own way!
What is your hope for the field of miniatures?
Since I’m the new kid in town, I’m not too sure how to answer this! All I know is I want to be a part of the miniature future! I would love to take this hobby and new found love and make a career of it someday.
What would you like to see replicated in miniature that you have not yet seen?
It would be really cool to see a miniature tree house; that has been on my to do list for a while.
Why miniatures?
Making miniatures was the first art I tried where I had no problem taking my sweet time. I love the challenge of not missing any detail.
New miniatures in the works?
I’m constantly cooking up something!
Since I’m so new to this, I want to try and complete a small body of work to try and get something in a gallery setting. I’ve never had any work in in a gallery before, that’s on my to do list too!
Motto you live by?
Produce, produce, produce. I constantly tell myself to be making something, whether a doodle or a miniature replica of a toilet.
Other activities you enjoy?
I do a lot of drawing and hand drawn lettering, My 9-5er is as a Graphic Designer, so I’m constantly bouncing between fine art and design. The computer and I have a love hate relationship. I’d rather be picking paint and glue out of my fingernails over sitting behind a computer any day.
I collect loads of toys from the 80s and 90s, spend time with my fiancé, and watchBack to the Future entirely too often.
What do you want miniature enthusiasts to know about you?
I can’t wait to see and learn as much as I can on this great new mini adventure I’m starting!
Want to see what Ryan Monahan has created this week? Check out his Instagram account today! To see more of his work, head on over to his website.
I started making miniatures when I was really young. I have always been interested in small things. I don’t quite recall the time when I started making miniatures myself, but I remember learning about polymer clay approximately two years ago, in 2013. If I remember correctly, my first small scale project was a toy box for a dollhouse, made from a cardboard toilet paper roll.
What’s your favorite type of miniature to make?
My favorite type of miniature to make is probably food, or something that people can recognize and relate to. Or for example, a pair of shoes that everyone knows.
What’s your favorite type of food to eat?
I like a lot of different kinds of meat… and tortillas, yum!
Favorite type of clay to use?
I mostly use FIMO, but sometimes I use Cernit or Sculpey. My favorite is FIMO because they offer different kinds of clay: soft, classic, or effect.
Favorite miniature you’ve made?
My favorite miniature I own is a vintage Singer sewing machine I made from Q-tips and paintbrushes two years ago. It might not be that pretty, but for me, it’s very special.
What inspires you?
There are many things I get inspired by. Pinterest is important while trying to be inspired, as is the Internet in general. I look at pictures of different food items or other images. I like to incorporate things that I like, and make miniatures that look like my own style.
What advice would you give to beginner miniaturists?
If you want to make realistic miniatures, you should take your texturing and shading as far as you can. Take your time when you’re doing it. For example, with a slice of cake you should take your time on texturing the piece properly. Sometimes I come up with new techniques by messing around with different textures and materials. Also, you should just watch different tutorials and try things yourself. I wish someone had told me about soft pastels and shading when I started making miniatures.
Why miniatures?
I have always been interested in small things. When I was young, I always bought a Barbie that came with the smallest accessories.
What’s to come from Vilma’s Crafts?
Well, of course there are new miniatures coming up… I have a few things planned for next year. I plan to make different holiday-inspired miniatures. But currently, I’m working on Christmas miniature food and gifts. I think I’m not going to do small room boxes next year because my room is so full of crafting supplies, and I hate to clean. There’s just not enough space for my small dollhouses!
Words you live by?
Sometimes I just repeat the saying: “I’m gonna do this as well as I can, and make it as realistic as possible,” something to that effect.
Other activities you enjoy?
I enjoy drawing. I also collect magnets from different countries. And I bake cakes and make sugar fondant decorations.
Anything else you would like to add? What do you want miniature enthusiasts to know about the creator behind Vilma’s Crafts?
Well, I started to study baking in vocational college this past August. Hopefully that is going to be my future occupation.
Vilma Hokkanen is based in Espoo, Finland, near Helsinki. Have a look at the miniatures she’s recently created by following her on Instagram!
For as long as I can remember, I’ve been fascinated with miniatures. As a little girl, I used to play with my Barbie dolls and create mini bakeries, pizza parlors, and kitchens. I would always make sure to get the kits that had the miniature play food that looked the most realistic. I remember one playset in particular that had a pizza oven that would “bake” the pizza until it browned using ice cubes to “heat” the oven. I thought that was so amazing as a young kid and I’ve been enamored with miniatures every since.
