A New Circus Pony

I have such a soft spot for the Hagen Renaker Circus Ponies and have acquired quite a conga of them in my minis cabinet. 

But there's always room for one more! 

Linda Shawhan listed this HR Head Down Circus Pony (#A-267, 1956-1957) on Facebook's Clinky Classifieds for $35 plus shipping.  It had no breaks or chips and Linda (a friend) was asking a very fair price for it.

His paint job is pretty average - notice that the hooves are not completely painted gold as they should be. That's common in this piece as well as with the Head Up version. 

You can see the hoof difference in this photo of the new Circus Pony when compared with my first piece in the same color. That first piece also has the scalloped harness and bridle, and if you look closely, a red dot on the bridle where the noseband meets the headstall. Neither of the other two have that detail.

My second piece (in the middle) does not have the scalloped harness, but his hooves have a better paint job than the new one.

My new piece's upper eyelid line extends on both sides of his eye, unlike the other two. I really like his eye.

He is now in the minis cabinet with the rest of my Circus Ponies and a very welcome addition to my conga. 

Appaloosa FAM Variation #3

As I said recently, I love variations, especially when it comes to the spots on Breyer's Appaloosas.

I saw this small blanket version Appaloosa FAM with spots scattered down her legs on an online sales site  and snapped her up right away.

FAM Speck, #38, 1968-1971, small blanket version w/USA, $22, Kristina Salisbury, 1/2020

She's my third Appaloosa FAM, very white when you consider her age,

 and with moderately large spots all the way down below her hocks. 

I love how she compares to my Appaloosa FAM #2, also a small blanket version, who has huge spots.

 Both of them have the USA mark, making them later than 1970.

 Appaloosa FAM #1 is a belly band version with smaller spots

and no USA mark, making her pre 1970.

 Here #1 is in comparison with #2 - you can really see the differences!

I'm watching some other Appaloosa variations right now - fingers crossed that I will add some more to my collection of variations!

QH Yearling Variation

I saw this chalky- looking QH Yearling on eBay and the spots caught my attention.

QH Yearling, #103, 1971-1988, $8, eBay, raylou1/Corinne Amato

 I love spot variations, especially the large ones.

The white areas are very bright and the coat has a different feel and texture than my other QH Yearlings.

 IYB and Nancy Young's book say the spots are black but I would call them chocolate.

 I prefer the chocolate spot color over the red brown.

Grey Bucking Bronco

Sande sold me her great Bucking Bronco at Happy Trails.

It's my second one, but they are variations. This one has grey hooves while my other one has pink ones.

Grey Bucking Bronco, #191, 1966 only, $$25, Sande Schneider at Happy Trails 2, 6/2019

Breyer Bucking Broncho

Barrie Getz found this piece at an antique shop in California and offered it for sale. It is an odd variation with pink hooves. (Nancy Young's book lists them as grey and no note is made of pink ones.)

 Bucking Broncho, #191, 1961-1967, $30, Barrie Getz, California, 3/2017.

 The grey version is tough to find.

 Notice the pink shading on his nose and muzzle.

I am happy to add this piece to my collection!

Classic American Pharaoh

I went to Tractor Supply today hoping to find their Christmas special runs. They did not have them, but they did have this classic piece for a good price.

(Photos from Identify Your Breyer.)

Classic American Pharaoh, #9184, 2016, $18.99, Tractor Supply, Lafayette, Indiana

He has two grey hooves; descriptions I have found elsewhere say he should have four black ones. Variation?

Racehorse

I have wanted one of these oldies for a long time, so when I saw one posted on MH$P at $25 ppd, I jumped at the chance. That is SUCH a good deal! (And I knew the seller, so I knew it was a safe purchase.)

 Breyer #36 Race Horse, 1956-1967, $25, Andrea Gurdon, Romeo, MI, 12/2014.

 He's an early version with black hooves and he has the charcoal forelock, a variation of the piece.

He's also glossy. Call me a happy collector!!

Semi-Rearing Mustang Variations

(Photos from Blab.)

Some pictures of Semi-Rearing Mustang variations.

