Lippizaners

(From Breyer History Diva, February, 2011)

For no particular reason, I was thinking about the Classic Lipizzan mold today. It’s been quite a while since we’ve seen him last - in 2003 and 2004, as the 3365 Mystical Pegasus. And even longer since we’ve seen him as an actual Lipizzan, the last being a shaded Alabaster Special Run made for the touring show "The Wonderful World of Horses," in the 1990s (starting in 1993, and running until …well, I don’t know. Through most of the 1990s, at least. It was one of those open-ended Specials.)


This guy's the regular run #620, with better-than-average shading. Early ones tended to have extra facial shading and more pronounced ventral stripes. The two later SR Alabasters - the 1992 German SR, and the touring show SR - had grayer hooves, and more body shading.

Most of his releases have been of the fantastical type - either as Pegasi, or Unicorns - in various shades of Black, White or (inexplicably) Blue. I’m not a huge fan of the fantasy horses, but I do like the Lipizzan mold, so I have most of them. But not all: y’all know I don’t do flockies. I have not been, and never will be, in the market for one of those creepy flocked blue things from the 1985 J. C. Penney’s Christmas Catalog. (They disturb me so much I prefer to not even acknowledge their existence, most days. Glass eyes = Always a bad idea, Custom or OF.)

There’s a possibility that we’ll see the mold again at BreyerFest, if his prior history is any indication. They’ve already announced an SR Unicorn, so there has to be an SR Pegasus in the mix somewhere, and he’s the most logical candidate.

I’m okay with that, as long as they do something a little more original with his coloring - a wild Dark Dappled Gray (like the Traditional Pluto release of Embajador IX) would look pretty neat, as would a Charcoal or (swoon!) Silver Filigree. Anything Decoratory will do, just as long as they don’t fall back on their "Pastel Alabaster" cliché.

If I had the preference, I’d rather have him back as a plain old Lipizzan, again - no wings, no horns, no unnatural colors. He doesn’t have to be some shade of Aged Gray or Alabaster, either: there are all sorts of historical colors to choose from - Pintos, Appaloosas, Duns - but I’d be cool with a Dark Dappled Gray, too.

What I’m really pining for is a simple, straight up Bay. I’m not asking for anything fancy - a little bit of white, a little pangare, a hint of shimmer - all the usual details they pack on a standard OF paint job nowadays. I just hope that if they do make one - for BreyerFest, or any other occasion - they are not quite as rare as the real thing.

Insert Sheets Part One

(From Breyer History Diva, February, 2011)

The 1961 Insert Sheets materialized in the 1990s, and consisted of 4 single-sided duotone sheets, featuring the Fighting Stallion, the Mustang, the Five-Gaiter, and the Modernistic Buck and Doe. The sheets are physically undated and as far as I know, came without any other supplementary materials to help date them.

They are assumed to be from 1961 based on corroborating evidence from contemporaneous mail-order catalogs and magazine ads. They also have greater similarities to the design and color scheme of the 1960 Dealer’s Catalog than the 1963 one.

Back then, Breyer didn’t issue a new Dealer’s Catalog every year: it was just too expensive. They’d print one base catalog, and make additions via separately printed sheets that could be inserted later - either loosely, or stapled in a signature.

This was pretty much Breyer’s standard operating procedure up until the early 1970s, when they finally started printing new (or at least reformatted) catalogs every year. It sometimes makes for some difficulties in dating, especially in the Dealer Catalogs of the late 1960s.

The 1964 Dealer Sheets - featuring the Deer Family, Stretched Morgan, and Belgian - are a little less notorious, mainly because there’s less mystery surrounding them. For one thing, we already knew that these molds appeared in 1964: we have copies of the 1964 Breyer pricelist to prove it.

We don’t have any pricelists for the period of 1959 through 1962, however. (Oh, how I long for them!) That those four sheets appear as a set implies that they were all released within a short period of time from each other. Some of them in that group might have been released earlier than others, but they were all (I assume) available by the time the sheets were printed. And the most logical date for them is 1961.

Insert Sheets

(From Breyer History Diva, Mach 2011)

Back to the Insert Sheets discussion. First, here are some scans of the little seen 1964 Inserts:




I really like the way these pages are designed; if I had the money-time-inclination, I’d have them blown up to one-sheet poster size and frame them for my office. (Note to the folks at Reeves, if you’re reading: you might want to look into this idea. I’m pretty sure I’m not the only one who’d be into that sort of thing.)

You’ll note that unlike the 1963 Dealer’s Catalog, these sheets are not full-color. The 1963 Catalog was a bit of an outlier; most of Breyer’s marketing materials prior to the late 1960s were not printed in full-color. It wasn’t purely an aesthetic choice: full-color printing was expensive. If they could get away with printing something in a duotone, or with a spot color or two, they would.

