Cybis Porcelain Publications and Advertising Materials


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Before the advent of the internet, the print medium was the only way for art porcelain studios to ‘get the word out’ to collectors and potential buyers. In addition to newspaper advertising placed by their network of retail galleries, Cybis maintained a steady stream of publications from the late 1960s to the mid-1980s.

The Boleslaw Cybis studio did no direct retail advertising during the first fifteen years of its existence. The Cordey side of the operation had a wholesale catalog that salesmen brought “on their rounds” during the 1940s and early 1950s; it was about 9″x12″ with a leatherette binding and almost 50 pages of black and white photos of figurine examples, usually two per page side. Any consumer advertising was placed in newspapers by retailers; see 1940s Cybis Retail for examples of these.

As far as I know, there was never a corresponding wholesale catalog for Cybis although I would be fascinated to someday discover one. The Cybis-branded items were entirely different from the Cordey line and were cast (with few exceptions) from commercially available molds. When Joseph Chorlton came to work for Boleslaw Cybis in the early 1950s his job was to (as he once put it) “load up my car with pieces of Cybis and drive all over the country showing them to store owners.” So in those days Cybis advertising was very much of the classic door-to-door-salesman variety although in this case the doors were commercial ones.

After Boleslaw Cybis died and Marylin and Joe Chorlton took over the studio, I can find nothing in the way of print advertising or publications for almost seven years, while the studio was undergoing its metamorphosis into a new market (and marketing) realm. I’ve grouped the resulting publications into four sections: catalogs, brochures, price lists, and miscellaneous bound publications.


There were four distinct catalog issues by Cybis, spanning 22 years and multiple “editions” and printings.


The very first Cybis catalog appeared in 1964, the same year that the studio created the Flower Bouquet of the United States for the 1964 World’s Fair in New York.

It is 8.5″ x 11″, printed in black and white and is identified on the outside back cover as “Commemorative Issue New York World’s Fair.” It was then reprinted in 1965.

The pages are not numbered but each is printed on both sides plus on the inside front and back covers. The first three pages contain a brief history of the studio, along with something very unusual: artists identified by name. The photos on page five show artist Elsie Matelski (left) with studio owner Marylin Chorlton; the righthand photo is of Laszlo Ispanky who had joined the studio two years before. It is interesting that Boleslaw Cybis’ wife Marja (here spelled Marya according to its pronunciation) is specifically mentioned as an artist even though she had died six years previously.

Subsequent pages contain professional black-and-white photos of Cybis sculptures, typically one image per page although six pages contain two photos. Each photo is captioned with the sculpture’s name and either a short commentary or poem. Limited editions are identified as “limited edition of (quantity)” but the nonlimited editions display only the name. Four of the limited edition sculptures are noted as being already “complete”, i.e., no longer available.

The 1965 printing is almost identical to the first except for some changes in the “artists” section at the beginning, adding photos of ‘new’ in-house artists Lynn Klockner and Dorothy Kaminski. A few of the sculpture photos were also changed, one being this one of the Christmas Rose which now appears in a wintry staging; its photo in the 1964 catalog shows it simply on its wood base, upon a table and against a black background. The catalog was reprinted in 1966.  Although the 1967 printing still includes the photos of the female artists, they are no longer identified by name; Laszlo Ispanky, having left the studio in somewhat of a huff not long before, is notably absent. The page/leaf count of this printing is 26, though still unpaginated. Several new sculptures appear, including Columbia and an updated photo of the Windflower. It should be noted that some of the photos in this catalog (and later ones as well) do not necessarily correspond precisely to the appearance of the actual retail piece, especially regarding wood bases.



The 1968 catalog got a facelift but the contents still remained without color. The heavier, fairly glossy white coverstock is embossed with a depiction of the closed limited edition Turtle Doves in relief. The inside of the coverstock was given a gold-foil finish, and the artist-photos were removed entirely. Photos of some of the older sculptures were removed in order to make room for more recent introductions; the names of a few remaining ‘oldies’ were changed, such as an updated photo of the Baby Boy being recaptioned Young Boy either by accident or design. Cybis sold this catalog for $1, according to a contemporary pricelist.

