Tanja Tomažič





Zbirka Slovenskega etnografskega muzeja





Ljubljana 2015





KAZALO



CONTENTS



Uvod



Introduction



Od 16. do 18. stoletja: najstarejši podatki o igračah



The 16th to 18th Centuries: The Oldest References to Toys



Prva polovica 19. stoletja: igrače prihajajo k otrokom le ob redkih priložnostih



First Half of the 19th Century: Children Are Hardly Ever Given Toys



Druga polovica 19. stoletja: trgovina z igračami narašča



Second Half of the 19th Century: The Toy Trade Expands



Prva polovica 20. stoletja: starši vseh družbenih plasti se zavedajo, da otrok igračo potrebuje



First Half of the 20th Century: Parents From All Classes Become Aware That Children Need Toys



Druga polovica 20. stoletja: razlike med igračami kmečkih in mestnih otrok ni več



Second Half of the 20th Century: The Differences Between Peasant and Town Children’s Toys Disappear



Sklepne misli



Conclusions



Seznam virov in literature



Sources and Literature



Katalog predmetov



Catalogue of Objects



Slikovna priloga



Illustrations



Kazalo predmetov



Index of Objects





Zahvala

Če bi se želela zahvaliti vsem, ki so mi kakorkoli pomagali pri delu, če ne drugače, vsaj s spodbudnimi besedami, ki so bile izrečene ob omembi, da se ukvarjam z igračami, bi bilo naštevanje predolgo. Zato naj s hvaležnostjo omenim bibliotekarke v knjižnici Narodnega muzeja v Ljubljani: višjo bibliotekarko Anjo Dular, Barbaro Rogač in Blanko Bole, ki so mi pomagale pri iskanju literature in časopisja. Za nasvete in pomoč pri iskanju ustreznih inštitucij sem dolžna zahvalo “dobremu staremu sošolcu” prof. Vladu Nartniku z Inštituta za slovenski jezik na SAZU. Zahvaljujem se kolegom v “hiši”- članom uredniškega odbora, za vse dobrohotne nasvete, in kolegici Nives Špeh, ki se je ukvarjala z delom pri urejanju fotografij. In končno, čeprav ne poslednjemu, naj se zahvalim muzejskemu kolegu, dr. Gorazdu Makaroviču, ki mi je s kritiškimi pripombami, predvsem pa nasveti pomagal pri marsikaterem postanku, tako da sem lahko potisnila voz naprej in ga pripeljala do konca.



Acknowledgements

If I had to thank everybody who in some way or other helped me to write this book - many of them found words of encouragement when I happened to mention that I was writing on toys - the list of names would be far too long. But let me at least express my gratitude to the librarians of the National Museum in Ljubljana: senior librarian Anja Dular, Barbara Rogač and Blanka Bole, who assisted me in finding relevant literature and newspapers. I am also indebted to my old schoolfriend Prof. Vlado Nartnik from The Institute of the Slovene Language at the Slovene Academy of Sciences and Arts for his valuable advice and assistance in finding relevant institutions. My thanks also go to my “in-house” colleagues and members of the editorial board for their encouraging advice, as well as to Nives Špeh, who was in charge of arranging the photographs. Last but not least, I would like to thank my colleague at the museum, Dr. Gorazd Makarovič, for his critical comments, and especially for his practical advice, which more than once enabled me to keep on moving and complete this task.