A restricted color palette isn’t that big a deal, as long as the materials themselves are designed and rendered well. And for the most part, they were, but that’s another topic I haven’t even begun to research yet. (I met Richard Lewis once, in passing, about 10-12 years ago. Another one of those "wish I had a time machine for a do-over" moments.)

As far as I know, the 1962 Insert Sheets haven’t shown up - yet. Now there’s something I’d pay an almost-crazy amount of money for. It’s possible they may not even exist, but we didn’t know the 1961 Sheets existed, until they resurfaced.

We’ve got a good idea of which molds those sheets might feature - the Running Mare and Foal, the Western Prancing Horse, and maybe the Texas Longhorn Bull - but having those sheets would prove it, definitively. I’d be fine with finding that information via other routes, but the sheets themselves would be sweet.

1963 Dealer's Catalog

(from Breyer History Diva, December, 2011)

A true 1965 Dealer’s Catalog is very similar to the 1963, but comes with an extra, bound-in signature, rather than loose insert sheets. Since I have the 1963 and the 1964 inserts, I didn’t pay any more attention to the auction after that. The letter that it came with would have been nice, but I already have two that predate that.


I was doing a little bit of research on some completed listings yesterday, and when I ran across it again, I did a double take on the price. I really wasn’t expecting it to go quite that high: I thought it’d land somewhere in the $200-225 range, not $300+.

It is true that I paid about the same amount of money for my 1963 Catalog with 1964 inserts. However, my lot also came with the Red Bird Sales pages that included the (so far) only known documentation for the original Buckskin Running Mare and Foal. When I bid on that lot way back when, the majority of my money was going towards those extras. The Dealer’s Catalog just happened to be an excellent "comes with."

What was shocking to me about the price on this latest auction is that the 1963 is probably the least rare of the pre-1970 Dealer’s Catalogs. They’re by no means "common," but of all the other known Dealer’s Catalogs, the 1963 is the easiest to obtain - easier than most of the late 1960s, even.

I think that is because I think Breyer printed up way more of them than they did of any of the other early Dealer’s Catalogs.

But why, and to what end?

I suspect that Breyer blew a big wad of cash on the 1963 catalog in an effort to upgrade the image of the brand in the eyes of retail buyers. It was clearly designed to do more than just sell specific products to existing buyers: it’s 16 pages, and in full color. Most of Breyer’s PR materials prior were either smaller in scale, or made limited use of color printing.

In some respects, I think it might have also served double duty as Breyer’s first "Collector’s Manual." It wouldn’t surprise me if Breyer had kept a few cases of this Dealer’s Catalog in the offices to mail out to all the kids that were writing to them back then. My 1963 Catalog came in a lot with a similar letter to a prospective collector, too.

It’s still a very, very good thing to have in anyone’s reference collection, but dang, I sure hope that price is not a harbinger of future ephemera auctions to come.

Classic Arab Mare Variation

(from Breyer History Diva, March, 2012)

Following up on the well-received post about the Classic Quarter Horse Family, here’s a picture of another interesting variation on the old Love Classics - this time, the Arabian Family Mare, with two stockings instead of the standard four:


This was another one of those "early in the run" variations that disappeared within months of the original release, ca. 1973. It’s the way she appeared in the 1973 and 1974 Collector’s Manuals. Here she is on the cover the of the 1974 catalog, with the rest of her family:


She’s shown with four stockings in the 1975 catalog onward.

This was not the only notable variation within the Classic Arabian Family. After the Mare gained a couple extra stockings, the Stallion lost his star a few years later, and then the both of them had their tan hooves replaced with gray ones some time after that. (The Foal, oddly, didn’t change that much over the years.)

The Two-stocking Arabian Mare is about as uncommon as the Star-faced Classic Quarter Horses, but probably slightly more sought after. Although the Stallion himself is looking a wee bit "dated" to pass as a pure Arabian these days, the Classic Arabians overall seem to have retained their showability better than the Quarter Horses have.

(Not passing judgment here - just noting the change in tastes. Personally, I prefer my Quarter Horses on the beefy and compact side - and my Arabians more in the mold of Ferseyn, too.)

Plus, there’s the fact that she looks so different - showing yet again, just how much a difference a bit of paint can make. Even though I’ve long since upgraded mine, I still pause every time I see one for sale.

Bay Fighting Stallion

(from Breyer History Diva, 2009)

I was doing a little research on a topic I had been planning on writing about today, but I found something else instead: more on the possible origins of the Five-Gaiter Sorrel Fighting Stallion. (This sort of thing happens all the time, which is why my list of future topics never gets any shorter.) I was cross-checking some data in my early Breyer pricelists, and something caught my eye:

Look familiar? It's the same photograph of the “Bay” Fighting Stallion we saw in the 1968 Collector's Manual that I concluded was the Sorrel Fighter:

The “new” data isn't really new: I've had it for several years now. It comes from a copy of the Frederick C. Wolf & Son Inc. pricelist, dated May 7-8, 1963. (One page is dated May 7, the rest are dated May 8.) They were wholesale jobbers and distributors based in Tacoma Washington.

