A Breed Apart: Thoughts on Judging Chinas for Collectibility and Workmanship.

Kristina Lucas Francis recently prompted members of the Facebook Group "The Clinky Connection" to share their thoughts on Collectibility and Workmanship judging in the world of showing china model horses for an article she had been asked to write. I found myself writing a massive response, which I've decided to reproduce and expand upon, here. It was a really useful opportunity to organize my thoughts about the different challenges and factors that I feel should be taken into consideration when engaging in these more specialized types of show judging - with a particular focus on chinas. So, here goes!

I. RELEVANCE OF BREED STANDARDS

First and foremost, I think that it only makes sense that Original Finish models should not be judged for Workmanship, and Customized models (whether custom glazed and/or claybody customized) should not be judged for Collectibility. Breed standards should have a limited application to Workmanship and Collectibility judging. Halter, also known as Breed, judging is where accuracy to breed standard and biomechanics are rewarded. Therefore, I believe taking breed into consideration for Workmanship and Collectibility judging is only appropriate to the extent that the conformational failings of the underlying sculpt/claybody customized portions are so significant as to render the piece less desirable to a collector from a reasonably objective perspective. Otherwise, there isn't really a point to separating out Halter from Workmanship and Collectibility divisions.

So, with that out of the way, I'll go into my breakdown of what I believe should go into judging for each category.

II. COLLECTIBILITY CRITERIA

I assess collectibility in the following order of priority; Rarity, Age, Condition, Extras, Star Power (RACES).

Those who know me understand that I am a big fan of "Old Euro" chinas. So for purposes of collectibility I will use Theodor Karner's prancing stallion "Mohammed," produced by Rosenthal, as a test subject. Here's a couple photos of mine:

Rarity: The original number of examples of a piece produced is the first thing I look at. Did the company make 5? 50? 500? 5,000? More? In my view, the number of pieces available sets the baseline for collectibility, because it shows unequivocally how many examples of a piece there are to go around to begin with. For example, "Mohammed" was originally designed for Rosenthal in the 1930s, but was produced as part of the Rosenthal line for several decades, at least through the 1980s. Therefore, there are a lot of them - thousands at least - out there. The same applies, I think, for more commonly-found Hagen Renakers. We have to remember that Hagen Renakers and Rosenthal and other collectible brands were mass market items that at one point were relatively widely available in retail shops. So, any specific product by such companies that was produced in great numbers weighs against their individual collectability. 

Age: I recognize, of course, that there is a "survivability" factor to take into consideration for older clinky pieces, but as I explained above with the number of Rosenthal “Mohammeds” produced - just because something is old, doesn't mean it's rare. Of course, if you’re judging more than one “Mohammed” on a table, the one with the older hallmark will be more collectible under this standard simply because of how long it has survived compared to a newer-production example. This is particularly true for models produced in European countries most devastated by World War I and World War II, given the sheer scale of destruction wreaked by both conflicts. However, I don’t think any “Mohammed” – even one from the 1930s -  would be more collectible than, for example, a Royal Worcester Princess Elizabeth on Tommy, even though the latter was made in 1949 (limited to 100 pieces), or compared to a very limited modern hobby release of 25 or fewer pieces.

Condition: One of the things that frustrates me is when I see an obviously, visibly damaged piece get given high marks for collectability, particularly if it is not particularly old and/or rare. In my opinion, with almost no exceptions, a clearly damaged piece is not show-ready. After all, we’re not talking about broken Ancient Greek pottery with cracks and missing pieces, here! Of course, it is commonplace in the hobby to buy broken pieces and have them restored, and for now I won’t get into whether or not a restored piece has to be disclosed as such for purposes of collectability judging. However, I think it is common-sense that an obviously broken piece is not as desirable and does not present as well as an undamaged piece or equivalent rarity, or possibly even a more common piece. Of course, there are also manufacturing flaws that may occur, such as glaze bubbles, firing cracks, unusually prominent stilting marks, stray dark marks within the glaze. For Old Euro production, these more significantly flawed pieces were marked as seconds by having a scratch scored through the underglaze maker's mark (though such indication is not normally examined at shows since judges generally are not permitted to touch exhibitors' models). Condition also applies to how "complete" a piece is. Does it have its old company sticker label/hangtag? Original wooden plinth? Certificate of Authenticity? Original factory shipping box? Original owner invoice from the factor? Having these things will definitely give a piece a leg up against other examples that have become separated from such factory original accessories along the way.

