Breyer and LIcensing

Alan Young passed away last week. For those of you not old old enough to remember, he played Wilbur Post on the TV show Mr. Ed.

http://www.hollywoodreporter.com/news/alan-young-dead-mister-ed-816846

Mr. Ed may have been responsible for my obsession with horses: in my pre-Kindergarten years, I lived for the early afternoon TV lineup on our local UHF Channel 50 that consisted of The Adventures of Superman, Mr. Ed, and Bill Kennedy’s At the Movies.

One of my childhood crusades was trying to get Breyer to make a Mr. Ed model. (And also, to a limited degree, Super-Horse. Which in light of the Supergirl TV show, might be an idea worth looking into again. But I digress…)

I learned later that there had been some motion on the notion, but a Mr. Ed model never came to fruition, obviously.

Sometimes a license is too expensive, or it’s too difficult to work with, or the marketing research tells you that there’s not enough of a market there to make a go of it.

Breyer has also not always had the best of luck when it comes to licenses, either. By the time they had finally committed to expanding their “Breyer Animal Creations” line in the 1950s, Hartland had already locked up most of the TV Western licenses.

Breyer did eventually manage to secure licenses for Lassie, Rin Tin Tin, Circus Boy (Corky and Bimbo the Elephant) and Fury. Lassie, Rinty and Fury ran well into the 1960s, and they recouped any losses they might have incurred with the short-lived Circus Boy by releasing the Elephant as a separate item into the 1970s (and beyond).

But it wasn’t until the 1970s that Breyer attempted to secure more entertainment industry licenses.

And one of the first big licenses they went after?

Benji and Tiffany.

Yeah, that didn’t go so well, either.

It went so not-well that the leftovers Gift Sets haunted the Bentley Sales Discontinued Sales List for years afterward. It’s only the passage of time, and nostalgia, that’s eventually given those dogs some value.

The licensing situation has gotten somewhat better for them, but in light of that history, it’s understandable that Reeves is cautious.

Getting It All Done

I am just having the hardest time finding the time and motivation for this year’s NaNoWriMo novel. Even though I technically have what most people would consider to be an ungodly amount of free time on my hands (because of the slow work season), it isn’t, actually.

It’s all nonfrivolous work, none of that "alphabetizing canned vegetables in the pantry" stuff that desperate writers turn to when the words don’t work. It includes, among other things, taking care of a high-maintenance dog, helping a coworker build a web site, helping with the Copenhagen Belgian auction, trying to get my own auctions listed, last minute work assignments, fighting the crowds at the last big rummage sale of the season, sorting and inventorying that paperwork…

Even so, I’m not that far behind - maybe half a day’s quota off. And I really don’t even have to leave the house the next couple of days if I don’t have to, so catching up - or getting ahead of myself - is theoretically possible.

A picture’s worth a thousand words, as the old saw goes, so I offer to everyone a photograph from the archives that truly lives up to it - and which is providing me with some unexpected motivation, as well:

It’s a photo from May 1977, of Chris Hess working in the shop. It’s probably partially "staged" - it was part of a group of photographs taken for the Spring 1977 issue of Just About Horses - but still, take a closer look at everything going on here.

The lumpy blob in his hands is that of the Benji, being prepared for the moldmaking process; on the table and off to the side is a Charolais Bull, possibly being used as a reference point for the Standing Black Angus Bull, which would come out the following year. Multiple photographs and other reference materials cover the table - some for the Black Angus, obviously, but also for the Stud Spider, another late 1977/early 1978 release.

Other photographs in the set show him fiddling around with the molded halves of Stud Spider, and of another project he was working on at the time, which was apparently repairing a crack in the Longhorn Bull mold. Other molds that were making their debut around this time - but not seen in this set of photos - included Tiffany, San Domingo, the Galiceno, and the Rough Coat Stock Horse Foal.

And he had the nearly completely sculpts of the Legionario and the Andalusian Family ready for approvals by January 1978.

"Get" the picture now? The man was busy!

You can understand, then, when it raises my hackles just a tad to see hobbyists dismiss Chris Hess’s work as lightly as they do. In the space of a year and a half, he casted or sculpted nearly a dozen molds, largely by himself, many of which are still staples in the Breyer line today.

Every time I’ve found myself getting discouraged by my work load over the past several days, I look at that picture and think: Get it done, get it done. Find the time, and just get it done.

Dropping the Other Shoe

The Copenhagen Belgian is only half of the story. The other half?

The ephemera.

How significant is the estate’s stash? Well, it’s taken me a couple of weeks so far to clean, sort, separate and inventory (so far!) what amounts to a filing cabinet’s worth of papers. I am not exaggerating when I say that I’m seeing things I’ve never seen before, like this backer card for Tiffany:

I always wondered if they were going to sell Tiffany separately, like they did with Benji. Looks like they were planning to!