 Ruby

Vintage Glossy Grey Appaloosa

Fury

(From Breyer History Diva, October, 2010)


Speaking of vexations, let’s get back to Fury. Here’s a not very good photograph of a variation you don’t see too often: no socks!


There are lots and lots of variations on the original Fury, but that's not today's topic. Today's topic is much more fundamental: when was he released?

Breyer was pretty good about developing and marketing products of the licenses they did acquire in the 1950s. Lassie, Rin Tin Tin and Circus Boy all came out in a timely manner, not long after the shows debuted. But not Fury: even thought the show debuted in October 1955, I haven’t been able to find any documentation for the Fury model prior to 1958.

The Prancer mold was up and running for the Davy Crockett set by mid-1955, so the Fury model could have been good-to-go for the Christmas 1955 season, but no mail order catalogs from that year have shown one. He’s nowhere to be found in the multitude of 1956 articles and press releases, either. I wouldn’t rule out 1957 - there’s still plenty of digging to do there - but I don’t see him any of the 1957 materials I have at the moment.

It seems odd that Breyer wouldn’t have release a Fury until 1958 - nearly two and a half years after the show went on the air. Did someone else have the license for a model, and fail to make good on it? Was there a legal issue that had to be hammered out? Or was the licensing program for the show just a little slow on the draw?

The research I’ve done on non-Breyer Fury merchandise so far seems to hint that licensing for the show didn’t get fully underway until about … 1958. There were a few bits and pieces before then, but 1958 seems to have been the year they decided to go all out with books, comics, puzzles and the like - all the usual dime store novelties boomer kids dropped their cash on.

So that last possibility might be closest to the truth. 1958 might be the Fury’s true release date - unless further evidence proves otherwise.

Even though the merchandising might have gotten off to a late start, it wasn’t short-lived. Fury merchandise continued to be produced well after the show stopped production in 1960, in part because NBC kept the show on - renamed Brave Stallion - as a part of their Saturday Morning children’s programming until 1966. The same year - not coincidentally - that Breyer finally discontinued the Fury for good.

POA

(from Breyer History Diva, December, 2011)

 finally found one of my most coveted grails:


It’s the #154 "Bay" Blanket Pony of the Americas, with the factory striped hooves. It’s the version that appears in the Dealer’s Catalog and Collector’s Manual in 1979, the year it was released, as well as on the original version of the box it came in (which I also have, but can’t find at the moment.) Here it is in the Dealer's Catalog:


This is what a more typical Bay POA looks like, with dark gray-brown or black hooves:


You’ll notice that the color appears to be different too - it’s definitely darker and richer in the striped hoof version, with darker splash spotting. However, I haven’t seen enough of these variations to tell if this is an actual characteristic of this particular paint job, or a consequence of the natural variation that occurs over the length of production.

I had’t noticed much variation in the paint job of the Bay POAs before, but I it’s also true that that’s not the first thing I’ve been looking for when I’ve been looking at them. It’s those darn hooves that have transfixed me ever since I saw them on the darn box, ca. 1979. The Bay POA that came in that box - the same non-striped one you see above - was by no means deficient qualitatively, but it wasn’t the one I really wanted. I wanted the one with those cute little striped toes!

After several years of looking, I had become convinced that the striped hoof versions were, like so many other items seen in the catalogs and manuals of the times, preproduction or test pieces that were either long gone, or now beyond my reach. Those striped hooves, I reasoned, must have been deemed a detail that was deemed too fussy, or funny-looking, or too expensive for long-term production.

Then eBay came along, and I started seeing just enough of them to convince me that they may have been a legitimate - albeit very briefly issued - variation. Or possibly used on the original salesman’s sample pieces: I have noticed that salesman’s samples do seem to turn up on eBay with a greater frequency than normal, due to the very nature of the site.

In either case, I realized that my "grail" wasn’t completely unattainable.

Classic Quarter Horse Family

(from Breyer History Diva, March, 2012)

nyhow, since I’m short on time, again, I’ll spotlight another relatively obscure (yet significant) variation from my fabulous herd: the original version of the Classic Quarter Horse Family, ca. 1974.


There are a number of small details that make the original versions stand out from the later releases. The color on all three molds is softer and less "bright" compared to later versions, with the Foal verging on Buckskin. Both the Mare and Foal feature dark tan or "natural" colored hooves, that were changed to gray later in the run.