UVOD

Otroško igranje in igrače so nekaj najstarejšega in najlepšega na svetu, o čemer vsakdo vsaj nekaj ve, kar bi lahko pomenilo, da smo od prvega zavedanja navajeni na igro in igrače. Otroku je igra potrebna za socializacijo in normalen razvoj. Obstoje razne znanstvene in neznanstvene teorije o otroških igrah, prav tako o otroških igračah. Kot so se menjali, in se še menjajo, pogledi na vzgojo otrok, tako se menjajo tudi vrednotenja otroških igrač. O vzgojnosti nekaterih igrač, ali bolje rečeno pripomočkov pri vzgoji, so si mnenja strokovnjakov in nestrokovnjakov v raznih časovnih obdobjih in prav tako tudi krajevnih območjih neenotna. Prav neverjetno je, kako so lahko nekdaj prisegali na vrednost kakega igrala, ki je postalo čez čas popolnoma pozabljeno, otroke pa so bržčas vzgajali ob istem cilju na drugačen način. “Igra je nekaj univerzalnega. To je otrokova naravna dejavnost, njegova potreba in želja, osnovna življenjska manifestacija, ki jo otrok zadovoljuje, da se neutrudno igra, kjer je to le mogoče. Osnovo otrokove igre pa predstavlja igračka, ki daje igri idejo in vsebino” (Marjanovič 1981, str. 7). Igrače so zrcalo časa, družbe, kraja. Zlahka bi dejali: povej mi, s čim se igraš, in povem ti, kdo boš! Igrače ne pripovedujejo le o sanjah otrok, temveč nemalokdaj razodevajo želje odraslih. Igrati se, pomeni nekaj prvinskega. Po J. Huizingi je igra starejša od kulture, “saj kakorkoli naj bi bil zamejen pojem kulture, v vsakem primeru predstavlja človeško družbo, živali pa vsekakor niso čakale na ljudi, da bi se naučile igranja” (Huizinga 1970, str. 9).

Znameniti pedagog Jan Amos Komensky je svoje edukativne spise objavljal v 17. stoletju, v času, ki vsekakor ni bil naklonjen otroški igri in igranju. V delu Kako pregnati lenobo iz šol je zapisal: “Pobožni in modri roditelji pomagajo torej preganjati lenobo iz šole, ako že poprej doma nikjer ne trpe te napake. Prav mladi dečki pa, kateri se še ne morejo baviti z resnimi opravili, naj se igrajo karkoli, nikdar pa naj ne bodo prepuščeni samim sebi” (Komensky 1892, str. 81).

Danes uvrščamo igranje na vrednostno lestvico pozitivnih vrednot, med nekaj, kar naj bi sodilo k “nepokvarjenemu svetu otroštva”. In obdržati nagnjenost k igranju, zmožnost vživljanja v otroški svet, ko je človek že odrasel, pomeni nekaj svetlega, pozitivnega. S tem se hvalijo odrasli, ki se nemara sploh ne bi znali več igrati z drugim kot z žogo in vendar je to danes splošna potreba, želena značajska poteza. Ali pa morda umik v otroški domišljijski svet igre in igrač predstavlja le nekakšno besedno pomoč za “kruti današnji čas”, za realnost, ki so si jo ustvarili odrasli?

N. Kuret, ki se je kot etnolog v slovenskem prostoru gotovo največ ukvarjal z igro in igračami, navaja v svoji knjigi, da “je opredelitev (definicij) igre toliko, kolikor je teorij o njenem izvoru, bistvu in namenu. Te pa se od starega F. Fröbla dalje menjavajo in jim ni videti konca...” (Kuret 1959, str. 15). Z igračami in njihovo uporabo so se v zadnjih desetletjih ukvarjali zlasti psihologi. S posebnimi študijami o dobrih in slabih igračah so skušali opredeliti otrokovo igranje, povedati o igračah, zakaj so in kam sodijo, nakazati njihovo vzgojnost in tudi škodljivost. Taka in podobna priporočila naj bi pomagala predvsem staršem pri nakupih igrač.1