Most of the data duplicates what we already know from the official 1963 price list; the importance of this list was that it was the first documentation that showed that the matte and gloss Alabaster Fighting Stallions really were two distinct, separate releases. The 1962/3 Red Bird Sales Pages documents that fact in better detail, but those were found a few years later.

(We're not sure what to make of the “Dancer” nickname given to the No. 31 Fighting Stallion: we don't have any other reference to this name anywhere else. We don't know if Breyer or the jobber made it up. Separate topic anyway.)

What this “discovery” means is that we can push back the possible manufacture date of the Sorrel Fighting Stallion back to 1963. Since this was the same year that the Bay colorway was formally introduced on the Fighting Stallion, that means that the Sorrels may predate the standard “Breyer Bay” version we all know and love.

The only question then becomes: where do the Gloss Bays fit in the chronology? We don't have any references at all for the Gloss Bay Fighting Stallions: no pictures, and no notations on any pricelists, mail order sheets or catalogs of a finish change.

Then, as now, some of Breyer's upcoming releases may have been made available early for holiday orders. My guess – and it's purely a guess – is that these first batches of Fighting Stallions were produced in Gloss, possibly as a part of the 1962 holiday shipments. Once regular production began, they switched over to the Matte.

That wouldn't explain why the photograph shows the Five-Gaiter Sorrel version of the Fighting Stallion, though. If the glosses came first, and they intended the Sorrel color all along, then there shouldn't be any Gloss Bays at all: just Gloss Sorrels. But that's not the case at all. (I also happen to think that more than a few of the “Gloss Bay” Fighters out there aren't 100% authentic, but again, that's a separate topic.)

There was a lot of color confusion in Breyer's early days: the same colors on different models had the same name. The “Bay” Western Prancing Horse was actually the same color as the “Sorrel” Five-Gaiter, and the “Chestnut” Running Mare and Foal were the same color as the “Bay” Quarter Horse Gelding (except for the finish.) And the #36 Racehorse was called “Bay,” but was actually Chestnut.

Maybe somebody – or a lot of somebodies – just got their shades of Bay mixed up. “We didn't mean the Prancing Horse Bay, we meant the Running Mare and Foal Bay!”

Speaking of the Running Mare and Foal, there's another theory about the color switch that I've been entertaining: Breyer may have been engaging in a little “matchmaking.” Customers liked buying matching family sets: since the Matte Bay Running Mare and Foal also came out around that time, maybe Breyer thought that by making the Fighter in the same color and finish, customers would assume that they were all members of the same family, and buy accordingly.

Stock Photos

(from Breyer History Diva, 2009)

What I do want to talk about is the catalog photography problem. No, not the recent phenomenon of lackluster lighting and color correction, but Breyer's bad habit of reusing and recycling old stock photos.

It was a particularly bad problem in the 1960s and early 1970s, when the product line changed at what now seems like a glacial pace: models and colors were issued not for months or years, but for decades. It made sense for Breyer to get as much use out of the stock photographs they had on file, rather than retake photos of the same models from year to year.

The only problem was that these paint jobs didn't necessarily stay the same over time. Markings changed, or the color or shading may have been tweaked over the years. Sometimes only the prototype of the model was available for the initial photo shoot, and the production model was significantly different. The Yellow Mount was famous for this discrepancy. For years, Breyer used photos of the prototype, which looked little like the actual production model. Here he is again, in the 1975 Collector's Manual:

He was his actual normal self in other PR materials, including the picture box he came in – here illustrated in the 1975 Dealer's Catalog:

Many of us were quite disappointed back in the day when we realized that the model we received only bore a passing resemblance to the one we saw in the catalog – because it was the photo in the catalog that we had formed our hopes and dreams on!

It's a huge problem when it comes to documenting color and mold changes. Most of the photographs in the 1968 Collector's Manual weren't taken from models that were fresh off the line: they were stock photographs that had been sitting around, sometimes for years. They retook a lot of them for the 1969 Manual, but a lot of those same photos were still being used in the 1975 Collector's Manual, even though many paint jobs changed dramatically in that timespan. We have to rely on other sources – contemporary photographs and accounts, and non-catalog promotional materials – to date those changes.