The Mare also has what I like to call "black to the belly" points: instead of blending the black points on the legs into the base color, the legs are solid black all the way up to the barrel - and sometimes, then some. It’s a peculiarity not uncommon on Bay paint jobs from the early to mid-1970s; I’ve seen it on the Bay Cantering Welshies and the Mahogany Bay Proud Arabians, too.

The earliest Stallions also do not have the "copyright horseshoe" mold mark - although, oddly, the Mares always did; I have a couple of Test Color mares I believe were Preproduction pieces, and they both have it. The Foal never had it in the first place.

The most obvious difference between the earliest Classic Quarter Horses and the later ones, of course, are the small stars on all of their foreheads:


The stars are a charming little detail, but it’s pretty easy to see why it got eliminated early on: because they were so darn little. The painters probably found them to be a nuisance, and the vast majority of their customers at the time - nonhobbyists, mostly - wouldn’t have noticed them one way or another.

The Star-faced Classic Quarter Horses are definitely not common; I see a handful of them a year, at most, which leads me to believe that this variation was extremely short-lived - to the first few months of 1974, perhaps. The gray-hooved versions were featured on the 1975 Dealer’s Catalog and Collector’s Manual, though the Stallion (but not the Mare or Foal!) does have a star.

In spite of their rarity, however, there’s not a huge demand for them. A lot of new hobbyists that didn’t grow up with the Hagen-Renaker "Love" molds just aren’t all that into them, or can’t see past the rougher seams and less sophisticated paint jobs of the era. The absence of the molds from the Breyer line, due to legal reasons, doesn’t help matters either.

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.

Breyer Poodle

(Breyer History Diva, 2010.)

I have most of the Traditional Breyer Dogs - not all, but most. Of all of them, I think I have the most of the Large Poodle - not sure why, I just do. It might be one of those regional things - they seem to show up in the markets here more frequently than the other more "common" Breyer canines, like the Boxer the Bassett Hound.

There’s also a multitude of subtle variations on the earliest Poodles - the Black and the White - that have fueled my previously unrecognized obsession. My favorites are the "Blue Collar" Poodles, especially my Black one:


We’re not entirely sure when the Large Poodle debuted; we know it was in production by 1957, since it’s seen in an ad for both the Black and the White in the June 1957 issue of Western Horseman, and in the 1957 Sears Wishbook (the infamous "French Poodle Sewing Kits.") I suspect that 1957 was the introduction date, but I don’t have any additional data to back it up my suspicion.

We’re pretty sure that the "Blue Collar" variations are the earliest, though. All of the reference photos of the Poodle prior to 1963 are in black and white, so all the evidence comes from the Poodles themselves. All Blue Collar Poodles I’ve seen lack the mold stamp - put on the mold ca. 1960 - and my MIB White Poodle with the Illustrated Shipper box (allegedly from the collection of an early Sales Rep) has a handpainted Blue Collar.

They are also relatively scarce, compared to the Red- and Pink-collared ones. The White Poodle is far easier to come by than the Black in the Blue Collar variation; I’ve had at least a half dozen Blue Collar Whites pass through my hands, but only one Blue Collar Black. Oh, I’ve tried: my Blue Collar Black is in much rough shape than he appears, and I’ve been trying to upgrade him for years. No luck: either I’m a little too late, or a little too short on the cash whenever a better one appears. Lucky for me he’s molded of solid black acetate, so his scuffs are not too noticeable.

So, why the disparity in the numbers? There are two possible theories. One, it could have been by design: maybe the Black Poodles were originally intended to come with Red Collars all along, and the Blues were a very brief anomaly. I prefer the second theory: I think the Black Poodle debuted slightly later than the White Poodle - maybe just by a few months, even - and by that time, they were already starting to phase out the blue paint in favor of the red, likely as a cost-cutting measure. (One less step in the painting process: just use the tongue paint as the collar paint!) Hence, the relative scarcity of the Blue Collar Blacks.

Sham

(Breyer History Diva, 2010.)

Most mold and paint changes occur early on in a model’s run, but we don’t really become away of some of these changes, or value them, until later releases of the same mold or color come out.

