Toy History

Some of the finest, most expensive and highly sought-after toys today are tin toys.

Originally conceived back in the 1800s in Europe, this kind of toys rapidly spread around the globe. Only a century after the first tin toys were industrially produced, hundreds of companies from China to Japan, from Europe to America, tin toys had conquered the market of sophisticated toys.

The range is hugely diverse, covering pull-along, clockwork, wind up, battery-operated, friction cars, trains, planes, boats, animals - in fact the manufacturers were enormously enterprising in the variety of toys they made.

The early 1800’s were the times in which many German companies began to produce tinplate toys of outstanding quality and design. Bing (1863), Fleischman (1887), Lehmann (1881), Gunthermann (1880) and Marklin (1859) are some of the companies who firstly developed and set the high standards for the Germany tinplate industry. Due to the deep interest in tin toys in the old continent, other Germany manufacturers such as Arnold (1906), Tipp & Company (1912), Schuco (1912) and Levy (1920) continued to carry on the tradition.

The European interest for tin toys would grow deeper during the early days of the 20^th century mainly in France and England. The British companies continued to flourish after the First World War when the British public shunned all German products, including toys.

Lines Brothers Limited (1919-1983), later known as Triang was a famous British company producing a range of fine wind up tin toys, Mettoy (Metal Toys) Company Limited (1933) flourished as it supplied toy lorries and aircraft to Marks & Spencer Stores.

Wells-Brimtoy Limited was known for producing a vast selection of high-quality tinplate items, some of which are very unusual and highly collectable today, such as their clockwork fish (1954), flying Superman (1957), dancing Fairy Queen (1954), Mickey Mouse drawing tutor (1955) and walking pig and jumping kangaroo (1945).

Reaching further towards the Far East, Japan appears as a head zone for tinplate toys. According to specialists, these kinds of toys first were produced in the Meiji and Taisho era, then Japan crafted conventional tin plate toys such as rattles, Jinrikisha(a rick shaw), and kamenoko. However, Japan’s worldly acknowledgment for been a major producer tin would take place during the late 1940's, 50's and 60's.

As every where else, it was the early German industry the one who set the tone for the tin toy industry by means of importation of printing machines for the tin plate, and the technology of clockwork from Germany.

Japan’s tin toy companies and manufacturers were and still are amongst the biggest, thought Marusan Co. LTD. with roots dating back to 1924 is still a major producer of toys. Yet one other trademark leader was the 1923 founded Masudaya builder of mechanical and battery operated toys. This company unlike most of their competitors managed to survive to this day. Featuring M-T, or Modern Toys logo these Masudaya toys are easy to spot by collectors.

As to post war companies, we can point out Nomura, also known at TN and Yoshiya (1950--1970) also known as Kobe Yoko Ltd. specialised in mostly mechanical or wind-up toys featuring fanciful designs, but their extensive Robby the Robot knockoff toys have gained them also a strong popularity. Bandai (1950) was and is still a powerhouse in Japanese toy making. Masuo founded 1950's, also identified as Masuya, was a small Japanese toy maker best known for their mechanical and friction toys marked with an SM or MS logo type.

1950's Yonezawa, also known as Y, or Yone, was one of the biggest and certainly the most creative of all post war Japanese toy makers had manufactured till the 70s thousands of different battery operated and mechanical toys in all categories.

Horikawa industry robot/astronaut battery operated toys with great marketplace success.is one of the greatest contradictions, for this is one of the most successful post war Japanese toy makers, but one of the least respected by collectors.

But a turning point in Japan’s industry took place under the American occupation of Japan, the tin plate toy industry was granted a right to resume its operation and export. Working as we stated in different articles, it was the tinplate leftovers of the occupation army what would become the raw material for the 50s-60s first tin toys.[1][1]

The United States also has a long history of tin toy manufactures. Philadelphia Tin Toy Manufactory, was the first toy manufacturer of record in America, working in the toy biz from as early as 1838.

As important American companies of the mid-late 1800s we should point out George W. Brown Company of Connecticut, James Fallows and Company of Philadelphia, Althof, Bergmann and Company of New York, Ives Corporation in Bridgeport, Connecticut and the Leo Schlesinger Company of New York. Amongst these, we should definitely point out Brooklyn's Buckman Manufacturing Co. who produced its first early version of a steam-powered tin toy around 1872.