Extras: The “tie-breaker” for me once Rarity, Age, and Condition are assessed, are any additional attributes that make the entry exceptional.  Returning to “Mohammed,” glazing techniques can vary widely since Rosenthal, at one time a very large production operation, had many glazing artists. So a “Mohammed” with exceptionally detailed and realistic glazing would be more collectible than one that has a more slapdash application (and the dreaded “human eye” that you sometimes see, yikes!), or a heaviness of glaze causing opacity that obscures the underlying sculpt. Crispness of the underlying bisque is also something I look for. For example, two rare Hagen Renaker horses of similar age and condition – but one has soft detail and the other has crisp detail; obviously the crisper example would be more collectible. 

Star Power: This is that admittedly subjective extra “something” that makes a piece really stand out compared to everything else on the table in the eyes of the judge. I think there is no escaping that this added "oomph" is going to vary widely from judge to judge based on what they personally find appealing. This is not to say that it is impossible to find a fair and impartial collectibility judge, simply acknowledging that even after taking all the above factors into consideration, there is still room for "the curator's eye," as it were.

III. WORKMANSHIP CRITERIA

I assess workmanship in the following order of priority; Realism, Execution, Details, and Suitability (REDS).

Realism: As a baseline, I first look at whether a pattern makes sense. The pattern on a horse can be well-executed, full of details and all kinds of intricacies; but if the pattern is too fantastical and has features that simply don’t appear in nature, that is a big turn-off for me. Even a flashy coat pattern has to reasonably resemble how such patterns manifest in real horses.

Execution: Next I’ll look at the quality of how the glazing artist finished the piece. Since custom glaze pieces are not mass-produced, and in fact are one of a kind creations where glazing artists often spend more time than they would with a regular run color, they should be as free as possible from noticeable flaws. Are there any glaze runs or bubbles? Fingerprints in the glaze? Overspray? Likewise, if any claybody customization has been done, does the resculpted area match or even exceed the quality of the original sculpted areas?

Details: These are the added details that make a custom glaze piece really sing. Things like attractive shading, well-blended dapples, haloed spots, mapped pinto markings, kissy spots, realistic eyes, striped hooves with ermine spots, and hair-by-hair details all elevate the quality of a piece in terms of Workmanship. This doesn't mean that a piece with a more complex pattern and details will automatically place well. It is entirely possible to have a beautifully realized traditional plain coat colored horse place over a fancy-patterned horse that doesn't satisfy the Realism and Execution standards.

Suitability: As with Star Power in Collectibility judging, this is where the more subjective element of a judge's placings comes into play. As a failed artist (meaning I graduated university with a Bachelor in Fine Arts with a concentration in Studio Arts, but ultimately decided not to pursue a career in the arts - despite the encouragement of my professors and colleagues) I am constantly assessing whether a particular pattern or color suits and/or enhances the underlying sculpt. Patterns that are disruptive to the lines of a sculpture, or shading that is very flat and visually obscures the forms of a sculpture, will not perform as well in my eyes. I understand that this may not be an element that every judge takes into consideration, as much as I understand it is often not the choice of the artist to execute the specifications of a client's order. Again, this is that little extra element that should only come into play after taking the previous three standards into consideration.

IV. JUDGES’ QUALIFICATIONS

I think it is much more difficult to find good Collectibility judges than Workmanship judges. While Collectibility classes usually require that entrants provide documentation explaining why their entries are Collectible, you can’t just rely on someone who is used to judging based on Breed standards to trust in the Collectibility documentation. There’s a whole lot of clinkies out there – and they have to be weighed against one another in a variety of ways that is made more difficult if you don’t already have a working knowledge of what exists and what is rare. Also, just because a piece looks impressive, or is popular and/or a new release, doesn’t mean it’s necessarily more desirable than a piece that is older or has a more humble appearance. Essentially, a china Collectibility judge has to act as a museum curator - with vast knowledge and a quick eye for assessing the relative quality and rarity of the pieces presented for their consideration.

Workmanship judges, I’d argue, are a little easier to find because judging for Workmanship is sort of like a more focused version of Breed Halter judging. In Workmanship, the Breed aspect of the entry is taken out of the equation, and the focus is on the finishwork. As such, at least a basic knowledge of equine colors, patterns, and directional hair patterns is definitely useful in Workmanship judging.

V. KEEPING THINGS SEPARATE

A constant challenge with china showing is that china collecting comprises a much smaller (but I believe growing!) percentage of the model horse hobby than original finish plastic, customized, and artist resin models. As such, at a general model horse show, the china division will often be the smallest, and will not have breakout subdivisions for Collectibility judging for original finish chinas, or Workmanship judging for custom chinas. In most cases, even where china models are broken out into original finish and custom divisions, they are only judged for breed.