For some reason there was no 1969 edition/printing; the next iteration came in 1970, where there is again some photo-shuffling. Noteworthy in this printing is that it contains the only published photograph of the American Screech Owl with Virginia Creeper, a limited edition with a whopping  retail price of $1500. I searched for a photo of this piece for years, until a collector friend got his hands on a 1970 catalog and sent me a scan. (You can see this elusive image in the Cybis Owls post.) Other new introductions debuting in this catalog are the Clematis with House Wren and Cybis’ first foray into paper graphics, the Folio One.


Another catalog makeover came in 1972. The white coverstock is now embossed with a collage of four Cybis phoenix logos, along with two new elements: a gold foil slipcase with a circular center cutout to frame the collage, and finally….. some full-color photos! Many of the images still remained in black and white, however. This iteration has 62 pages and more than 100 photos.


The 1974 printing included the first attempt by Cybis at an organized historical sculpture list, a single page of names only, sorted into design categories and rather awkwardly titled “Collectors Guide of Cybis Porcelain Art Sculptures.”

By 1975 the catalog had grown to 76 numbered pages, fourteen of which utilized color printing. This edition sold for $3 from Cybis.


1978 brought a major makeover. The cover was again redesigned with an embossed representation of Pegasus, a recently-completed limited edition. (I seem to recall this too having a gold foil slipcase but am not certain.) The catalog also acquired a new subheading, “A World of Enchantment” and contains a simple but elegant tribute to Marylin Chorlton, who died the year before, on its first two pages. Measuring 10″x13″, this is a larger format catalog than any of the others.

This is also the first of only two catalogs that contained a truly useful retrospective list. Comprising 10 pages at the very end of the book (which has over 110 pages, most in color) and arranged alphabetically, it supplies the following information for each entry: sculpture name, overall height, catalog illustration page if any, design category (“Biblical”, “Carousel-Circus”, etc.), Cybis design number, and year of retail release where known. Limited edition size, completion year, and retirement year of open editions are also shown, as are issue and final (if done) retail prices, at time of printing.

The downside to this “Alphabetical Guide to Sculptures” is that it can be frustratingly incomplete, with some inexplicable omissions: for example, the American Screech Owl  issued in 1970 clearly fell within the list’s timeframe, but it does not appear at all. There are also some typographical errors in the design numbers of some of the 1950s religious pieces. However, one very helpful aspect of the list is that it indicates if a limited edition sculpture was “closed early”, in other words if production was stopped before the original declared edition size was reached. This is important information today because all other Cybis literature gave only the original declared edition size at introduction.  For example the ballet sculptures Enchanted Princess Aurora and Enamoured Prince Florimund had a declared issue of 500 each but both were closed after only 200 were made.


The 1979 edition cover was redesigned to correspond with the likewise redesigned Cybis logo that debuted the same year. The tagline was also changed to “Porcelains That Fire the Imagination” which phrase Cybis also legally trademarked along with their new logo design. In other respects the 1979 edition appears to mirror 1978’s  except for the addition of the 1979 sculpture introductions to the layout and alphabetical list in the Appendix. This is the largest catalog Cybis ever published and was priced at $19.95. The 1978/79 catalogs were the last to be written (text and captions) by Hazel Herman who had provided all of the studio’s advertising text for 15 years. Sizewise this is the same as the 1978 version.


The next catalog appeared in 1981 (with subsequent reprints up to 1984) but is “downsized” in that it contains only 48 pages and quite a few of the photos are the same as shown in the earlier catalogs.  It also returned to the standard 8.5″x11″ format. The cover art is a montage of sculpture photos (Lady Macbeth, Little Bo Peep, Berengaria, the Court Jester, Oceania, Harlequin, and the Kestrel) cropped to a circle and printed on white coverstock. The name CYBIS is embossed in relief along the outside edge.
Ann Dorlon is now the author of the text; after a two-page Introduction, the catalog is divided into 12 “collection sections,” each headed by four or five paragraphs of text followed by two to four photographs per page.
Despite having the same heading as the 1978/79 list, the 1981 sculpture list at the back only includes the sculptures that are illustrated in the catalog; it follows the same format as the 1978 Appendix but unlike that list, it does not show the price of any of the pieces. The 1981 and 1982 printings sold for $5; it seems to have been reprinted in 1983 and 1984 but I have not come across any 1985 printing.


