Alwyn Brice lifts the lid on Elastolin’s small scale toybox.
Alwyn Brice lifts the lid on Elastolin’s small scale toybox.
The 1950s were an interesting time. The hardships and deprivation occasioned by the recent global conflict were beginning to ebb away, yet life had certainly not returned to normal by any means. Industry was back on its feet, although shortages of materials were still being felt; and the US was overseeing Germany’s postWar progress, a presence that only ended around 1952. Toys, predictably, were hardly high on anyone’s agenda – yet inventions and technology were paving the way for the future.
One company to seize the initiative was that of Hausser/ Elastolin. Its pre-War output in 75mm scale comprised largely military subjects in composition material but arguably inspired by the work of two German scientists (Arthur Eichengrun and Theodore Becker) who had developed a moulding machine back in 1903, it now picked up the baton – and that baton was plastic.
HI-TECH TRENDS
It’s no exaggeration to say that plastic injection moulding has rewritten the history books: the process has permitted amazing detail and once a mould has been created, millions of examples can be manufactured. Although the actual concept dates back to the 1800s, it would be the decade after World War Two that saw this technology sweep all before it.
When it came to toy figures, by 1960 the marketplace was still largely lead based. That said, 1959 had witnessed the first Airfix 1/76 plastic figures, so clearly the writing was on the wall. Thus in 1960 Hausser, armed with this “new” technology, set out to bolster its existing 70mm figure production. And the scale it chose for this excursion was 40mm.
Looking back, the reason for this choice opens up all sorts of possibilities. First of all, there was nothing else in the market at that scale. Most figures were around 54mm in stature (with those rather odd pewter flats espousing the 30mm size), so this was a novelty. Clearly these new offerings wouldn’t sit comfortably with pre-existing figures in the toybox – so was this a sales pitch to ensure that the young customer came back for more of the same? Having said that, one competitor, also German, manufactured in 40mm (as well as other scales): Merten.
According to Peter Muller (see box at the end of the article), the decision to launch a small range was economically-induced. The company’s 70mm figures were expensive in the day, at around DM1.75, (almost twice the price of a packet of cigarettes), so smaller figures could be retailed much more cheaply. I suppose you could call it the Aldi or Lidl approach: smaller profits per figure would be compensated for by volume sales. Moreover, since the wax masters for the 70mm range were readily available, then pantographing techniques meant that smaller replicas could be easily manufactured.
TIPPING THE SCALES
Curiously, it was not a case of Elastolin merely replicating its bigger output to gain market share. Some figures were actually manufactured in 40mm scale before they grew to 70mm: examples here include its large Wild West range of figures as well as the US Civil War figures. These latter are a bit of a con, sadly: the same moulds were used for both armies, the only difference being the uniform colours. Conversely, not all that was made in the larger scale ended up Lilliputian. Furthermore, some small scale offerings were slightly modified as they shrank.
For the very first issues at the start of the Swinging Sixties, Elastolin went back to the era of knights and Normans. Colourful, with both foot and mounted figures, it was a successful sales ploy. The poses of these little fellows were usually imaginative and the clean, crisp modelling, thanks to the injection moulding process, certainly singled them
out. These were also the days of hand painting in the home country, so effectively every figure is unique. Some of these early examples benefit from a “wiped” painting process, where the upper surfaces were skimmed with a rag to leave highlights. Such niceties would vanish in the fullness of time, as cost came more and more into the equation.
THE RANGE
If you opt for Elastolin’s 40mm figures, you’ll be spoiled for choice.
Some of the best models in terms of design and action poses are to be found in the Roman, Viking and Medieval eras. Whilst the purist may find fault with, say, some of the armour detail on the Roman legionaries, nonetheless it has to be borne in mind that these were toys, albeit not cheap ones. Weapons were usually simply slotted into hands so can be swapped around; and riders can be unclipped from their horses, if care is taken. The plus side of Elastolin was that the plastic was hard so that paint adhered well; and 60 years on, you’ll find that in most cases it has lasted well. Weapons, though, tended to be a bit flexible, so paint loss is more common on these. Also, if you find a figure with a curved lance, it’s not easy to rectify!
The outstanding models from these periods have to be the four Bayeux Tapestry knights on their rearing horses: these are simply splendid, quite possibly the best models the company ever produced. However, if you like colour, then move on to the Landsknechts, for here is a veritable panoply of hues to savour. These mercenaries typically chose bright uniforms and you can marvel at maybe ten or 12 colours on a single figure in this context. Yes, all hand painted, and a labour of love, one feels.
The 40mm scene isn’t just about figures, though, for Elastolin supplied a range of ordnance and other accessories. The Roman chariot, with galloping horses, is a masterly evocation of a bygone era; and the Kampfwagen, a Medieval war wagon, is a must for the diorama. There is a siege tower, with a drop down ramp; several different cannon and accessories like palisades. Oh, and if you can find them, there’s a village well and a smithy, all thanks to the marvel of injection moulding.
A final word: watch out for kits that have been bought and painted. Certain unscrupulous sellers pass these off as originals, with prices to match. The only way to avoid this pitfall is to see and handle as many originals you can; admittedly, no easy task in these COVID-ridden times…CG