Otrokom ni mar teoretiziranj in jemljejo igrače za del svojega vsakdana. Odrasli jim sicer lahko vsilijo svoj način izbire igrač, vendar jih težje prisilijo, da bi jim igrače pomenile isto kot njim. Način igranja daje lahko istim igračam povsem drugačen pomen. Vsak odrasel človek nosi s seboj spomine na otroštvo. Med njimi so spomini na igračke in igre prav gotovo med najmočnejšimi. Včasih se nekako čudno dopolnjujejo, kot da prijetno otroštvo deli z otroki tudi prijetne igrače. Drugič spet pa se tudi sredi zoprnih in hudih otroških dni najde kaka igračka, ki pomaga preživeti vse tisto najhujše in ostane v tako močnem in trajnem spominu kot živo bitje. Dokler je otrok še majhen in sredi vsakdanjega igranja, si ne predstavlja, da bo igračo nekoč odložil. Lahko jo polomi, pokvari, zgubi, vendar so to pota, ki spremljajo ves čas oba: tako otroka kot igračo. Šele ko pride nek določen čas, ko igrača ni več potrebna, se lahko ločita. Pa še takrat se najdejo nekateri otroci, zdaj že odrasli, ki posestniško bdijo nad staro igračko, čeravno že zdavnaj ni več v rabi, a se ne morejo ločiti od nje.

Igrače postajajo v zadnjih desetletjih v etnoloških muzejih ne le zaželene, ampak tudi potrebne za celovite prikaze načina življenja raznih obdobij. Vsakovrstni predmeti, ki so služili otroku za razvedrilo, igranje in privajanje na svet, ki ga je obdajal, imajo svojo povedno, dokumentarno vrednost. Še pred sto in več leti so si igrače našle mesto v muzejskih zbirkah večinoma šele takrat, ko so bile pomembne predvsem kot umetniški izdelki znanih in slavnih mojstrov (npr. avtomati znanih izdelovalcev iz 18., 19. stoletja), kot kolekcije slavnih ljudi (npr. zbirka igrač angleške kraljice Viktorije) ali primerki nacionalne umetnosti in obrti (kolekcije lesenih igrač v velikih nemških, čeških muzejih, itd.).

Otroško igračko spremlja zla usoda takorekoč od rojstva: če je uporabna in pripravna, jo bo otrok izrabil do konca, če je lepa in dragocena, jo bo moral več ali manj gledati od daleč. Zbiralcem igrač je ta poteza več kot dobrodošla, zakaj na njihovem trgu krožijo navadno zelo dobro ohranjene igrače. Za muzeje pa so enako, morda celo bolj pomembne in povedne enostavnejše igrače, za katere je znano, da so bile v množični rabi, da so se z njimi igrali večinoma vsi otroci iste generacije, istega družbenega sloja. To predvsem pomeni, da so bile enostavne, zastonj ali poceni, narejene kot izdelki domače ali obrtne dejavnosti in večinoma iz nedragih materialov.

Danes, ko se izgublja razlika med stilom življenja, ki je bil vsaj do srede 19. stoletja predpisan ali vkalupljen za posamezne družbene sloje, se izgubljajo tudi razlike med igračami, kijih odrasli polagajo v otroške roke. Zdaj so to celo redkeje starši in najpogosteje kar prodajalci trgovin. Ni več pomembno, kje živi otrok, v mestu ali na podeželju - povsod so dosegljive najnovejše poceni (plastične) igrače. Zbirke, ki nastajajo v etnoloških muzejih zatorej ne vztrajajo na tem, da bi posedovale najlepše, najstarejše, najdragocenejše igrače, temveč skušajo z najrazličnejšimi avtentičnimi predmeti prikazati predvsem tisto, kar je bilo pomembno in najbolj pogosto v določenem obdobju, prostoru in socialnem okolju.