How did you first get started making miniatures?
I first started making miniature food when I was looking up mommy and me crafts to make with my young daughter. I wanted to make something special for us that would be fun to make, cute, and something we could keep forever once we were done. So I researched cupcake crafts on Google and came across polymer clay food miniatures.
Do you remember the very first miniature you ever made?
My very first miniature was a chocolate cake charm. I found a tutorial on DeviantArt on how to make a miniature chocolate cake, and I proceeded to make my own version. The end result was comical to say the least, but at the time I thought it was the best little cake I have ever seen! I was hooked! I then proceeded to make several cakes in the weirdest designs and colors. I spent my whole weekend creating little cakes. I couldn’t put that clay down! I still have those little cakes 10 years later!
What is your favorite type of miniature to make?
My favorite type of miniatures to make are cakes and sugar cookies. I love texturing the cake and making it look as realistic as possible. My favorite part of making the cakes would have to be adding the scent. My favorite cake scent that I have created is lemon buttercream. It smells so sweet, with just a hint of lemon… it makes my mouth water!
I love sugar cookies because there are so many varieties to create. The possibilities are endless! I also love that the process of making them are very similar to making real cookies! Mixing the icing and decorating is a blast!
What types of miniatures are most challenging to make?
I would have to say the most challenging miniatures to make are my gingerbread houses. It takes a lot of practice to be able to attach the pieces of the house together without it falling apart. Then it’s the tedious part of decorating the little house. All the little candies have to be made one by one and on a 1/2 inch or smaller scale. The very first batch of houses took me over 8 hours to complete. The gingerbread house is a very challenging miniature to make, but the outcome is so worth it in the end!
What advice would you give to new miniaturists?
If you are just starting out making miniatures and miniature food, my advice to you would be to keep practicing. Never give up. I have learned that the more you work with your medium, the more you become one with it. Learn your craft from all angles. Look up tutorials and YouTube videos for help if you get stuck and don’t be afraid to ask other seasoned miniaturists for guidance. We don’t bite! I wish I had someone to help me when I was first starting out. I understand the struggles so feel free to send me a message if you get stuck on a project! I am always willing to help out a fellow miniaturist!
If you are making miniature food, Premo translucent is your secret weapon! It makes the food look more realistic and not cartoon-like or chalky. Your best bet is to buy the big blocks and save because you will use a lot of it!
What inspires you?
My fans inspire me. I remember my very first craft show everyone who came up to my booth was amazed how realistic and tiny my food jewelry was. When I told them the the jewelry was scented, the looks on their faces were priceless! They immediately picked up the jewelry and started sniffing it, calling their friends over and going crazy over how real every thing smelled. It was amazing. I will never forget that experience! From that point on I knew this is what I wanted to do forever. I loved seeing the smiles on the little kids’ faces and how happy my jewelry made them. I wanted everyone to be able to leave with a piece of my jewelry. And they did. I love my fans! They keep me going!
What is the most memorable miniature you have ever seen?
The most unique miniature I have seen from another artist would have to be a miniature cupcake with a octopus on it. It made me scratch my head a little bit.
What is your hope for the field of miniatures?
I hope in the future, miniatures will get more recognition and appreciation as fine art. I don’t think people understand how much time and dedication it takes to make such small pieces of art. I would love to see more tutorial books and miniature fairs. I think making publications and hosting more local craft shows based solely on miniature art and miniature food will help keep the art alive.
What would you like to see replicated in miniature that you have not yet seen?
I would like to see more bakeries and shabby chic kitchens. I think they are the most beautiful miniature scenes to make.
Why miniatures?
I love being able to create a tiny version of something big. I love that I am able to bring miniatures one step closer to reality with my realistic scents.
What’s to come from Decadent Minis?
Look out for tutorial kits, books, miniature bakeries, and our mobile store!
Motto you live by?
My favorite quote is from George Eliot: “Its never too late to be who you might have been.” When I tend to get a little sidetracked while working on long projects I usually say to myself: “Stop spinning and start winning!” It helps me snap back to reality.
Favorite miniature quote?
“Sometimes the smallest things take up the most space in your heart.”
Other hobbies you enjoy?
My favorite activities besides making minis are watching movies, eating good food, traveling, and being a girly girl.
What do you want miniature fans to know about you?