However, some shows offer a compromise in the form of double-judging; where the the original finish chinas on the table are concurrently judged for Breed and Collectibility, and the custom chinas are concurrently judged for Breed and Workmanship. While double-judging provides greater opportunity for china showers to win prizes, it offers its own set of challenges, particularly for Collectibility purposes. As we've established, Breed judging operates on almost entirely different criteria than Collectibility. A newer and/or more common model may be an excellent breed standard compared to an older, rarer model that exhibits more artistic and less hobby-driven breed realism attributes. Therefore, if an exhibitor is limited in the number of figures they can show in each breed class, they may have to make a choice between whether they bring out pieces that would be competitive Breed entries, versus competitive Collectibility entries.

This is where china specialty shows (some historic and more recent shows that come to mind include Bring Out Your China, Breakables, Break A Leg, Clinky Classic, All Fired Up, and Clinky Mania) come into play. These china-focused shows don't have to share time and space with other model types, and therefore have a great opportunity to have expanded china classlists that permit an "apples-to-apples" comparison of similar models - and encourage a greater variety of china models to be shown in a single event. In my view, the optimum organization of a china specialty show would be something like this:

Breed: Judging strictly based on breed standards and biomechanics, with separate subdivisions for original finish and custom chinas.

Workmanship: Only for custom chinas, with a classlist organized by coat color and patterns. Possibly additional classes for models created by particular artists/studios to compete against one another.

Collectibility: Only for original finish chinas, with a classlist organized into subdivisions for mass production and small scale studio production pieces. For the mass production subdivision, classes can be broken out to smaller subdivision based on geographic production, and individual classes based on the companies that operate(d) in those regions. For the small scale studio production subdivision, classes could be broken out by individual manufacturers.

On a closing note, however, I would not discourage china collectors from showing their precious models at general model horse shows that have limited china divisions. I think that exposing collectors of other model mediums to china models is a positive thing, and may help more hobbyists appreciate the beauty and quality of china models - and possibly even start collecting them, too! 

Until next time - and hopefully that doesn't mean three years from now, either. (Yikes.)

The China Syndrome

When I first got involved with the hobby online, most conversations between hobbyists about clinkies took place on email lists. There were a couple of online message boards for model horse collectors that included subforums for chinas, but those never really seemed to attract large numbers of clinky collectors.

Increasingly, Facebook has become the predominant medium for clinky collectors to share and exchange information, and to engage in discussions about various hobby issues. However, in my experience, it can be difficult to retrieve or even locate a thread once it has moved down the feed of a Facebook group. I've also heard of some collectors who are very reluctant to use Facebook for various reasons.

Taking all this into consideration, I felt that there was a need for a centralized, easily navigable and, most importantly, archival clinky community where information and discussions could be saved and accessible to collectors for (hopefully) years to come.

And so, The China Syndrome (http://thechinasyndrome.boards.net/) was born; a free online message board dedicated to clinky horses and related items.

The name of the message board was inspired by the iconic 1979 film, but for purposes of the hobby has an entirely different connotation, of course!

With The China Syndrome, I have attempted to provide clear, organized spaces for all aspects of the clinky hobby. I am grateful for the assistance of Joanie Berkwitz, Sue Stewart, Renee Devore, Vickie Neiduski, Diane Gutzwiler, and Catherine Chipkewich for providing invaluable input during the development of the board.

I hope that, with the help and participation of the many wonderful, talented, and knowledgeable people who I've encountered in the hobby, The China Syndrome will become a valuable resource and gathering place for the clinky community.

Hope to see you there!

Just Foaling Around

So much for my resolution to post more often. *sigh* Sorry!

One of my favorite sculptors of "Old Euro" horse figurines is Professor Theodor Karner (January 10, 1884 - September 6, 1966) of Germany.  Prof. Karner worked for such prestigious porcelain firms as Nymphenburg, Rosenthal, Eschenbach, as well as for Allach (which is somewhat infamous due to its connection to the Third Reich).  

A very skilled artist, Prof. Karner sculpted a wide variety of animal and human figurines. His horses, in particular, are typified by a very refined, elegant look, sometimes a bit stylized, but always exceptionally modeled with great attention to musculature. The faces of his horses are also wonderfully expressive. Delicately-rendered ears and dynamic, finely-detailed manes and tails are other hallmarks of Prof. Karner's equine creations.