In between wars, the US was the heart of mass produced tin, functioning as breakthrough for an industry, which thrived well into late 1950’s. Marx Toys, J. Chein and Co., Wolverine U.S.A. and the Ohio Art Company were some of the companies producing at that time what would latter become the highest most sought after tin toys for the collectors market of today.

Spain, while not as popular in today’s collectors market, had also had great in toys manufactured by Paya Company.

In 1902 Rafael Paya, a local tinsmith, made his first toy. Four years later he would have his first toy factory in Spain. By the 1920's Paya's toys were considered the equal of then great and famous toy makers to the north. Not only was Paya quality the equal of Marklin of Germany, but Paya's colors and imprints were graphically more interesting.

The 1930's, were when the famous Bugatti race car was made. After the war, in 1946, Paya once again started making toys.

Turning around the globe, we need to point out the importance of Chinese toys before this country became the producer of world’s toys very inexpensively. Not folk Chinese toys started as early as 1908 producing tin and celluloid toys featuring great quality and unique designs.

However, we feel it’s important to highlight the fact often overseen: whilst indeed Chinese toys are noted for their cheap prices, this reflects negatively on the conception of their quality. China produces all sorts of tin toys ranging from reproduction to own creations with new ones being continually introduced to the market each year, they have elevated to a much higher quality standard, while retaining the edge of being very affordable. China.

While the history of tin toys remains to our days, but in a less mass production feel, the eras pointed above were their golden ages of conception, design and production… It’s unquestionable that tin plate toys had gradually disappeared as plastic and super alloy toys emerged, those, nowadays being outcast by electronics and technological games.

[1][1] Japan continued to produce high quality tin toys until after the World War II, tin cars, novelty toys, wind up toys, robots and celluloid animals. Mostly aimed for the American market, they where marked "Foreign" (rather than "Made in Japan") to ease international attitudes..

Comic strips. Argentinean Characters.

Argentina shows one of the most numerous comic books public of Latin America, and also worldwide. Though during the last decades the reading public shows a decreasing index, not only in Argentina but all around the globe, our country has still a captive ground for this literary gender. It’s important to highlight that the Argentinean audience for comics embraces children and adults likewise, therefore comic books, which have circulated and still do it today, show various themes for a wide generational range of readers. As a resultant of this popularity, many different characters were created as to satisfy its public. Some of them, of worldly fame, have not only trespassed borderlines but also the very limits of comic strips. Thus Argentina is an outstanding characters’ creator.

Throughout the twentieth century many characters have become part of numerous kids’ life, which as adults became avid comic fans.

During the ‘30s a well-built Indian chief who lived in the Patagonia lands became the first great impact of the comic gender. Patoruzú was a commercial hit for more that twenty years, reaching a 300,000 copy printing per week; even nowadays each time Patoruzú is re-edited 40,000 copies enter the market.

Both Patoruzú and its creator, Dante Quinterno, have entered our cultural pantheon. This native superhero is the first one to appear in Argentina, latter on by Quinterno’s hand there be others such as Isidoro Cañones, Patoruzito and Isidorito.

The years to come were even more out of the ordinary. Mafalda, the most famous Argentinean comic character, made her first appearance in 1964. Some years latter she would become on of Unicef’s characters as well as a political face. Translated into twenty-six different languages, this precocious middle class girl’s comic books, compilations and anthologies sold, only in Argentina, more than 20 million copies. These numbers are a sample of the incidence of this character in the Argentinean culture.

Among the most famous comic characters, we must definitively take in consideration Clemente. This birdlike character had neither arms nor wings, though a sharp tong. Initially the mascot of a tramway driver, it soon overthrew his owner becoming the comic’s star. Clemente’s first television appearance was during the 1978 world cup held in Argentina, form that on he became the number one Argentinean soccer fan. Nowadays, this comic strip is daily published by one of the mayor Argentinean newspapers: Clarín; and Caloi, its creator, has his own television show.

These and many other characters such as Inodoro Pereyra –a satiric image of the gaucho- by Roberto Fontanarrosa Diogenes y Lingera –the story of a homeless man and his dog in the city of Buenos Aires- by the same artist, and the already known Isidoro Cañones and Isidorito, show, each in their very own way, different facets of the national being and idiosyncrasy as well as very Argentinean language manners.

Each box of each of these comics shows a bit of our culture and folklore.

Coming up, we offer a brief story of the most important characters of this gender.

Grabage Pail Kids trading cards are famous all around the globe. The American designer genius who came up with those motives is worshiped and beloved, for his creations are an outstanding acid humor version of the traditional girls’ dolls the Cabbage Patch kids.