The 1986 edition/printing’s cover has a single color image (Madame Butterfly) above the Cybis name/logo and trademarked tagline.
As for text, only the two-page Introduction from the 1981 catalog was retained; the “collection section blurbs” have disappeared in favor of a title sidebar on the initial page, with one exception: an introduction to a new category titled “Heritage” that pictured only the Gemini Bowl.  There were no subsequent Cybis catalogs published after 1986. Oddly, this final iteration is the only one in which every photograph is in color; the 1981-84 catalogs still contained six in black-and-white.


There are three other “bound” Cybis publications, two of which were museum exhibit catalogs. The third is a hardcover book.


In 1970-1971 the New Jersey State Museum mounted a year-long exhibit entitled Cybis in Retrospect and published a catalog of the same name to accompany it. The catalog includes many photos of the old papka, Cordey-era and early Cybis studio pieces including the spatterware plates and other rarely-seen items. The book gives the name, height, introduction dates, and edition type  (although no prices) for the items mentioned. It was printed in two binding colorways: silver foil and gold foil, with a matching slipcase; the book is softcover and the slipcase is heavy cardboard. It may be (though I haven’t confirmed this) that the gold-foil version may have been the one available for sale at the museum, and the silver foil one was sold by Cybis retailers.
The catalog size is 8.5″ square and printed entirely in black and white. The first eight pages are a medium-weight textured matte-stock paper and provide a timeline history of Boleslaw Cybis and the studio. This section is followed by 33 leaves of standard white slightly glossy paper stock. This catalog sold for $5 from all sources, at least through 1976.

A mysterious publication which I have never seen was the Mercer County College Exhibit Catalogue published in 1975. Supposedly only 1000 of these were printed, and sold for $3 according to a Cybis price list from the same year. It is described simply as “Dedicating the June 1975 permanent Cybis collection” with no indication of how many pages it contains. It does not appear on the next (Spring 1976) Cybis price list and so I assume that it may have been sold out.  If anyone has one of these, I would love to see some photos; there is a direct-contact form on the About the Cybis Archive page.


The only Cybis hardcover book is not a catalog per se, although it is illustrated entirely by photographs of their sculptures. Poems For Children and Other People was first published in 1975; it went to four printings between then and December 1976. This book sold for $6.45 in 1975 and 1976 but was reduced to $5.95 in 1979 as per that year’s Cybis price list…probably in anticipation of its “revised edition” that was published in June 1980. I once had the 1970s version and so do not know how (or if) the 1980 revision differs; this one debuted at $7.95 and increased to $8.95 in 1982.

The dust jacket of this 8.70″x11.25″ book depicts Eros. Described as “edited by George Hornby” each illustration is captioned with a poem relating to the sculpture pictured. The 110 pages contain 240 poems and 90 color photos.  On the February 1988 Cybis price list this appears for $15. Because this was intended as a poetry book, it gives no information about the sculpture other than a page/name list at the end.


It was much more cost-effective for Cybis to create and distribute brochures than catalogs, and they supplied a generous number to their retailers. The studio introduced new sculptures twice a year – Spring and Fall – and created advertising materials to accompany them.


The earliest brochure I’ve found so far is this Z-fold from 1968, which naturally is in black-and-white but appears from the photo to have a gold-foiled “front cover”. The initial page, titled “Cybis Porcelains” reads exactly as follows:

The sensitive artistry of Cybis Porcelains reflects the techniques and devotions of the early master craftsmen. This is not surprising when one realizes that the firm’s originator, Boleslaw Cybis, an internationally known sculptor and painter, spent some of his formative years in the old Saxony countryside near Meissen. Dedicated to creating memorable sculptures for the connoisseur and collector, Cybis remains a small and disciplined group of American artists who understand and practice the European methods. In the Cybis studio each porcelain is individually crafted and no two are ever exactly alike. Each sculpture bearing the Cybis imprimatur, carries within it something of the pleasure and devotion of the artists who helped to create it. Whether in Limited Edition or non-numbered piece, a porcelain by Cybis is a memorable and lasting possession.