Given his high calibre of artistry, Prof. Karner's works are highly sought after by porcelain collectors. Some of his horse figures are very rare and difficult to acquire, due to a combination of age, fragility, and limited production run. Other examples, however, were produced for many years, and can be easily sourced. This is not to say that the more common pieces are any less appealing than their more elusive counterparts, however.

To illustrate this point, today's post will be dedicated to a horse Prof. Karner sculpted for Rosenthal in 1934. Model #1528 depicts a rather snooty warmblood-type foal standing in a semi-parked-out pose on a grassy base. Anyone who collects Rosenthal horses will be familiar with #1528, as this attractive foal was produced for decades.

I've had this lovely decorated example of #1528 for a few years, which I acquired from a fellow collector. (Sharp-eyed readers might also recognize him as my blog avatar!) #1528 is comparable in size to a Breyer Traditional scale foal, standing 7 1/2 inches high. The colored glaze brings out the subtle, shaggy textures of a foal's coat that Prof. Karner meticulously reproduced in the original sculpture.

I am not exaggerating when I say that #1528 is probably my favorite equine sculpture by Prof. Karner. To me, this foal is the most naturalistic of the great artist's horses, while still exhibiting the sculptural presence that his work is known for.

But wait, there's more!

I recently went antiquing, returning to a small town with a few nice shops that I hadn't been to in several years. I had gone through two antique malls and had found no horses, and was almost through the third and final mall (and despairing of any hope of finding clinkies) when I glanced in a glass display case next to the checkout counter. There, lurking in the back of the cabinet, was a very familiar-looking foal, a white horse-shaped spectre amidst a sea of ceramic nick-knacks and other small collectibles. 

I admit, I actually hesitated over whether I should buy him because I've been spending a lot of money on clinkies lately I already had the colored foal, and ordinarily I don't collect undecorated horses. But in the end his pristine condition, and presence of the original metallic foil Rosenthal label won me over. Oh, and the dealer was running a sale. Bonus! Also, I couldn't help but wonder how long the foal had been sitting in that shop, waiting for an appreciative collector to come along and rescue him.

The fact that the shop only had white butcher paper to wrap purchases simply reinforced my rule of thumb when antiquing - always, always bring bubble wrap and a box (or bin) in the car, which fortunately I had. Even so, I was relieved to see that he made the drive back safe and sound.

Upon conversing with some collector friends who also love Old Euro figures, I learned that #1528 is somewhat unusual compared to other Rosenthal horses sculpted by Karner in that the decorated version, generally a muted "baby" bay or chestnut coloring, is far more easily found than the undecorated version with clear glaze over white bisque. (Thus were banished any thoughts about having him custom glazed!)

I was eager to compare him to his colored counterpart. Prepare to be inundated with side-by-side photographs!

One noticeable difference between the two was that the white foal's head was slightly more turned than the colored one. The variation is significant enough that I wondered if, since the white foal predates the colored foal, it was an intentional modification to the mold for easier casting. Without a third example of #1528 to compare to in person, however, such thoughts are purely speculative at this point.

It was also instructive to compare underneath their bases:

White #1528 Foal with original label

Colored #1528 Foal

Based on the Rosenthal backstamps, the white #1528 foal was produced early on, between 1936-1944 (more likely in the 1930s than 1940s), while the colored #1528 foal was produced around 1960. It is interesting to see how the mold number, which is incised below Prof. Karner's signature on the white foal, appears at a different spot on the colored foal. Also, the backstamp is in a different location on both examples. Finally, the colored foal has a center supporting strip of porcelain under the base that the older white foal lacks.

Well, that about does it for this post. I hope to have a more substantive article next time. I've been kicking around an idea for a while but haven't quite found the right tone. Crossing my fingers that inspiration will strike and get the ball rolling so that you'll have something to read from me before December 2018!

Until then, Happy New Year to all!

References:

Kathleen Williams' Karner Page: http://www.horsyme.com/Karnerpage.html

Model Horse Gallery Rosenthal Page: http://www.modelhorsegallery.info/R/R-companies/MHCs_Rosenthal.html

Wikipedia Allach Porcelain Page: https://en.wikipedia.org/wiki/Allach_(porcelain)

Rosenthal Marks Dating Reference Site: http://collectrosenthal.com/markingsdate.html

Special thanks to Diane Gutzwiler.

The Collector Mentality

Okay, I am legitimately embarrassed about how long it's been since I've updated this blog, but I do intend to post more frequently from here on out!