The Kansas City Shams are a good object lesson. At least one was lost that way, because it was assumed that the batch available at that show were production run Shams - or were going to be. Both Mr. Rudish, and hobbyists in general, were a little miffed when the Sham debuted in 1984 in a flat Red Bay, and not the "Golden Bay" described in loving detail in the book. It was assumed that the color correction was made, and the Red Bays were going to be the variation, not the standard.

Unfortunately, that was not to be. Rumors floated around that they had given the remainder of the Golden Bays they had produced to Sears for their 1984 Wishbook orders. Imagine what a nice surprise that would have been on Christmas Day!

Alas, there was little truth in the rumor. The paint job on the Sham did vary widely throughout its run - ranging from neon orange, bright red, to darkest mahogany - so it’s possible that a few of those early Sears Wishbook Shams could have been some shade of Golden Bay. But they were not the true Golden Bays from Chris Nandell’s Heart of America show.

Another complicating factor is that Breyer evidently did struggle with getting the Sham’s color just right: there are a lot of Bay test pieces floating around, and most that I’ve seen appear authentic, or at least not obviously faked. I even have one myself; if you look at him closely, you’ll notice that his mane and tail are hand-airbrushed, not masked like the production run piece:


(I purchased him from the estate of a man who had worked for Breyer in Chicago. He was not listed as a test color, but all the clues were there.)

There are a lot of dubious Kansas City Shams floating around. He’s so desirable - and potentially lucrative - a thing that many sellers start throwing around the "Kansas City" claim the moment they set eyes on a slightly lighter than average Bay. If every model claimed to be one on eBay were authentic, he’d be more common than most of the Special Runs of the early 1980s - ones measures in the hundreds of pieces, not in the dozens.

If you’re ever offered a Kansas City Sham, make sure the seller shows you the paperwork: the provenance, chain of ownership, receipts, whatever. And if they don’t, give ‘em the old stink eye and walk away.

Plastics Used by Breyer

(Breyer History Diva, 2010.)

Breyers haven’t always been made of Tenite Acetate. I’m not talking about the Stablemates and Little Bit/Paddock Pals, both of whom made the transition to ABS (acrylonitrile-butadiene-styrene) some time ago. There have been a couple of times in the past when Breyer used other types of Cellulose Acetate.

The first known incidence of this is from the early to mid-1970s: the Chalky Era. Since Tenite was expensive, and in short supply, Breyer went overseas to purchase the off-brand Cellulose Acetate they needed to continue production. It might not have been "Tenite," but it was still the same stuff chemically - more or less. It’s not the color this stuff came in that made the difference: the pigments used to color Cellulose Acetate have little effect on the plastic’s basic properties. It’s the formula itself: every manufacturer has their own, subtly different recipe for Cellulose Acetate.

Because each brand of Cellulose Acetate is slightly different chemically, it’s generally not a good idea to start mixing them together - just like it’s not a good idea to mix different brands of the same kind of paint together. So the brittleness some Chalkies are known for may not just be a result of a different "recipe," it could also be the result of a slightly incompatible regrind mix.

In the late 1970s, Breyer again was forced, due to cost, to switch to a different type of Cellulose Acetate. This time it was Cellulose Acetate Propionate (CAP.) CAP is most definitely not compatible with plain old Cellulose Acetate: the literature from the Eastman Chemical makes it very clear that mixing the two is a very bad idea. (Oddly, it can be mixed, to some degree, with the third form of Tenite - Cellulose Acetate Butyrate, or CAB.)

The "B" mold mark was added to molds during this time period - ca. 1979-1982 - to help distinguish the Propionate-molded models from the Acetate-molded ones, and prevent regrinding accidents. It’s assumed that the "B" mark was added to most Breyer molds in production during that time period - but we don’t know for certain. I’ve been casually keeping track of that data point just to confirm or verify. And who knows? Maybe a surprise or two will show up. (I keep track of all sorts of crazy data points. It’s a wonder I get anything done at all!)