The photos in this brochure were all taken from the Cybis 1967 catalog printing.


For Spring 1974 Cybis introduced a staple-bound 16-page booklet called “The Phoenix” which is almost like a mini-catalog (the 1972 actual catalog was 62 pages) featuring a mix of color and black-and-white images. It sold for the very reasonable price of only 25 cents. The Fall 1974 issue of The Phoenix was slightly smaller at only ten pages.

For 1975 the title of the booklet was changed to “Porcelain Enchantments” and it was further downsized to only eight pages; it is more like a multi-page brochure than a book, and had minimal text as compared to The Phoenix. It sold for 50 cents.

In 1976 Cybis further simplified these semiannual “intro-lits” by converting them to  something like the original 1968 foldout but this time in color. These too sold for 50 cents but all of these booklet/brochures were typically mailed directly from Cybis’ dealers to their customer list for free….. usually about 60 days before the actual Spring and Fall introduction weekend (and, often, special dealer event.) Unfortunately my entire collection of 1970s and 1980s Cybis advertising materials was lost in a house move fifteen years ago and they have been almost impossible to replace, either physically or digitally; back in the day, most people did not think to keep them unless they were enamored of the excellent photography.  😦


Cybis stuck with the foldout format permanently. This Fall 1986 brochure shows the seven new introductions: Three limited editions and four open/non-limited ones.


To introduce their new Classical Impressions series in 1986, Cybis “went retro” by using black-and-white photography except for small accents of blue-green.



The inside of the Spring 1987 brochure. Notice how the studio is introducing their four Christmas items (an angel ornament, a bell, a holiday-themed rose, and a bas-relief decorative plate) in plenty of time for collectors to place their orders.


By contrast, the 1987 Fall/Winter brochure has no holiday items. The Liberty Bell had actually been introduced separately earlier in the year, along with their new “Constitutional Collection” celebrating the 200th anniversary of that document. I would like to one day see the special brochure for that one (Cybis did sometimes do that when launching a new ‘genre’.)


For the Spring of 1988 the studio returned to this completely black-and-white format, probably as a cost-cutting measure. In my humble opinion this was far from a success. In fact, color images of these sculptures did exist (Swan Lake’s Odette and Siegfried, for example, graced the cover of Collector Editions magazine that year) and so this format, while cheaper to make, really did the pieces a great disservice.

Because 1989 was the studio’s fiftieth year (if counted from the year that Boleslaw Cybis first came to America, instead of the year in which he actually established a permanent studio) they designated their Spring brochure items as the “Golden Anniversary” and/or “50th Anniversary” Collection.  Notice that for the first time in their history, the brochures do not show the price of the sculpture. Apologies for the incomplete images of some of the page sections.

The brochure shows 17 new sculptures, ranging in price (as per a separate paper list) from $75 – for Bunny ‘Bunnykins’ or the Preening Baby Swan – to $2400 for Scheherazade who was one of only three limited editions offered. The other two were the busts of Cleopatra and of Mark Antony, issues of 1000 each at $575. The brochure’s wording regarding the special 50th Anniversary stamp is a bit murky;  although it states that “each sculpture released during 1989 will bear” the stamp, in fact they were only applied to pieces that were actually shipped to retailers during that year. This is why examples of these 17 designs are found without the 50th stamp.



Cybis issued a separate brochure for the religious-themed sculptures introduced in 1989.  In addition to the five items shown in the lower half of this composite image, the studio also added a new colorway – white bisque with gold – to their Nativity series which was launched five years previously. The addition of the white/gold versions brought the total colorway options to three, but a few years later Cybis eliminated the all-white colorway, leaving the full-color and white/gold as the only options. Of the five “new” non-nativity introductions, four were taken from previous Cybis releases; only the Holy Family Plate is completely different, and even then it was cast from the same base mold as their Victorian Santa Plate from 1987.


Collectors Society brochureThe only post-1989 brochure I have ever seen a photo of is this one from their short-lived Collectors’ Society which launched in 1997. Unfortunately I’ve found no photo of the inside of the brochure or any other literature that may have accompanied it. If anyone has scans of any Cybis brochure(s) from the 1990s, I’d love to be able to add them here; there is a direct-contact form on the About the Archive page.