I would like my fans to know that every piece I make comes from the heart and never from a factory. I use recyclable materials as much as possible to reduce our carbon footprint. I donate a portion of my proceeds from my jewelry to charities that help animals and foster youth.
Dorothy Twining Globus has been well-respected in the museum world for over four decades. Most recently as the Curator of Exhibtions at the Museum of Arts and Design for nine years, she previously served as Director of the Museum at the Fashion Institute of Technology. Formerly, she spent twenty years as Curator of Exhibitions at the Cooper-Hewitt Museum. Dorothy’s particular interests in design, the decorative arts and craftsmanship are all met in the presentation of the Astolat Dollhouse Castle, a most remarkable milestone in the world of fine scale miniatures. Furthermore, Dorothy made dollhouses for herself and her daughter under the watchful eye of her mother, another aficionado in the miniature field.
What are your earliest memories with miniatures?
Inventory shot of dollhouse furniture from Dorothy Twining Globus’ collection.
I had a very serious dollhouse growing up. It wasn’t so much a free standing dollhouse as much as shelves. It was designed in the Ginny Doll scale. I worked on it for ages, and only this spring (2015) did I pack it up. It had 1960s padded living room furniture. I was cracking up as I lined up all the works together to see them again.
When I was even younger than that, I had a canopy bed, with matching bureau and wardrobe, that must have been made for 8” dolls like Ginny and Madame Alexander. The canopy bed had sheets, pillows, and pillow cases.
My mother loved dollhouses. She used to teach me how to make things. I used to save my grandmother’s matchboxes from the bridge table to make miniature stamps and letter writing kits out of them.
Matchbox scenes by Dorothy Twining Globus, curator of Astolat Dollhouse Castle.
In time, I worked on a dollhouse for my daughter. I used to make clothing for her American Girl dolls. I would give these as Christmas gifts for her and her friends. I still have a lot of this stuff. I still have some of the matchboxes in which I used to make little scenes. In fact, I am still making very small collages in matchboxes! Finding old ones from my dollhouse days was quite a surprise. I had not seen them for decades!
Coincidentally, my maiden name is Twining, and I recently found out that Twining Models was one of the companies involved in the construction of Queen Mary’s Dolls’ House.
How did you become involved with the curatorial field?
Before college, I had a summer job at the Smithsonian. I worked for three summers as an intern. Then I joined the team at Cooper Hewitt Smithsonian Design Museum and lent my expertise there for 20 years. I absolutely loved the idea of learning about new subject matter, and how to show it. I studied Western Art History at Swarthmore, and never focused much on design in school. In retrospect, I probably would have gone to RISD.
Horn settee and table by miniature artisan Susanne Russo (dated 1991 and 1988 respectively).
How do your interests inform your work as a curator?
I’m interested in arranging things. As an exhibitions curator, I always tried to understand the subject matter in order to assure the most comprehensible presentation of the ideas. I would work with each of the curators to realize their concepts and themes in the actual gallery spaces. How you present spaces to the general public is so important. I help these curators, who spend all their time thinking about a narrow subject when in fact the average person is not into such detail. I think about ways to present the work so it becomes inherently more accessible to people less experienced with the subject matter.
How did you become involved as Project Curator of the Astolat Dollhouse Castle?
I’ve been enjoying my time retired from the museum world. The Astolat team contacted me to talk about the dollhouse castle. It’s seven stories tall, and was created by Elaine Diehl. Not much is known about Elaine, I’d love to hear what a historian of miniature dollhouses has to say about her. She’s said to be from Colorado and she had a store in Sedona, Arizona. When she retired, the current Astolat owners purchased the dollhouse from Elaine. These current owners are now touring the structure to raise funds and awareness for children’s charities. Astolat is currently on view at the Shops at Columbus Circle, in Manhattan’s Time Warner Center, now through December 8. People go gaga for the dollhouse. Women and children are predictable, but the men coming in… they’re equally involved.
The dollhouse is inspired by Alfred Lord Tennyson’s poem: “The Lady of Shalott” from 1832. Her name was Elaine of Astolat. She lived under a curse and never left her castle until she saw Sir Lancelot riding by. When she realized he would never love her, she killed herself. That was the curse. I imagine that Astolat’s miniaturist, Elaine Diehl, connected her name and the idea of making a castle dollhouse.