Zbirka igrač v Slovenskem etnografskem muzeju ni obsežna, še manj popolna. Prvi predmeti s tega področja so bili priložnostni nakupi ali darila za zbirke Deželnega muzeja v Ljubljani. Nastajale so ob koncu 19. in začetku 20. stoletja. Leta 1923, ko je bil ustanovljen Kraljevi etnografski muzej v Ljubljani, je nekaj teh predmetov prešlo v njegovo last. Od Narodnega muzeja je leta 1946 Slovenski etnografski muzej prevzel tudi del tako imenovane Grebenčeve zbirke. Oton Grebenc je bil zbiratelj, v njegovo dragoceno zbirko ljudske umetnosti in obrti, ki jo je prodal muzeju, so gotovo tudi igračke zašle predvsem kot delo ljudskih umetnikov, rezbarjev in lončarjev. Med temi so zlasti pomembne lesene rezljane figurice, ki so nastajale pod rokami mojstrov, ki so delali tudi figurice za jaslice. Vstopnice za muzej so si prav gotovo pridobile tudi zato, ker so jih vrednotili kot del ljudske umetnosti.2 Kot dragocenost pa je v začetku 20. stoletja najbrž prišla v muzej bidermajerska punčka, uvožena iz nemških dežel. Starejše igračke, ki so našle pot v etnografski muzej, so bile tudi keramične figurice različnih živalic, ki so bile pogosto narejene kot piščalke. Te so bile uvrščene med ljudsko obrt, kot izdelki kmečkih lončarjev.




1. Razstava igrač, ki jo je priredil Slovenski etnografski muzej leta 1979 v ljubljanskem razstavišču Arkade. (Iz fototeke SEM)

The exhibition of toys organised by the Slovene Ethnographic Museum in the Arcades Gallery in Ljubljana in 1979 (SEM Picture Library).



Sem in tja so, predvsem iz delovanja terenskih ekip, ki so obiskovale razne slovenske kraje in so jih v muzeju organizirali vsako leto od leta 1948 dalje, prinašali v zbirko kakšen otroški voziček, hojco. Tudi ob ekipnih raziskavah na terenu so večji del pozornosti posvečali predvsem otroškim igram, precej manj ali skoraj nič pa igračam. Čeprav le-teh skorajda ni bilo, se je kje vendar še našel kakšen doma narejen predmet, ki je služil otrokom za igranje.

Zbirka se je začela povečevati šele ob koncu sedemdesetih in predvsem v osemdesetih letih. To najbrž ni naključje in je pravzaprav podoba časa in splošnega zanimanja, ki se je pokazalo tudi drugod, ne samo pri nas. Ob koncu leta 1979 je Slovenski etnografski muzej pripravil prvo razstavo o otroških igračah pri nas. Ne gre pozabiti, da je bila tudi s tem delno izpolnjena državna volja in priporočilo za posebno priložnost: počastitev Mednarodnega leta otroka. Vsaj polovica predmetov na razstavi je bila sposojenih, v glavnem iz meščanskega okolja. Razstava je bila pomembna zato, ker se je že pred njo, še bolj pa po njej, začelo bolj namensko zbiranje igrač. Kot donatorja svojih najnovejših izdelkov sta se izkazala tedaj dva izmed večjih jugoslovanskih proizvajalcev igrač: tovarna Mehanotehnika iz Izole in tovarna Ciciban iz Mirna pri Novi Gorici. V naslednjih letih so sledili v muzeju občasni nakupi bolj ali manj dragocenih igrač. Precej igrač so podarili zasebniki. V osemdesetih letih je muzeju podaril manjšo zbirko lesenih poslikanih igrač Niko Kuret. To so bile rezljane figure, ki jih je izdelal Janko Trošt.

Medtem se je tudi pri nas zviševala tržna vrednost starih igrač in število ljubiteljev se je množilo. Zdaj so zbiralcem postajale pomembne tudi igrače, ki še niso bile stare, vendar so bile unikatne, ker so pripadale tipu ali seriji, ki jih niso več izdelovali. Tudi zdaj še vedno ostaja naš največji donator tovarna Mehano, nekdanja Mehanotehnika iz Izole. Igrače, ki do zdaj sestavljajo zbirko v Slovenskem etnografskem muzeju, seveda ne kažejo vsega igračarskega bogastva, katero se je pretakalo in premikalo med rokami otrok na Slovenskem. V katalogu so obravnavane igrače, ki jih je pridobil muzej od leta 1933 (prvi vpis igrače v inventarno knjigo) do leta 1998. Pripadale so kmečkim in mestnim otrokom. Večje produkcije igrač na slovenskem ozemlju ni bilo, razen individualne izdelave kmečkih, obrtniških in nasploh enostavnejših igrač.