Cybis also provided this informational leaflet for dealers to give to customers when a sculpture was purchased. It contains a short history and overview of the studio as well as advice on “Caring for your Cybis porcelain.” It is undated but the photograph of an artist working on Fleurette, a 1981 introduction, indicates that it was distributed during the 1980s.


Cybis also provided text-only retail price lists twice a year. Their catalogs never showed prices, except within the 1978/79 editions’ Appendix.

The 1960s price lists were a single sheet of paper printed on both sides, giving all the necessary information: current limited editions and their issue size, and current retail price; completed editions are shown below. Open editions (still called “non limited” here on this August 1967 list) are shown on the reverse. The numbers in the extreme lefthand column are the Cybis design numbers. The book referred to at the bottom (A History of American Art Porcelain) was not a Cybis publication but it featured their Juliet as one of the three items on the dust jacket and discussed the studio in the text. Notice the studio address which is their first Trenton location on Church Street.


In the 1970 price list the newly released sculptures are given their own section at the top of the list of currently available items. On the reverse side is a list of limited editions that are “Fully Subscribed” meaning that Cybis had already taken retailer orders for the full complement of that design. An asterisk next to a name means “completed”, indicating that actual production has ceased. The list also shows the studio’s new address on Norman Avenue.


By 1975 the Cybis pricelists have received a complete makeover, and not only from the single-sheet to a single-fold format. Now all the sculptures are grouped according to the studio’s “collections” (particular theme) with limited and non-limited editions placed together. New introductions are indicated by an italic font, with the sculpture name in all caps, as well as an asterisk next to the design number….a change from recent years’ lists in which the asterisk indicated a closed limited edition. Here, limited editions nearing completion are indicated by an adjacent dagger symbol †  while retired open (non-limited) editions are flagged with ǂ . The list of available publications has grown to ten, not including the American Art Porcelain book.

Cybis price lists were sometimes used to alert collectors to changes in the production specifics of certain pieces. For example, the Spring 1975 list contains this footnote: “Effective September 1975, wooden bases will not accompany Buffalo, Magnolia, and Wood Wren with Dogwood.”  Collectors today who see these pieces for sale without a base, but have only seen the ‘official’ Cybis catalog photo, may assume that the original base is missing – but that might not actually be the case, because all three continued to be produced (sans bases) until 1978 (Buffalo), 1979 (Magnolia) and the mid-1980s (Wood Wren.)


Although the 1976 list follows the same general style (collection-groupings), new introductions are now identified only by an adjacent star symbol, while limited editions that are “near closing” are flagged with the single dagger † .  Recently-closed limited editions, and retired open editions, are listed at the end of each category, while open editions “nearing retirement” get the  ǂ  . On the back pane, beneath the list of available publications, there also appear two new accessories for sale: a Cybis name plaque (3.5″ h x 4″ w) for $25, and a vitrine/display case described as a “clear lucite case, carrying the Cybis logo, designed to enhance and protect your sculptures.” Only one size was available (10″ square x 16″ high) and it sold for $53. This would be an appropriate size for most of their Portraits in Porcelain. (All of the Cybis display signs are shown here.)



Instead of the previous solid-color/Cybis-logo front pane, the 1979 price list sports line-drawing depictions of 35 assorted sculptures on the front panel, and seven publication covers on the back. Nor is that the only departure from their former list style; there are several significant differences. This is the first appearance of the word “open” in regard to non-limited editions, and the collection-divisions have been eliminated in favor of a simple alphabetical list of available sculptures (tagged to indicate production status.) Completed and retired editions are now relegated to a footnote at the bottom of the back pane; in this case, four retirements and seven completions.


Cybis subsequently went back to the ‘separation by collection’ format.  Sculpture status tags now changed to a lowercase r for retired, nc for “nearing completion”, and c for completed.