Stock photos are still useful research tools; look at how far it got us with the mystery of the Sorrel Fighting Stallion. It helped establish an earliest possible date: that model in that color had to exist by 1963. Stock photos cannot be used to establish a latest possible date, because as long as the photos exists in some form, somewhere, it may get used. For example, I have a very amusing toy jobber catalog from 1977: some of the photos they use to illustrate then-current Breyer products date back to the 1950s! (And don't necessarily match up to the product advertised!)

I'll have to talk about that wonderful old toy catalog another day – it really is worth its own post.

The stock photo problem doesn't happen as much as it used to, because the turnover is so high that individual releases don't have the opportunity to change over time. The markings or masking might be a bit different, or they might switch the finish from matte to gloss, but the photographs they release are a lot closer to the final production pieces than they used to be. We still hear griping and moaning about the models don't EXACTLY match the photographs, but compared to what we had to deal with in the 1970s, those complaints seem almost comical.

Seventies Catalog

(from Breyer History Diva, 2009)

Let's talk about that jobber/distributor toy catalog I mentioned last time. It's the Orgill Brothers and Company 1977 Illustrated Toy Catalog, and it's like a window into my childhood toyland: everything from Barbie, to Bicycles and Breyers, and Beyond! (Literally - Space: 1999 action figures!)

Jobber is a slightly antiquated word for a distributor or wholesaler. A middleman. They'll sell dozens of lines from dozens of manufacturers to simplify and streamline the retailer's ordering process – for a price, of course.

Every page of it is full of awesome, but the Breyer pages are going to be our focus, naturally. There's nothing out of the ordinary in terms of the selection – a couple dozen Traditionals, a few Animals, the Classic Racehorse Assortment, Stablemates Assortment, a few Gift Sets. No secret, previously unknowns special runs or oddball items that I can see. (The Donkey and Elephant are present, but that's overstock from the previous year's Election/Bicentennial promotion, and not really a huge surprise.) Just the kind of horses you'd find in your locally-owned hardware store, the market that Orgill primarily caters to.

Yeah, I did buy some of my models at hardware stores back then! Didn't you?

What's nice about a catalog like this is the ability to compare the wholesale prices with the suggested retail prices. Midnight Sun would cost the retailer 4.39, with a suggested retail of 6.59 – a 33% markup. That's about the same markup Orgill was making: per Breyer's own wholesale pricelists, the cost to the distributor for that same Midnight Sun would have been 2.97!

I have no idea what the markup is now: I'm neither a distributor nor a retailer. Even if I was, there would probably be some contractual mumbo-jumbo about the pricing structure that I would bar me from discussing it in a public forum anyway. But we're talking about 30 year old prices on merchandise that's been long discontinued.

For those of you pining for the days of the Six Dollar Traditional, don't forget that this was in 1977 money. As a genuine chronological youngster of that time period, I can assure you, Six Dollars was not a small sum. Saving that kind of money took herculean effort, especially when you're constantly tempted by one dollar Stablemates and 35 cent comic books.

The most fascinating part of this catalog, though, is the photographs: a I mentioned in my previous post, some of them are OLD, and many don't match the product that's being sold. Here's the Running Stallion:

The Alabaster Running Stallion was discontinued, oh, around 1971. The text under the photo notes that it's the Appaloosa you'd be buying. Likewise with with the Indian Pony, shown here in long-gone Buckskin version:

My favorite is the Fighting Stallion; the stock photo used to illustrate the Alabaster is actually that of the Gray Appaloosa, dating back to at least 1961!

We have our share of vintage prototype pics, too, including our old friend Yellow Mount, taunting us yet again:

Several of the newer items – like Lady Phase, the Charolais Bull, and Hobo – have more contemporaneous photos, so Orgill obvious had access to them. So, what was up with the outdated, incorrect stock photos?

The answer is simple: this catalog is pre-digital. It had to be manually pasted up. Every chunk of text and every photograph had to be physically cut and pasted into place. Lines had to be hand-drawn with a technical pen. Mistakes and cut lines had to be touched up with white paint, with a paint brush. If you look closely at the scans, you can still see a few blotches and cut lines.

It's about as much fun as it sounds. I managed to get into graphic design at the very tail end of the “manual” era, so I did get to experience that fun first hand, briefly. (My first semester in art school included a digital prepress class – in Aldus PageMaker! It was my favorite class, by far. I miss doing digital prepress, I really do...)

So the overworked table jockeys who had to put the toy catalog together probably reused old pages, or cut and pasted chunks of old stats into the new pages. Wherever there was a possible discrepancy, they'd paste in a line of text underneath to cover their behinds, just in case.

I'm sure that shortcuts like this probably led to at least a handful of post-production runs on some of the models in question, unless Breyer got lucky and just happened to run across a box or two of old stock hiding in the factory somewhere. No matter how thoroughly the search, there's always a box or two of some old somethings lurking in the warehouse. Look at the kind of stuff that still turns up in the Ninja Pit every year!