The Spanish brand was inspired in the American GPK: Basuritas –local translation for the garbage ones. The first series was released in the early 80s. During those days there were many re-releases. The early 90s welcomed us to a new and weird GPK Argentinean version: Basuritas & Monsters (I believe there are some variations of this model no?) which featured the early models altered and with new and interesting inputs.

The evolution of these trading –collectibles has been impressive from every perspective, though there were some variations and alterations, once the designers returned to the original pattern the latest Basuritas 2 re release and the less known, but equally interesting Basuritas 3 released early in 2004 had impacted considerably in all fans and collectors.

For the admiration and interest raised by all these fabulous characters, the Buenos Aires Museum’s latest input to the collectibles world has been terrific. Scale handcrafted sculptures of each and every one of the Basuritas characters are the obvious and necessary step in the world of GPK collectibles. Their quality and uniqueness, for each sculpture is specially crafted and there are no castings or serial models, its an artwork based on an other piece of art which is the trading card design.

The world of GPK is growing increasingly. It couldn’t be either way when the subject of matter is so interesting and stimulating for the eyes and the intellect!

Basuritas- Garbage Pail Kids trading cards made in Argentina.

Grabage Pail Kids trading cards are famous all around the globe.

The story on this outstanding art shaped into trading cards begins earlier than most would think. Around the late years of 1960s when the American firm Topps began to develop the wacky packages, these were clever and sharp satiric images on the hottest massed consumed products in the States. In 1985 the first GPK series is issued. John Pound was the mind behind the parody of the traditional and lovely girl dolls Cabbage Patch Kids. His outstanding whit was the stepping stone for what would become a world wide movement of satiric intelligent word games.

This American designer genius is worshiped and beloved, for his creations are an outstanding acid humor version. Production was overwhelming prolific; from 1986 to 1989 Topps developed 15 collections featuring 622 trading cards, plus a latter B series… Overall they designed around 1200 witty and wacky trading cards. The success was undutiful. This uprising of success came to a harsh end when Cabbage Patch Kids’ company sued Topps. From the 10^th collection onwards alterations had to be done to the original designs for they had lost the lawsuit, and the golden years of GPK were now part of the past.

However this wouldn’t be a dead end to GPK in spite of the fact that they weren’t to be produced again in the States.

Inspired in the American version many countries have developed their own GPK series. Among the most famous ones are the Argentine version, which not only combines funny and wicked images but also words games with the first and last name. All the same the Argentinean designers have added some new motives and series. The first ones to introduce GPK were the executives of Stani –a candy company from Argentina- . First Argentine GPK were to be produced by Aladin and soon Ultrafigus a pioneer within the world of Argentine trading cards would take over the production. From the second series onwards Ultrafigus was the company in charge of the local GPK. The Spanish adaptation of the brand name was inspired in the American GPK: Basuritas –local translation for the garbage ones. The first series was released in the late days of 1989. During those days there were many re-releases. Also during the first years of the 1990s another Argentinean company located in the north west of the country came up with the idea of Basuritas del cuerpo –featuring several alterations within the original GPK idea focusing on the exaltation of specific body parts. The early 90s welcomed us to a new and weird GPK South American version: Basuritas & Monsters which featured the early models altered and with new and interesting inputs first designed in Chile and then brought to Argentina, were it was adapted and altered to fit the local idiosyncrasy.

The evolution of these trading –collectibles has been impressive from every perspective, though there were some variations and alterations, once the designers returned to the original pattern the latest Basuritas 2 re release both blue and green packets and the less known, but equally interesting Basuritas 3 released early in 2004 had impacted considerably in all fans and collectors.

For the admiration and interest raised by all these fabulous characters, the Buenos Aires Museum’s latest input to the collectibles world has been terrific. Scale handcrafted sculptures of each and every one of the Basuritas characters are the obvious and necessary step in the world of GPK collectibles. Their quality and uniqueness, for each sculpture is specially crafted and there are no castings or serial models, it’s an artwork based on an other piece of art which is the trading card design.

The world of GPK is growing increasingly. It couldn’t be either way when the subject of matter is so interesting and stimulating for the eyes and the intellect!