This list is possibly the last comprehensive one that Cybis ever printed (if anyone has a later version, please let me know.) It’s a full 8.5″x11″ sheet with printing on both sides of two pages and is odd in several respects. Dated February 1, 1988 and titled “Alphabetical Guide by Collection”, it is in effect a price list because it shows only their available pieces; the status-indicators have all gone away. It also shows, for all 59 of the limited editions, two issue sizes: one for the USA and another for ‘international’ …..something that had only once before been done, with the original 1970s North American Indians series. Cybis never used the dual edition allocation after that, until this list. The edition sizes are shown in a split format; e.g., 200/20 for the foxes Chatsworth & Sloane, indicating that Cybis intended to make 200 available for sale in the USA plus an additional 20 for export.  In all cases the “international issue” is 10% of the USA availability.

I don’t know exactly when this revised USA/International edition split was added but I suspect it was merely a marketing ploy. Why? Because by that time Cybis either was losing or had lost many of their retailers for various reasons, somewhat but not entirely related to general market conditions. It’s true that it wasn’t as bad (yet) in the UK and Europe but Cybis never had a strong presence there even during the “heyday” of the late 1970s….so they certainly couldn’t hope to compete internationally now. Thus, despite the supposed “international mini-editions”, it’s likely the only such sales they actually made were to the occasional American ex-pat collector directly.


Because starting in 1989 Cybis no longer showed the retail price on their brochures, they instead included a separate pricelist/order form that could be mailed to the studio while being easily (and cheaply) revised whenever needed. I have to date found no price lists later than this Spring 1989 one.


The majority of Cybis’ advertising was done by retailers, although Cybis provided the basic materials as created by the New York City ad agency that they utilized. Dealers received a generous supply of the semiannual booklets/brochures to mail to their customers, as well as catalogs to sell or provide gratis as the dealer chose.


The studio would also provide their higher-volume dealers with a basic advertising image such as this one, which the retailer would then customize with their own information before publishing in the venue of their choice.


Dealers could also arrange for their own photo shoots from the advance shipments they received, although those may have had to be approved by Cybis before publication. This 1973 ad from one of their largest Kentucky galleries introduced the Carousel series.


Not every dealer could afford budget-busting color ads. Cybis also provided black and white art, such as these 1979 line drawings of Pip, the Elfin Player and Christopher the Sea Listener, for use in newspaper advertising. Both were drawn by freelance artist Cyndy Bohonovsky.

The studio’s most effective outside advertiser, by far, was Brielle Galleries. An arrangement was entered into whereby Brielle placed full-page, full color ads in the most high-end magazines (Architectural Digest, Town & Country, The New Yorker, etc.) at their own expense but in exchange they received a larger allotment of sculptures from Cybis. This was a definite advantage during the super-hot art porcelain market of the 1970s.


In addition to magazine ads Brielle published its own full-color catalog, A Quest for Excellence, at least twice a year. Their Spring 1980 issue (the second year of Quest‘s publication) not only featured the Polish Bride on the cover, but the first seven pages were also devoted entirely to Cybis.


During the first half of the 1980s Cybis always received at least a two-page full-color spread in Quest; this is from the Spring 1985 issue. By this time the catalog’s customer-base circulation had grown to almost 500,000 copies. Unfortunately I do not have any late-1980s copies of Quest but I do have a 1993 and a 1995/96 copy; Cybis appears in neither of those. (It would be interesting to find out the year in which Brielle stopped carrying Cybis.) In fact, even other retailers’ newspaper ads for Cybis dropped off dramatically after 1986; most of them were from stores advertising deep discounts (20%-40%) on sculptures, and did not include art.


This assortment of tearsheets, brochures, and price lists is an example of the materials furnished to dealers. Unfortunately the image is too small to discern the years, and zooming makes matters worse rather than better, but all of the pictured sculptures were issued during the mid to late 1980s.

Thus, a rough timeline for the publication of Cybis literature is: catalogs 1964-1986; brochures 1968-1989 and possibly occasionally into the 1990s, such as for the 1997 Collectors Society; price lists 1964 (probably) to the early 1990s, because the Hall of Fame replicas emerged in that year. Retailer advertising likely began in the mid to late 1960s and ended in the mid to late 1980s.

Name Index of Cybis Sculptures
About the Cybis Reference Archive
What is Cybis?

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