Glede na to, da zbirka igrač še zdaleč ni popolna, in je kljub dobri volji težko pričakovati, da bi jo lahko sčasoma tako izpopolnili, da bi pokazali vse, kar se je pojavljalo na naših tleh, smo se za boljše poznavanje stanja igrač v zadnjih, približno stoosemdesetih letih želeli osredotočiti na prikaz in oceno stanja na tržišču igrač, se pravi na stanje ponudbe in povpraševanja. Za to so kot informacije služili predvsem zapisi in reklame v sodobnih časnikih, enodnevne novice v časopisih z največjo naklado. Med temi so bili Laibacher Zeitung, Novice, Slovenski narod, Jutro, Slovenec, itd. Ostali časniki so navedeni v seznamu literature.

Prav ti podatki iz časnikov so prispevali k splošnejši sliki igračarskega trga na Slovenskem, in s tem pogojno tudi k sliki porabe. Izkazalo se je, da je bilo stanje na slovenskem trgu enako trgu v ostalih srednjeevropskih deželah. Kupci, seveda predvsem v večjih mestih, so bili seznanjeni z vsemi novostmi, ki so prihajale na trg. Poraba je bila gotovo manjša, “kupivne” igrače so krožile vsaj spočetka v omejenem krogu, kasneje pa je draga igračka lahko našla pot na kakršenkoli način tudi med otroke revnejših slojev. Z reklamami v časnikih, ki so čestokrat, vsaj v zadnji tretjini 19. stoletja, zelo podrobno opisovale posamezne izdelke, si lahko kar dobro predstavljamo, kakšni so bili. Obrtniško, kasneje tudi industrijsko izdelane igrače so bile v drugi polovici 19. stoletja že absolutno potrošniško blago, podvrženo tržnim zakonom mnogo bolj kot presoji pedagogov.

Položaj se torej v približno stotridesetih letih ni kaj dosti spremenil. Skoraj štirideset let je minilo od takrat, ko je Niko Kuret izdal svojo knjigo Igra in igrača v predšolski dobi, pa njegove ugotovitve, češ da ni dovolj pedagoških igrač, ki bi bile narejene na slovenskih tleh, veljajo še danes. Brezupno bi bilo pričakovati, da bi glas vzgojiteljev preglasil glas trgovcev. Prav zato nam igrače govorijo o času, v katerem so nastale, in so predvsem podoba nekega odnosa, ki so ga imeli odrasli do otrok.

Do leta 1868 je bilo največ reklam za igrače v nemških časopisih, ki so takrat izhajali na Slovenskem. Šele po tem letu, ki je rojstno leto Slovenskega naroda, se pojavljajo obširnejša naštevanja in opisovanja igrač v slovenskem jeziku. To so bržkone prvi prevodi in zapisi kompliciranih igrač v slovenščini. Igrače, in s tem tudi njihova imena, so prihajale k nam iz tujejezičnega področja, največkrat zagotovo iz nemščine, redkeje iz francoščine, še redkeje iz angleščine. Ko je bilo treba prevesti, ni bilo kaj prida porabnega v domačem jeziku, na kar bi se lahko naslonili, in tako so nam pravzaprav časnikarji in trgovci krojili prvo igračarsko imenoslovje.