Introduction

Over the past several months I've been gradually introducing a good friend to the world of model horses.  Although this friend has no particular interest in collecting horses, they do appreciate the artistry of models, and demonstrates a deep understanding and respect for what can be described as "the collector mentality." As a result of my efforts to explain model horse collecting and the hobby, I felt the urge to write an article about the different factors that inspire model horse collectors.

And so, in no particular order, here is a list I've compiled of different types of model horse collectors/collecting I've observed during my years in the hobby. I've tried to describe what seems to motivate each type of collector, and (where a hobby term didn't already exist) attempted to coin a shorthand term describing each collecting style. 


1. Completionists

For completionists, the joy of collecting stems from the pursuit of having a "complete" collection. This type of collector, which I generally associate with original finish models, focuses on having at least one example of every model ever released by the brand or brands which they collect. This means that for each mold produced by the company, a completionist strives to acquire at least one example of each and every factory color released on each mold. For companies that have been around for a long time, such as Breyer, some molds have been produced in dozens of different colors. This type of collecting, of course, can be a tremendously costly pursuit, consume a great deal of time - and will definitely take up a lot of space!

- Congas: A variation of completionist collecting involves building a "conga line." Conga collectors only focus on building a complete set of their favorite mold or molds.  They try to get an example of every factory color on only a few select molds that they particularly like, rather than collecting an example of every model ever produced by the company.

In sum, the constant pursuit of retired runs, new releases, limited editions, and unusual variants to fill the "gaps" in their model herd, is what brings happiness to this type of collector.

2. Specifists

Specifists collect according to certain self-imposed criteria, and generally do not acquire horses outside those parameters. These limitations are usually in place due to a collector's subjective tastes, but can be motivated by external factors as well (such as a limited budget!). Some common specifist collecting categories include:

- Medium: Some collectors only buy horses made of a specific material. For example, many collectors only buy plastic models, due to their relative abundance and lower prices compared to artist resins and chinas. Inversely, some collectors focus on artist resins and chinas because they enjoy having rarer or unique pieces. Interestingly, among china collectors, I have noticed that some folks have a preference for bone china models as opposed to earthenware models. (Guilty as charged)

- Scale: Some collectors will only buy models of a certain scale or within a certain range of scales. There's thriving market for detailed miniature scale models, including mini-focused live shows. Minis appear to be popular for a few reasons. First, they are generally inexpensive compared to larger scale models across all model mediums, which is great for people who are on a budget. Second, they take up much less room than larger scale models, which can be important for collectors who live in small spaces such as apartments, and therefore don't have room for shelves full of hundreds of large scale models. Minis are also easier to transport to shows because they don't require big tubs and boxes that fill up the vehicle. On the other hand, some collectors only enjoy collecting larger models, because they can be visually appreciated even from across a room, and (especially for chinas) are less delicate than minis. There's also exists a perception that a larger model gives a collector more for their money, so to speak.

- Breed/Type: Some collectors only collect models that represent their favorite real-life horses. They may have a breed-specific focus; such as Arabians or Thoroughbreds. Some collectors may have a specific interest in a horse type; such as drafters, sport horses, and ponies. Or they may be big fans of famous equines, such as champion racehorses, and try to collect every model ever released depicting their horsey hero.

- Color: Everyone has a favorite horse color or two. It should be no surprise then that there are collectors who, given the choice between a wide range of original finish and custom colors available on model horses, will have a preference for certain model colors. There are collectors who love the timeless, sleek look of solid colors (I am a "Bays n' Grays" collector, myself!). There are also collectors who get very excited about horses of a different color in unusual, flashy, intricate patterns.

- Brand/Artist Loyalty: Some collectors will only buy models of a certain brand or limited number of brands. This is not to be confused with completionist collecting, because their focus isn't so much collecting one of every model made by the brand(s) of their choice. Rather, for any variety of personal reasons, they find a particular company's products to be the most appealing. Likewise, some collectors may focus on acquiring pieces sculpted, painted, or customized by a specific hobby artisan whose work they admire.

- Vintage versus Modern: Collectors who focus on collecting vintage models seem to gravitate toward retro pieces out of a sense of nostalgia (especially if they are older collectors who have "grown up" with the hobby) and appreciation of model horse history. Other collectors, particularly younger hobbyists and live showers, tend to focus on newer production models, which often include exciting new sculpts by popular hobby artists, and more interesting paint work or glaze finishes than vintage models.