There’s no specific style to the dollhouse. It’s up there in size with some of the other famed dollhouses that have gone on tour to raise money for charities: Queen Mary’s Dolls’ House and Colleen Moore’s Fairy Castle. As with all dollhouses, Astolat creates a sense of wonder in the viewer. People marvel over the miniatures and how it’s possible for artisans to craft works smaller and smaller.
Can you tell us a bit about the dollhouse’s functionality?
From the Astolat site:“It features 29 rooms filled with 10,000 miniature pieces, including elaborate furniture, oil paintings, mirrors, fireplaces, gold miniature jewelry, rare-mini books more than 100 years old, fine rugs, fabrics, and pieces made of and silver and gold. It has seven levels, stairways, hallways, a basement, a wine cellar, a kitchen and an armory. There are formal rooms, a library, a music room, a grand ballroom and a bar, and that’s before you get to the Wizard’s tower on the top level.”
Astolat was made between 1974 and 1987. It comes apart into about 66 pieces. The whole façade is sculpted to look like stone. Maybe Elaine did this herself, but it is such a huge building that I suspect she may have had an assistant! And she most likely had help from an electrician when it came to the wiring of the dollhouse rooms. I don’t believe there is an assembly manual, but the various sections are well-marked. And when the castle goes on tour, there will be a manual.
Astolat’s owners are focused on the current life of the dollhouse. When they bought the work, it contained about 10,000 miniatures. They’ve since added approximately 20,000 works of miniature to the dollhouse’s collection. The rooms are the same as they were.
How does the Astolat team determine which of the 30,000 objects will be displayed in the Castle?
In a house like this, the curation of objects is never done. All the miniatures can be maneuvered and moved. They’re affixed to surfaces with museum wax, so any exhibition venue has to be careful that the dollhouse castle does not get too warm. There are sconces and wiring, functional dollhouse lighting and a working elevator. The furniture can all be rearranged. The floors are made of different parquet and stone. The shells of each room are set, and I believe the paintings and hanging works of art stay the same. But the present owners determine the arrangement of all the miniatures.
Canary in brass bird cage by miniature artisan Laurel Coulon (dated 1979).
And there will be a few objects auctioned off in the near future to benefit children’s charities. This is an opportunity for miniature enthusiasts to own a piece of the dollhouse castle, and to help children. More auction information will be updated on the Astolat site soon.
Do you have a favorite space within the castle?
There’s much to see in each of the 29 rooms in the dollhouse castle. There’s a wonderful exotic room. Inside of it is a carved Chinese wedding bed. There’s a little Taj Mahal in the front window, a tiny Chinese birdcage made of bamboo. There is a polar bear rug on the floor. The room leads into a luxurious bathroom.
Do you have a favorite miniature from the Astolat collection of 30,000 works?
Table with geode collection featuring genuine miniature geodes and crystals. Table made by miniature artisan George Becker, one of his earliest works. Marked Gryphon (dated 1976).
Do you consider yourself a collector of miniatures?
I have a lot of small things, but I’m not a miniature collector. I collect New York City skylines in miniature. I like Britain’s Ltd garden sets and train sets. I have a collection of birdhouses, beehives, benches, and more from the company. I like the utility poles from train sets. I enjoy them from a design standpoint. But I don’t put these miniatures into anything.
How would you explain the universal fascination with miniatures?
The obsession with small scale things is innate in our souls. If you think back to Chinese and Egyptian tombs, the deceased were buried with their miniature barnyards or bakeries. It’s not just about the dollhouse, or an association with children. There’s more to it than that.
Why do people garden? Why do they cook? You have to do things with your hands. You need to do something with your hands. And I think that’s really important. I, for one, always need to be making things.
Advice to those starting out in the field of museum studies?
The most important thing is to get an internship at a museum to see if you really like the experience. I’ve had dozens of interns over the years, and a lot of them had to get into the field to see whether or not it’s something they really care about. It’s so important to respect the objects. Everyone is into technology these days. That’s fine, but don’t forget about the objects. Take time to look at the work on display. Appreciate what you can do in real space, not online. Don’t forget the objects.
English Oak Kitchen Work Table by miniature artisan Warren Dick (dated 1983). Miniature food and accessories: Silver carving setin case by Al Archer (dated 1980). Contemporary miniature artisan food: turkey, cornbread stuffing, and cranberry sauce by Crown Jewel Miniatures; plated food, rolls, mashed and sweet potatoes by Janet Uyetake; pumpkin pie by Fairchildart; salt and pepper shakers by Weston Miniatures.