Most of these papers are from the 1970s and 1980s, and the stuff that’s here is just amazing. Like this photograph from Bob Koberg and Chris Hess’s trip to the Garrison Ranch in January 1978, to get the final approvals for Legionario and the Andalusian Family:

(You all should know who Chris Hess is. Bob Koberg was Breyer’s Sales Manager back then.)

There are fliers, photographs, negatives, transparencies, original artwork, ad slicks, comps…and more. It’s like a dream come true for a history nut like me. Considering the extremely ephemeral nature of some of this ephemera, I’m amazed that it even survived at all.

As of this writing, the dispensation of it is still being worked out. Naturally, I’d like to keep as much of this archive as intact as possible, for the sake of research - and hobby history.

However, while there is a great deal of unique material here, there’s also quite a bit of duplication. I know that there will definitely be some significant interest among my fellow Breyer historians and ephemera dorks in acquiring some of these items for their own personal archives.

But like I said, that’s still being worked out. Selling paper is a slightly different game than selling models. Do we sell them in lots, or on an individual basis? On MH$P, or via eBay?

And if the decision is made to sell them, rather than auction them off, how do we determine value of things that literally have no market history to go by? These are the issues that have been keeping me up nights.

To clarify on the monetary issues: I am not making any money off of this "deal", other than having first dibs on the archive materials, which will all end up in a university archive anyway (eventually).

To make this extra clear: all money from the auctions and/or sales of the models and duplicate ephemera will be going to the estate, not to me.

Let’s be open and honest here: there have been some similar situations in the past (i.e. estates of exceeding interest and value to hobbyists) that were not necessarily handled in the most transparent or equitable way.

In light of the historical significance of the items in this estate, I’ve tried my darndest to make sure everyone involved - both the estate, and hobbyists/buyers - are treated fairly as possible. I made the seller aware of the standards of packaging hobbyists expect - and warned him of the behaviors he was likely to be on the receiving end of.

While I’m fairly certain my conduct was not perfect, I’m hoping that dispersals of future estates are handled more fairly, by example. Just because life’s not fair doesn’t mean we shouldn’t strive to make hobby life more so.

I will also be up front and say that I did confide in two fellow hobbyists about the contents of the estate from the get-go, and also swore them to the highest secrecy. Neither one of them has received any compensation or favors, other than serving as an outlet for my screamy, exclamation-point-riddled e-mails. If they want to purchase anything from the estate, they’ll have to go through the same channels as everyone else (and me! Darn tooting I’ll be bidding!)

It’s their decision whether or not to out themselves.

Some of my coworkers also heard about all this as it was going down, but the vast majority of them had no idea what I was talking about in the first place. Some of them are vaguely aware of Breyers as a product, but all they know of the hobby is that I go to "my convention" every year and dress up in crazy outfits.

More for the Archive

My copy of the last issue of JAH hasn’t arrived yet, so I’m loath to discuss anything contained therein until it does. I get the sense that there’s a lot of misinformation getting mixed in with the online discussion of it, and I don’t want to unwittingly perpetuate or validate any of it.

I will say I am quite amused by the "access to copies of vintage Breyer memorabilia" they’ll allegedly be including as a perk of the Vintage Collector’s Club membership. Really? Guys, I’ve seen what you got, I’m not that impressed.

(Admittedly, it is me we’re talking about here: I have an original flier for the Money Manager hanging on my wall.)

Speaking of, I picked up a couple more things for the archive yesterday - at the local Salvation Army, of course. First, a copy of the novelization of For the Love of Benji, the film that the notorious Benji and Tiffany Gift Set was based on:


The movie itself did okay on its own - my paperback is a 25th printing - but the success of the film didn’t translate into success for Breyer: they got stuck with a warehouse full of unsold Gift Sets. Some them eventually ended up in the possession of the Bentley Sales Company, who in turn sold them directly to collectors, well into the 1980s.

Second, a copy of The Pony Champions, the sequel to A Pony for Keeps:


I didn’t think anything of it at first; I just reflexively tossed it into my buy pile, like I do with every other horse-themed book I find. Books sell pretty well for me at BreyerFest, and at the prices I pick them up at, I really can’t go wrong with that approach.

Anyway, I didn’t realize what it was until I was inventorying it later in the day, and noticed the names that the names seemed awfully familiar. Of course, the picture on page 12 also helped:


That’s an Old Timer, Ruffian "Lula," Misty, and the A Pony for Keeps Gift Set on the shelf, and a Trakehner "Abdullah" in the window!

And as if that wasn’t enough to convince me to add it to my archive, the fact that the book was also signed by the author didn’t hurt.

I’ve found other signed books here, too; it’s probably a consequence of the location. This is the same "better than the average" Salvation Army where I found the Kaiser Goose Girl a little while back. Is it any wonder that it’s become a regular stop in my rounds?

(Ironically, I’ve never found any actual Breyer merchandise at that location. Hartlands, H-Rs, and miscellaneous china pieces? No problemo. Actual Breyers? Not a one.)