- Original Finish or Custom/Artist Resin: Some collectors will only buy original factory finish models, while others will only buy customized models or painted artist resins. I think the breakdown here depends on whether a hobbyist views model horses more as collectibles (original finish models) or as works of art (customs and resins). It seems like collectors who focus on customs and artist resins like the idea of being able to create or order their "dream model horse" rather than pick from mass produced models that everyone else seems to have. I also note that at least for plastic models, customization means the destruction of an original finish model - or several original finish models - in order to create a custom model. This is less the case for clinky collectors, where there is normally an option to order a china release in a standard issue glaze color, or commission a custom glaze color on a bisque.

3. Exhibitors

There are collectors for whom the primary motive behind model horse collecting is to compete in live showing. Therefore, they assess potential new acquisitions through the lens of live show judging criteria to increase their chances of success in the show ring. What they look for depends on what showing division they are competing in. Of course, all models must be as close to mint condition, or live show quality (LSQ) as possible, and it is possible for one model to be competitive in more than one showing division.

- Halter: Exhibitors will seek out models that have the greatest accuracy in conformation compared to real horse breed standards. Realistic anatomy and biomechanics are key.

- Workmanship: Exhibitors will seek out the most realistic, even hyper-realistic, paintwork and glaze finishes.  Intricately detailed colors, such as dapples, extensive pinto and appaloosa patterns, and roaning are particularly sought-after, as they require a high calibre of artistry to be realistic.

- Collectibility: Exhibitors will seek out the best examples of rare or very limited edition models. Although new limited edition models are regularly exhibited in this division, there is also a heavy emphasis on historical significance. Therefore, vintage decorator finishes, complete gift sets with matching accessories, old sticker labels and hang tags, original vintage boxes and packaging, prototypes, test pieces, interesting variants and factory goofs are all desirable.

4. Connoisseurs

Some collectors thrive on pursuing the "the best" and/or being the first on the block to have the hottest new releases. This is not the same as saying they want ALL new releases. Rather, they seem to identify highly-anticipated upcoming limited releases, and make it a point to acquire one for their collection as soon as possible - either by ordering directly from the company, or, in cases where a limited release has sold out quickly, buying on the secondary market, even if it means paying a markup. Theirs is a contest quest for the "next big thing."

Alternatively, connoisseurs of vintage models will seek out models that are perceived to be the "benchmarks" of having an impressive collection, whether this means specific very rare and sought-after pieces, or, as with vintage chinas, having a herd of horses produced by a revered high-end brand.

This is not to be confused with exhibitor-type collecting, although there is certainly overlap. There are plenty of connoisseurs who actively seek out the latest and greatest models, but never intend to show them, and only display them in their homes for their own enjoyment.

5. Eccentrics

Eccentrics don't follow conventional tastes for realistic model horses and aren't driven by any sense of the monetary value or show quality of a horse. They collect horses that are bit more offbeat, and enjoy having an "interesting" collection rather than a typical one.

Stylized proportions, unrealistic eye-catching colors, fantastical details, and whimsical facial expressions appeal to this type of collector. Novelty is also a contributing factor. Eccentrics might see a model produced by an obscure company, or a mystery piece that has no identifying marks, or just something that they've never seen in anyone else's collection, and decide it would be neat to have it in their herd due to its uniqueness.

6. Black Holes

Black hole collectors are true to their long-established hobby (and astronomical) namesake. This type of collector never intends to part with even a single model horse once it has been added to their eternally-growing herd. This is not to say necessarily that they are constantly buying new models willy-nilly. More to the point, if they've made a decision to add a horse to their collection, they are signalling that they will keep that horse forever.

As with completionist collecting, black hole collecting can lead to homes crammed to the gills with model horses on every available inch of surface space - including the floor! But no matter how crowded with horses the home becomes, black hole collectors will not sell to "thin out the herd" or "free up some room." Theirs is the joy of being utterly surrounded by ALL the horses they've acquired over the years.

7. Curators

Curators resemble their museum-world counterparts in that they are constantly refining their collections. "Onward and upward," is the curator's motto. This type of collector operates with a two-pronged goal to keep the size of their collection manageable, and also gradually raise the overall quality of their collection.

Not only do curators actively collect new models, but they also regularly reassess their collections and sell horses to make room for and/or fund new arrivals. They will not hesitate to turn around and sell a newly-purchased horse if it arrives and they find that it is not up to the standards they anticipated. Likewise, they will not be unwilling to sell a piece they have had for a long time if they eventually find that it is no longer a piece that they would buy at their current level of collecting.