What do you want miniature enthusiasts to know Astolat Dollhouse Castle?
There’s always something more to learn, which is very exciting. I love to see people walking around the castle at Time Warner, being seduced by the experience. There’s a wonderment about it. I love watching guests take virtual trips through the expansive space. Astolat asks people to be involved with it. It’s inviting, and it’s a happy little world that you can control. It provides an escape to viewers—a sense of voyeurism—that allows them to watch what’s going on with great intent.
Dorothy Twining Globus served on the boards of The International Design Conference at Aspen; The Annette Green Museum at the Fragrance Foundation in New York City; and on the Trustees Council of the Preservation League of New York State. She was also on the faculty of the Masters Program in Design at the School of Visual Arts. Globus served as Curator of Exhibitions at the Museum of Arts and Design (MAD) in New York City from 2004-2013. She played an integral role in the planning and presentation of MAD’s exhibition program. From 1993 through 2000, Globus was Director of the Museum at the Fashion Institute of Technology (FIT) in New York City, where she was responsible for a collection of over 50,000 costume pieces, and some 30,000 textiles. Prior to being the Director of the Museum at the FIT, Globus was Curator of Exhibitions at the Cooper-Hewitt, Smithsonian National Museum of Design in New York City for 20 years, where she presented nearly 200 exhibitions on all aspects of design. Additionally, Globus has also organized numerous exhibitions as an independent curator.
Astolat Dollhouse Castle is the world’s most valuable dollhouse in the world, officially appraised at $8.5 million. The dollhouse castle is now on display at the Shops at Columbus Circle, Time Warner Center, through Tuesday, December 8. Miniatures from the Astolat Dollhouse Castle collection will be auctioned off in the near future to benefit children’s charities; this is an opportunity for miniature collectors and enthusiasts to own a piece of the dollhouse castle and to help children. Auction information will soon be posted at www.dollhousecastle.com. To learn more about the famous dollhouse, and to see many more photos, visit the Astolat Dollhouse Castle website. You can also follow along on Facebook, Twitter, and Instagram using the hashtag #dollhousecastle.
We [Robert and Gavin] ran a software company for 10 years and became disillusioned by corporate life. We took a year out, drew a ‘mind map’ and came up with Chisel & Mouse. Gavin has always been a keen model maker and I wanted to use 3D printers (which we use in our prototyping). We shared a passion for architecture and both wanted to make a something. Architectural sculptures met all of our requirements.
What are the advantages of knowing your partner so well, and how do each of your respective talents come together to form a successful team?
We have complementary skills and interests. Gavin is focused on the creation and production of the models and I’m more focused on the presentation of the models and the company. We have cross over, and get involved in each others’ domains regularly but the ‘ownership’ stops too many tantrums! We switch from brothers to business partners back to brothers in an instance. Most of our big working decisions have been made on a dog walk.
Tell us a bit about your interest in 3D printing.
Advancements in 3D printing have made rapid prototyping easier and easier. You can work out the rubbish, tweak your design, and have another go at it. Since 3D printing is still somewhat in its infancy, speed is still an issue. As with the Ultimaker 7 for instance, it takes a ludicrous amount of time to print one object. You create a CAD drawing, send it out, and print it out. It’s revolutionary technology. It now takes us over 24 hours to print one of the standard sculptures from the Chisel & Mouse collection. And sometimes these works fall over at hour 21, so you have to start all over again.
What’s the most challenging aspect of your day-to-day work on these miniature replicas?
There are many! Applying the metal etched detail for the windows and doors on many of our models can be very tricky. Overhangs in general are difficult to create. Churches that come to a severe point, or church spire, are also challenging. On another note, working out which building or aspect of a building we are going to model can be very difficult.
What materials do you use to make your architectural sculptures?
Our models are made of a very hard resin plaster, which is free of toxic solvents. Some of the detailing, such as window frames and doors, are made of etched brass or nickel silver. The bases and some of the backs of the models are covered in black felt.
As for unique materials we’ve used to make these sculptures: toothpicks.
Do you have a favorite piece you’ve created?
Hill House. I love Rennie Mackintosh and with Hill House, you can see his unorthodox style. At first glance, it looks like the outline of a building a child would draw, then you look more closely and you see his total lack of symmetry.