Kot dodaten vir, ki naj bi pojasnil oziroma pokazal, s čim so se pri nas igrali otroci v prejšnjih stoletjih, smo ob pomanjkanju starejših pisnih virov uporabili slikovne upodobitve igrač. Otroci na slikah, ki brez izjeme pripadajo bogatejšemu plemiškemu in meščanskemu sloju, so tako rekoč na ogled skupaj s svojimi igračami. To so dragocene igrače, statusni simboli. Čestokrat so otroci na slikah tudi v družbi živih živali, ki jih pestujejo kot igrače. Slike so naredili avtorji, ki so v tistem času živeli na naših tleh, ali pa so bile že v zgodnejših časih prenešene na naše ozemlje.

Za najzgodnejše obdobje fotografije, v šestdesetih in sedemdesetih letih 19. stoletja, so tudi fotografski portreti pomemben vir razpoznave porabnosti posameznih igrač. Tudi tu so navadno igrače ob otroku takorekoč kot na razstavi in na ogled. To bi lahko pomenilo, kako pomembne in dragocene so bile igrače za tistega, ki je dal otroka portretirati, oziroma fotografirati. Kot najpomembnejši vir pa brez dvoma lahko štejemo memoarsko literaturo in ustna pričevanja, objavljena ali v rokopisih. Bolj ko se bližamo 20. stoletju, več je na razpolago vedenja o igračah, predvsem pa o njihovi uporabi med otroki različnih družbenih slojev.

In tako lahko ponovimo: o otroških igračah vsak vsaj nekaj ve.





OD 16. DO 18. STOLETJA:

NAJSTAREJŠI PODATKI O IGRAČAH


Trubar in omemba Miklavževih daril

Kot prvo tiskano omembo “igračke” v slovenskem jeziku, se pravi predmeta, ki naj bi pripadal otroku in naj bi bil namenjen igranju, lahko navedemo Trubarjeve besede, ki jih je zapisal v Catehismu s dveima islagama, 1575: “...zatiga volo so ty Papeshniki S. Niclausha, kanimu Bogu postavili, de ima te boge bogate storiti, Satu she sdai ty Nemci na nega gud tim Otrokom na vezher pod nih skledice oli Baretice lizhkako Iegrazho polagaio, Inu te Otroke pregovore, tu je nim S. Niclaush dal.”

Trubarjev zapis je vsekakor zanimiv iz dveh razlogov: Slovenci smo prvič dobili tiskano poročilo o šegi sv. Miklavža, kako so na njegov god obdarovali otroke in drugič, omenjene so bile igrače, ki naj bi jih otrokom položili v kakšno skledico ali pokrivalce. Trubar je poročal o šegah, ki jih je bil videl na Nemškem, niso mu bile sicer pogodu, vendar so se mu zdele toliko pomembne, da je informacijo o njih v slovenščini namenil tudi prebivalcem v stari domovini. V domačem jeziku se je morala razširiti vsaj s pomočjo duhovnikove razlage tudi med kmečkim prebivalstvom, katero branja ni bilo vešče.

Verjetno je Trubar omenjal šego, ki jo je videl pri pripadnikih višjega sloja, pri nemških plemenitaših in bogatih meščanih. Če bi šlo za kakršnokoli darilo, kot ga pripisujemo Miklavžu v 19. stoletju na kmetih, za orehe, suho sadje in podobno, bi se Trubar prav gotovo potrudil, da bi stvar razložil tudi v slovenščini. Po vsej verjetnosti pa je šlo za predmete, ki niso pomenili samo jedi, ampak tudi igrače. Ne glede na ta podatek pa moramo vedeti, da do obdarovanja otrok z igračami za Miklavževo na Slovenskem še dolgo ni prišlo niti med mestnimi otroki, kaj šele med kmečkimi. Kuret navaja podatek šele iz sredine 19. stoletja, da je Miklavž nosil mestnim otrokom tudi “pisano oblečene punčke, dalje piščalke, trobente, lesene in svinčene vojake, konje, posodo...” (Kuret 1989, str. 229).