8. Equiholics

Model horses aren't enough to satisfy equiholics, oh no. Any horse-shaped-object ('HSO' in hobby parlance) or horse-themed item will do. Businesses have long-recognized the commercial value of "little horse girls" who have grown up and and now have disposable income, and it is fully possible to decorate one's entire home with equine motifs and horsey trinkets.

Hobby artists also cater to this market with an attractive range of beautiful giftware items such as pins, busts, ornaments, and tiles. Such artisan items are increasingly collectible in their own right in the hobby, as they are generally less expensive than a model, are often made in very limited numbers or awarded as live show prizes, and can be used and displayed in various ways.

9. Menagerists

Menagerists don't just collect horses, they appreciate the beauty of other animal figures as well.  To be clear, a menagerist may have many model horses, and horses may even comprise a majority share of their collection, but they also collect other animal (and sometimes even human) figures, usually produced by the very companies that also make model horses.

Menagerists may have started out collecting only horses, but happened along into an appealing non-horse figure that was made by the same brand, which piqued their interest and spurred them to start investigating and acquiring other non-equine pieces in the company's production line. Or, they may have always had an interest in animal figures and collected them alongside horses. For example, many collectors of horses also collect dog figurines. Birds, deer, cats, exotic animals, and even fish are other examples of collectible critters.


Conclusion

Of course, there is no "best" method of collecting. Most model horse collectors are a combination of any number of the above categories, and there are likely collecting styles that I've missed. Some collectors may start in one category and find themselves transitioning to another. The important thing is that collectors focus on a methodology that gives them the most personal enjoyment.

From my perspective, it is always fun and interesting to see collections with different "personalities" that reflect their owners' tastes, even if they don't necessarily collect what I would acquire for myself. Diversity and variety keeps the hobby exciting, and there really is something for everyone!

I would love to hear from my readers (if I have any left after such a long hiatus!) with any comments and discussion about their collections.

Thanks for reading! :)

P.S. - Next time I'll have some pictures. I promise!

The Fragile Foxhunter

The internet is a terrible thing.

No, don't get me wrong. There are plenty of wonderful things about the world wide web; access to endless troves of information and imagery, the ability to network with people around the globe, and instantaneous delivery of newsworthy information.

The internet also enables collectors to spend money like no other conduit in the history of man. No longer do collectors have to hope and pray to come across sought-after pieces by religiously scouring antique shops and shows. No longer do they have to wait for monthly printed hobby newsletters with classified ads, or pay for subscriptions to printed auction house catalogs. Now, at any time, day or night, collectors can find just about anything they want, for sale anywhere in the world, with a few clicks of a mouse.

It's an exciting (if financially exhausting) advantage of living in the information age.

Translation: I recently acquired an extraordinary, and apparently extremely rare clinky, and I'm going to share it with you today.

This magnificent figure was produced by Augarten Wien, and sculpted by Albin Dobrich, who also sculpted Augarten's famous line of Spanish Riding School Lipizzan figures. This piece measures approximately 8 1/2 inches tall by 10 inches long, and was designed around the 1920s-1930s. Date of production is a little harder to pinpoint, given the consistency of Augarten's production quality and little-changed backstamps, but I'd guess between 1920-1950.

The details on this foxhunter are incredible, as is par for the course with all Dobrich pieces that Augarten produced. Even the riding crop is painted to include the spiral pattern of braided leather down the shaft!

And let's talk for a moment about the intricate tree branch jump that supports the entire figure: 

What makes this particular piece truly stand out though is the exceptional quality of the glaze work. The dapples, which upon casual glance appear to be just gray shaded areas with dapples rubbed in, are actually individually painted gray hairs. Imagine how much patience, and steady hands, required by this approach!

Albin Dobrich's signature can be seen on the base as well:

I've spoken with a number of very experienced and knowledgeable collectors and so far none of them have encountered or seen this piece. I imagine many did not survive intact over the years given the precarious pose and construction, so I feel very blessed to have the opportunity to give this rare and undamaged example a home in the herd. 

Until next time! 

(P.S. - "next time" should be much sooner than the timelapse between my last post and this one. I hope!)

Hunting Hagen Renakers: An Auction Adventure

As promised, moving right along to the collecting experience that really planted the idea for the creation of this blog. And pictures! Lots of pictures!