I’m really excited about the Capitol Records Building in Los Angeles. It represents a record deck, with a 7-inch record stacked out. As one record finishes, the arm goes back down. I’m really pleased to work on that one in miniature.
Also, there are a number of villas we will be working on including Farnsworth House. And of course the dollhouse in modernist style.
Are your architectural sculptures all one piece? Do any of the pieces move?
Our works are primarily one solid piece. For our façade models, we’ll take one solid lump of plaster and add metal to it later on. As for our 3D-printed works of art, we use a combination of materials, such as plaster walls, metal windows and doors, and 3D-printed internal structures.
On the large dollhouse we created, you can remove the roof to look through the space. You can also pull out the first floor to look down into the room below.
Are your Chisel & Mouse sculptures one of a kind?
There’s definitely a craft element in our work. All of our sculptures are slightly unique. When we pull them out of their molds, that part is constant and consistent. But we’re always finishing up little bits here and there, and there’s nuances that make each sculpture distinct.
How many countries are represented through your Chisel & Mouse architectural sculptures?
We are focused on British and US architecture but we also have models from Germany, the Czech Republic, and Manila in the Philippines. Each month the list of buildings and countries keeps growing. We’re a bit more focused on creating buildings that you know and love and can readily recognize.
When clients ask to make a miniature model of their home, are there any details you cannot guarantee?
When it comes to bespoke commissions, yes, we can create a 1-for-1 replica in miniature. However, there are certain parts of a building that one might leave off when creating it in smaller scale. Brickwork, for instance, we can create this look, but then the model becomes a bit fussy. So we might stylize a piece in such a way and leave off tiling and brickwork. If we had something like canopies or entryways that jut out across the pavement,we might recommend that these elements be artistically restricted from the final sculpture. The impression of a basement, for one.
Do you work within a particular miniature scale?
We try to work within a scale that fits the specific space the client has in mind. Not too small, but roughly a foot across let’s say. We can create much, much bigger architectural sculptures as well as smaller ones. However, when it comes to the small scale works, we do most of our work in plaster, and there comes a point with the detail when the plaster becomes too fragile. Staircases, for instance.
What’s your take on miniature furniture within an architectural structure?
Without furniture, it’s not at all possible to tell the function of the room. It allows viewers to dream the dream and see themselves inside the space.
Have you collaborated with any miniature artists?
We haven’t yet, but would love to. For our dollhouse project this is definitely something we want to do.
Do you ever create sculptures of outdoor spaces or landscape design?
We would consider any structure. We were recently asked to work on a particular type of Syrian gate that has elaborate markings on the side. We would definitely consider other outdoor works.
What inspires you?
Reproducing iconic buildings in exacting miniature.
Motto that keeps you creating?
We don’t really have a motto, just a passion to keep improving.
Tool, material or technique you can’t live without?
The trusty chisel. We work with plaster and the chisel is essential to get the models just right.
What are your earliest memories with miniatures?
I must have had exposure as a child, but my clearest memory is from much more recently when I first saw the Vitra miniature chairs. I was blown away by the detail and level of craftsmanship
Advice to beginner architects, designers, and artists?
Be proud of what you produce.
What do you want miniature enthusiasts to know about you?
We are obsessed with details.
What’s to come from Chisel & Mouse?
We are working on a series of cityscapes and will be releasing New York City, Chicago, and Tokyo in the new year. We are also developing a range of modernist dollhouses, and hope to release these in the autumn of 2016.
We’d love to collaborate with architecture and design schools in the future. And to have a display with all of our pieces would be a dream come true as well.
Anything else you’d like to add?
We’re always keen for suggestions. It would be great if miniature enthusiasts let us know what buildings they would like to see modeled.
Robert and Gavin Paisley are brothers and architecture enthusiasts. They launched Chisel & Mouse as a way to bring their passion for beautiful buildings to life. Their mission is to bring great architecture into your living room. Click here to shop the Chisel & Mouse collection of architectural sculptures, bookends, and cityscapes. And you can follow their updates on Facebook.
Just a twinkle in a little brain cell that came to fruition as all creatives will understand! More than his character, I hope to show what living in the moment is all about. Beaver Suit does everyday things and enjoys them all. He is very Zen I suppose! What is also important to me is that he makes a smile happen, even for a very brief moment!
How many Beaver Suit characters are there in total?
Currently seven that I know of… but he has lots of friends, birds, insects, and more!