Such is the impact of these characters created combing an interesting aesthetic approach together with an intelligent blend of art and wit, we began to wonder about the creative process behind the image, the way designers and creative teams came up with the names and jokes. After reading this interesting insight, we at the Toy Museum began to imagine what kind of special names and images we could come up with. In Spanish many of the names had political connotations, for example Fortunato Mado (To- Mado is drunk in Spanish and it was a reference to a dictator who was president in 1981-82 who’s name was Leopoldo Galtieri), or some other not political such as Eva Gancia (Va-Gancia means vagrancy), Hector Tilla (Tor-Tilla, Spanish for omelet), Roberto K Bustost (To-K- Bustos is Spanish for touching breasts, sort of a pervert…)… These are just some of the characters we’ve created so far.

In an interview published in Argentina to the latest Basuritas designer David, he was asked upon this process. The firs thing he stated was that he wanted to alter the least the original images, so it was crucial to come up with locally inspired names that had much to do with our South American, Argentinean and Latino culture. There are several music tributes such as Suzy Q –tribute to Creedence- or Luz Velito –the candle man- is a tribute to a very popular Argentinean rock band the Redonditos de Ricota.

It’s important to state that Argentina wasn’t the only country that lovingly embraced this art. Israel, Germany, France, Italy, New Zealand, Australia, Great Britain, Japan and Palestine are some of the countries who had developed their own GPK tradition and series… It wouldn’t be either way, for it’s not easy to find such an impressive and intelligent work of art and cleverness turn into a mass hobby.

1. Do you have a personal favorite toy or collection? Why is it your favorite?

Indeed I have. To me the most interesting toy are Robots. These items blend the functionality and imagination broadening qualities through means of the world of sci-fi as well as they express outstanding design and composition features that exceed the world of toys. Even foreseeing trends that would latter become key factors to design breakthrough in all sort of items. Such is the impact these items have had on society and myself –personally- that I researched and came up with a brief history of these item…

During the last few decades, toy robots have regained popularity because of the new impulse given by collectible space items. The Buenos Aires Toy Museum holds a spectacular collection of robots made or found in Argentina, as well as a very interesting input of information on the subject. This huge task of collecting and searching information is the result of a very hard work carried on by our team of specialists.

It may seem simple to define a robot, most of us would describe the first of those metallic invented creatures as one, though it's quite more complicated to come up with a general definition for robots, since there are quite a lot of variations and differences among them, which make much more complicated to come up with a general definition.

The word Robot became popular in 1922 when the Czech writer Karel Capek used it in his play R.U.R to refer to a bunch of animated creatures -created by the leading man of the story- whose main task was to work. Etymologically the word meant slave or servant in Czech, but it was redefined because of this new meaning as a servant or salve that was specially created to work instead of its creator.

As a general approach to the subject we can say that robots are machines or devices that move independently, they might be defined as a combined and mechanical system of computation and sensors that receive information through various means in order to act on it through pre-established technical or physical manoeuvres.

Nowadays there are many types of robots that adjust to this general definition. For example androids; these look-alike humans, are what we usually refer to as robots. However there are much more robots than we acknowledge as such, take for example the mobiles, these machinery that has the ability to move from one place to another independently of an immediate indication from outside, are also robots in spite of the fact that they don' t have any esthetical similarity to humans. The medical ones are specially prosthesis control systems. And the industrial robots, very common in these days, are machinery specially designed to carry on pre-established tasks within the working places. In spite of all the aesthetic and functional differences, all these robots share a common origin and mechanism.

It's quite interesting to find scale reproductions of each and every one of these robots with which millions of children play and that many adults collect because of their cultural, historical and aesthetic value. Regarding robots history, it was very common to hear during the fifties that by the next millennium there would be intelligent creatures created by man. This hasn't happened, nonetheless the amount of scientific progress in this field it's bringing much closer the possibility of that to happen. As it happens in every other aspect of life, toys have reflected the boom of robots. At first the design of these toys showed hard angled lines using clockwork mechanisms. Japanese wind-up tin robots from early 30s and 40s are the last expression of that aesthetic trend in robot design. These toys were mostly made in tin, though it was during mid 50s and 60s when plastic became the newest material in toy manufacturing, and was also incorporated into the toy robot production and design. During was is commonly known as the Atomic Era and -may be- as a reflection of the competition between the US and the URSS those hard lines in the design of toy robots were left behind, now they used rounded edges and smoother lines, plus this toys had become battery operated. It was during the sixties when these androids appearance evolved into more human features, but paradoxically it was also then when the demand for these kind of toys dropped dramatically. These amazing pieces of art, that once were the best possible present for kids, are now greatly valued collectible toys, because of their aesthetic and design, the technical evolution of the item, and because, of course, they are a trade mark of a time in men's history.