Recently, word of an auction featuring some vintage Hagen Renaker Designers Workshop horses went out on Facebook. On the plus side, the auction was located close by and featured a few pieces I'd been wanting for my collection for a while, but had simply never gotten around to acquiring, yet. On the down side, the auction featured internet bidding, which meant that the whole of the hobby was now on notice and able to bid, which probably meant that there would likely be no bargains.

Still, I simply couldn't let the opportunity pass, so on the morning of the auction I embarked on my way to the auction house. Stopped by a random yard sale (nothing worth buying) down the road from my neighborhood en route, and thought it was a good omen that the horses of the farm across the street had gathered by the fenceline to investigate the steady parade of bargain-hunters.

Hi there! This guy was a real sweetie. Gypsy Vanner?

Real horsey therapy accomplished, I continued on my way. After driving around the block a couple times on account of trying to figure out where the auction house was, I finally got parked and registered to bid. At first I was confused because I looked around the room and all I saw was antique furniture and statuary. Panic set in for a bit, because the auction was supposed to be chocked full of small collectibles, toys, and other bric-a-brac. Where were the horses??? Fortunately a quick inquiry with one of the clerks resulted in me being led to other rooms where the items for sale were all displayed in showcases and on tables.

And there they were:

Crusader

Daisy, Kelso, and Don Cortez

Heather and a Lefton mustang

Sky Chief, Scamper, and a Beswick foal

So after inspecting them, deciding which ones I really wanted, and setting maximum bids for myself, I settled in a chair in the back of the room and waited. I'll admit, I was very nervous, just worried that I wouldn't be able to get any of them. I couldn't help but scope out the room over and over again to see if I could find any sign of fellow collectors who had traveled to attend in person. I had seen one lady and her husband looking at the HRs during the preview, and heard her commenting about how they were damaged, but she didn't seem like a knowledgeable collector. Still, I bid on and won a lot of three Breyers and a Hartland horse as a pre-emptive consolation prize in the event that I couldn't touch the HRs.

Fortunately the auctioneer was going at a fast clip, so it was only about an hour until showtime! It also "helped" that I was on my phone messaging up a storm with a few interested hobby friends up until shortly before the HRs hit the block.

As I expected, online bidding was fierce. You could hear people in the room (mostly dealers and toy collectors, as far as I could tell) gasping in surprise at the opening bids, and even more so as the bids (including mine) climbed higher and higher. When the dust had settled, however, I was pleased, and a bit dazed, that I had won the horses I had my eye on.

Checking out was something of an adventure. The auction owner (who bears a striking resemblance to a younger Bill Gates, by the way) and clerks treated me like royalty, which I thought was amusing at the time. In retrospect, of course, I could understand their amazement that I had paid so much money for four horse figurines - two of which had broken legs, even! They were very friendly and asked if I had a collection and if I planned to keep them all or sell any of them. They also thanked me for attending the auction, hoped I would come back again, and said they were glad that i had won what I had come for.

Of course I had come prepared with a big plastic bin full of bubble wrap, foam, and a roll of TP. The auction owner and a clerk brought the horses out to the checkout area, since winning bidders weren't permitted to retrieve items they had purchased themselves. I proceeded to wrap the horses up. One of the clerks lingered to watch. She was interested in seeing how I wrapped them because she knew they would have to ship the horses that had gone to the internet bidders, which I thought was very responsible of her. I was amused when another auction clerk wandered by and asked the clerk who was helping me "Where did you get the toilet paper?" and was met with the response, "She brought it herself. She came prepared!"

The clerk chatted with me a bit and said that of all the hundreds of items in the auction that day, the auction company had received the most phone calls and emails about the Hagen Renaker horses, asking about size, condition, shipping, etc. She also said that when they got the horses in on consignment for the auction she had been shocked at the prices she had found while researching their value, and how the auction owner, upon learning about their value, emphasized, "Do NOT remove the stickers!" The clerk also asked about whether missing the sticker would severely damage their value, to which I replied that while the stickers are nice to have, it's the quality and condition of the piece that counts for most of the value.

All in all it was a really pleasant experience, and I'm so thankful that I was able to add these wonderful Hagen Renakers to my collection. Don Cortez was the only one I hadn't intended to keep, and I quickly found a hobby friend who offered him a new home.

In the meantime, here are photos of the Monrovia Crusader, Kelso, and Daisy "fresh" from the auction. As you can see, they all have their original factory stickers. I'll give them an alcohol rub down and get them cleaned up soon. Kelso will be going to a local restoration artist to address his repaired leg and I will follow up in another post once he's good as new.

I hope you enjoyed this collecting story as much as I have enjoyed sharing it.

Until next time!