Do you ever take Beaver Suit on the road with you?
I’m not keen on taking Beaver Suit out of his element, as the one I live in is very big!
Anything you’ve learned about photography through your work with Beaver Suit?
I’m certainly not a photographer and I am always learning better ways of capturing Beaver Suit doing what he does.
What types of Beaver Suit photography shots are the most challenging for you?
I enjoy the process so much that I don’t find it challenging, just a matter of problem solving I suppose.
Do you have an affinity towards miniatures?
I do! From a very young age I have been an artist and maker. I also created my own small characters from many different mediums.
What’s something about Beaver Suit that people don’t know?
What a great question! He is 4 inches tall, likes dessert a lot, and is a Libra.
What inspires you?
Many things! By just opening my eyes and looking around, slowing down, and paying attention, I am never uninspired.
What is the most memorable miniature you have ever seen?
Haha, I would say Beaver Suit!
What’s to come from Beaver Suit?
Christmas should be a fun time around the old Beaver Pond, and a few other celebrations are in the works!
Advice for beginner artists?
Advice for artists and everyone: Play a lot. Laugh a lot. Don’t worry a lot!
Other activities you enjoy?
As with Beaver Suit, I play the ukulele, paint, draw, sculpt, sew, knit, and more! He is a bit of an athlete and a cook… which I am not!
Beaver Suit and his creator both live in Canada! Did you know that the beaver is the national animal of Canada? Follow Beaver Suit’s adventures on Instagram!
Well, I wasn’t a child when I got involved in miniatures. I’m a crafty guy, I’ve always had a workshop. When I lived on Long Island my space was filled with table saws, radial arm saws, and more. Eventually my mother decided to go into business. She had amassed thirteen dollhouses; it was quite the collection. We had Cape Cod dollhouses, brownstones, and colonials. As a teacher, I would take my free time and work in the store. I worked long hours, and that was the arrangement for 10 years. Once the shop’s rent doubled, we decided to go the show route. Early on, my mom did about 24 shows a year. As she got older, we still did about 12 shows a year and I would do the four biggest with her.
My mother was diagnosed with cancer and was intubated for over four months in Florida. This was her fourth episode with cancer. I was down there every other week and kept the business going all that time. I spoke to my wife about keeping the business going once my mother woke up. They pulled her out of the ICU at Boca Raton without my permission and it was a long process of recovery after that. She wasn’t the same. After the first year of her rehab, I redesigned the whole company. I changed the table format, amended the buying and selling procedures, and built the website from scratch. I did it all myself. I hoped that as she recovered, her interest in miniatures would be rekindled. However, her interest waned and she sold lots of her collection. I decided to give things a trial to see how it would work out. For the first few years, I sold at six shows per year. Then, we cut it down to four.
My mother was a tough, consummate sales lady. She taught me what not to do. I have an MBA in Finance, and I know how to run a business. I taught economics for over 30 years. So I know how consumers want a sales rep to approach them and how best to react.
What is the most memorable miniature you have ever seen?
is a replica of a piece found in Wrightwick Manor. The four painted panels, done in oil, are of classic Tudor figures that have both a human and religious quality. If you check out the oak original, you’ll find that their rendition is right on target. Additionally, Mark included dove-tailed drawers and a silk seat, top and sides.
A great example is this desk [pictured to the left: Renaissance Revival Desk by Valentino P. Besarel carved with full figure cherubs, panels carved in relief]. I redid the design so that the legs were original, but of our own making by replacing the cherubs on the bottom so it would fit the rest of the desk. The side drawers slide outward, and the small center drawers utilize the chin on the lion mask as their pull. The desk is of demilune shape, centered by a locking cabinet. Most of my pieces are like that: I work with artists that will do that. And I never make more than four of anything. Look for this work at the Chicago International in April.
’ve never had a bad check in all the years I’ve been doing this business. And that’s something I’ve always prided myself on. My philosophy of decoration has been that every piece in your house does not have to be a collector’s piece. You ought to pick a piece that the eye can focus on, whether it’s in a roombox or a dollhouse room. You can finish the rest of the room around that particular piece. I may not have the accoutrements necessary for the room, but there’s no need to put a collector’s piece in every corner of the room. You want one piece to shine. Don’t overcrowd a room. Every time I make a piece of my own, I give it to my daughter. That way, there’s not only major artisans represented in her dollhouse, but also me.