2. How are Argentine toys different from toys from other countries?

For Argentina is a melting pot kind of society, all toys made in our country reflect in every case the combination of local and immigration brought trends. In every case, non of these trends stay isolated, even more they flow into a new mainstream of being Argentine. In some cases the original materials were not available in our country, therefore, these toys were adapted and made with handy local materials. In other cases, many of the heroes or main characters were adapted to the Argentine idiosyncrasy. Take for example the traditional Monopoly game; this was early in time made for Argentine kids as El Estanciero – the landlord, featuring a more countryside life much more in tune to the Argentine society.

In recent dates, such as the 1980s, some of the most popular toys around the world such as Action Figures, GI Joe, My Little Pony, Strawberry Short Cake, appeared different from the original American models by the paintjob. For these are artistic blends, though the general feel was similar to the one made in the US, the Argentine version was hand painted one by one, making them unique in their differences. As well as inevitably including a Latino feel and sense of being transmitted by the artist who was working on these items. These features can be specifically traced in several other toys that were made in Argentina, though sold all over Hispanic South America.

3. What are some traditional Argentine toys?

There are three different kinds of traditional toys. First, we can point out those toys that can be purchased in stores. In the majority of the cases, these were in big cities such as Buenos Aires, Rosario, Cordoba, Santa Fe. Both Argentine and imported toys could be acquired there and they were very similar to those all over the world. Dolls, toy cars, trains, balls, led soldiers, carting… plus all sort of rural toys related to our fields, the main support to our nation’s income. Our research work has showed us toys –in most of the cases- as reflection of reality. Secondly we can point out what we have christened as popular toys. These in most of the cases were made at home… a sort of joint venture between children and parents, handcrafted, one of a kind item, totally imaginative, seldom copies, and always made with handy, not very sophisticated materials. Love affection proofs of a father or mother to their child. To our surprise in recent dates of economic crisis and turmoil, these kinds of toys are creeping back into the children’s bedroom.

Last but not least, we have found another kind of traditional toy; these are what we have labelled –in lack for a better term- “ethnic toys”. To be found only today in rural communities of aboriginal groups that continues to practice their ancestral culture. These are always made out of natural fibbers and rarely stand the pass of time. The near impossibility of having original examples is sometimes sorted out by anthropologists and archaeologists kind enough to work together with us sharing their research work progress.

4. Why did they stop making the Buby and Muky toys from the (50's to the 80's)?

Toy production in Argentina has always been at a medium scale, not very big companies, even more in many cases these were small industries. They were always very much dependent on the ups and downs of our economy. The constant cycles have caused industries to open, grow, flourish, close, and in many cases disappear without a trace. It is here that our personal quest to recover and rescue from oblivion the history of Argentine toys. For the worldwide impact and acceptation of Argentine toys rests mainly on the great quality, design and imagination of the Argentine entrepreneurs. The 80s were a hard economic turndown that was completed during the 90s with the vanishing of a prolific industry of quality and design. That was the end to the wonderful Buby and Muky die casts.

5. What is the most requested toy?

This varies in relation with the public. As we go finding old and rare examples of toys of our past, we research on them, and publish articles throughout the world in specialized reviews or webzines, people go reading and learning and emailing us.

But most likely the most popular toys that we ever sold were GI Joe’s action figures 3 ¾ inches, My Little Pony and Transformers.

6. What was the hardest toy to search out?

The hardest toys are definitely the oldest ones, especially if you want to find it in good condition and with original features. Die cast toys are may be the most popular toys to kids from all over the world, who even after childhood have kept a close spot in their hearts for these sort of toys. May be the most looked for are Buby’s die cast Estanciera, a scale reproduction of Kaiser-IKA Estanciera, fetching some times high prices, from anything all the way up to U$S 3,000.- of course in good condition.

7. How close are you to the literal museum with the exhibit for children? Where would you like it to be located?

We have been working towards that goal for sometime now. We have grown and developed a public service without any financial aid, and have gained respect and a solid name among private collectors, the general public and especially among educators who use our virtual museum as a key aid for teaching young kids.

However, the transition to a real physical museum has resulted a bit more complicated than we have wished for. Due to the stabilization of our country, the possibility of accessing a rent controlled location in what we believe is to become the heart to these avant-garde products (Palermo Viejo) is in these days out of our possibilities. Nonetheless we have been working on a profitable investment plan that we have shared with potential investor-collectors, hoping to achieve in the near future positive results.