But why did they use a "B" mark - shouldn’t it have been "P" for Propionate, instead? I wonder if they originally decided to go with the Butyrate form of Tenite instead, and only switched to the Propionate at the last minute. The molding properties of the Butyrate form of Tenite are more similar to the Acetate than the Propionate.

It’s probably only a coincidence - maybe it was just a "B for Breyer" thing, or a random mold stamp they picked up. Or maybe it was just an artifact of their internal production process: they may have simplified things for the workers by referring to the two different plastics by letter, rather than by name. If Acetate was "Plastic A," then Propionate could have become "Plastic B." No clue.

In general, both Propionate and Butyrate are more dimensionally stable, and can hold detail better than Acetate. However, these properties come at a price: less flexibility. That lack of flexibility results in this sort of thing happening more often:


A lot could have been done to manipulate Propionate and Butyrate to behave more like Acetate - either by changing the plastic formula (adding or subtracting plasticizers) or recalibrating the molding process (manipulating the heat, the pressure, or the injection speed.) It must have been too much of a hassle: they opted to go back to Acetate once it was feasible to do so.

While most molds had the B mold mark removed by 1982, it lingered on for years afterwards on a small number of molds, most notably the Rearing Stallion. Some molds seem to be more rare than others with the B mark, but I don’t know of many hobbyists who collect them the way, say, Chalkies are collected.

As far as I know, Traditional-scale Breyers are still made from Cellulose Acetate - though I am unsure if it is specifically the Tenite brand. I haven’t seen the word "Tenite" in any of the promotional literature lately, but that doesn’t necessarily mean anything. As the saying goes, the absence of evidence isn’t evidence of absence.

Stock Horse Stallion

(Breyer History Diva, 2010.)

Most of the Stock Horse Stallion’s previous pinto releases have been pretty blah. The LSE "Dallas" was pretty sweet, and I love my Sam I Am, but all of the easier-to-get Pintos? Total snoozers.

I can remember being a little surprised - and a tad bit disappointed - when my original Black Pinto Stock Horse Stallion arrived on my doorstep in early 1981. I had ordered him based on the photos I had seen in the Collector’s Manual I had received from the Bentley Sales Company:


Him, I found exciting. I love black pintos - and a minimal, mostly black one? Perfection! In fact, everywhere you looked in 1981, you found a different Black Pinto Stock Horse Stallion. Here’s another one, from the 1981 Alden’s Christmas Catalog:


Marney might have designed that one specifically; she had photos of both sides of one an awful lot like it in her photo album:


Also exciting? The San Domingo test from the 1981 Dealer’s Catalog. I’m not a huge fan of San Domingo, but I thought he looked freaking amazing in an airbrushed minimal black pinto:


Clearly the mold itself wasn’t ready in time for the photo shoot for the Dealer’s Catalog, so the next best thing - the San Domingos - had to be substituted. The stores placing their initial orders wouldn’t have been overly concerned that the final product varied somewhat from the Dealer’s Catalog; while I wouldn’t say that it was an expected occurrence, that sort of thing happens enough to not be that big a deal. Most toy buyers at that time wouldn’t have noticed, or cared, that the molds or the patterns didn’t match. They ordered black and white spotted horses, they got black and white spotted horses. No biggie.

Now the Collector’s Manual, that was a different situation: that was going straight into the hands of hobbyists and other consumers. While the hobby, and the model horse market in general, was not as sophisticated as it is now, the difference would have been noticed. And commented on, either to the toy store, or to Breyer itself.

Evidently the shoot for the Collector’s Manual was put off long enough to get some actual Stock Horse Stallions in there. The paint jobs weren’t finalized by then, but at least it was the right mold. Breyer would get a slew of whiny letters (including mine) about the catalog paint jobs not matching the production paint jobs, but not in the same quantity, or intensity, that a San Domingo subsitution would have brought.

As for the wide variety of pinto patterns, I’m not sure what was up with that. I do know there was a genuine dispute over the pattern, partly stemming from the fact that Peter Stone apparently didn’t know (at the time) the difference between Overo and Tobiano. But did each version represent the actual, viable production item at the moment of that photo shoot, or were they just whatever random test pieces they happened to have lying around?

If any of these early test pintos happen to turn up in the near future, I’d certain consider pouncing on them, regardless of my current financial stake.