Slovarji

Matija Kastelec, o. Hipolit Novomeški

Dokaj zgodaj je omenjena v slovenščini “punčka”, torej ena izmed najbolj znanih in uporabljanih igrač vseh časov. Seveda nam omemba v slovarski beri težko pove, koliko je bila igrača zares znana med otroki različnih slojev. Iz druge polovice 17. stoletja, natančneje po letu 1688, je v rokopisu (Vorenčev prepis) ohranjeno gradivo za Dictionarium Latino-Carniolicum, ki ga je zbiral Matija Kastelec. Pod geslom “die Puppe” je navedena slovenska razlaga: “punzhiza, s katerimi se ty mladi otroziygrajo.”3 “Punčica” za igračo je beseda, ki je znana še danes, pravzaprav še več, ta beseda je ohranila pomen vse do današnjih dni, ob drugih, ki so jih navajali kasnejši slovarniki.

Obširnejšo razlago za besedo, ki naj bi pomenila otroško igračo, izvemo kakšnih trideset let kasneje, leta 1712, ko je Kastelčev rojak Hipolit Novomeški napisal Dictionarium trilingue (razen treh prvih strani je ostal v rokopisu). O igračkah ima več zapisov: Pod geslom “punčica” je navedeno: “Toke. punzhiza, tatermon, s’katerim se otrozi ygrajo. pupa” (Hipolit: Diet. 1,196), ali “majhena podoba ene punzhize, taterman, s’katerim otrozi ygrajo inu zhenzhlajo” (Hipol it: Dic. I, 476), ali “hzherka, deklica, punzhiza, tudi punza, s’katero se otrozi ygrajo” (Hipolit: Dic. I, 537), ali “otrozhje ygrazhe koker lejpe gospodizhnize, punzhize” (Hipolit: Dic. II, 41).




2. Obrtnik struži lesene igrače. Ilustracija iz knjige: Orbis pictus Jana Amosa Komenskega. Knjiga je izšla v 1. polovici 17. stoletja in doživela v naslednjih dveh stoletjih veliko ponatisov v različnih jezikih. Z besedilom iz te knjige si je pomagal tudi oče Hipolit v svojem Trojezičnem slovarju. Posnetek po knjigi iz knjižnice Slovenskega šolskega muzeja.

A Craftsman turning wooden toys - an illustration from Orbis pictus by John Amos Comenius. This book was published in the first half of the 17th century’s and frequently translated and reprinted in several languages during the following two centuries. Father Hipolit based some of the entries of his Trilingual Dictionary on Comenius’s work. A picture of the volume kept by the library of the Slovene School Museum.



Zadnja razlaga, ki omenja “lepe gospodičnice” pač ne more pomeniti drugega, kot igračke plemiških in redkih otrok bogatejših meščanov. O punčkah, ki so si jih naredili kmečki otroci, pa lahko samo ugibamo.

Zelo zanimivo je tudi geslo “taterman”: “draxler sedeozh na klopi draxla s’dlejtom na draxlerskim stolu te kugle, kegle, tatermone inu otrozhje zhazhe inu takushne draxlerie” (Hipolit, Diet.: Orbis pictus, 30). Slovaropisec Hipolit je torej za razlago besede “taterman” uporabil tistega, ki struži, sedi na klopi in z dletom na stružilnem stolu obdeluje različne predmete.4 Na prvi pogled neznano in nerazumljeno kombinacijo različnih struženih predmetov nam morda razjasni pogled v Lexerjev slovar srednjeveške nemščine (Lexer 1986). Tu najdemo pod geslom “Tateraere stm, Tatar, taterman m.Tatar; kobold, gliederpuppe, figur im puppenspiel, scherzh. vom turnierer.” To je nemara razlaga za Hipolitov izraz “tatrmon” - punčka s premakljivimi udi, morda tudi ime za punčko z leseno glavico, podobno struženim “kroglam in kegljem”.

Iz vseh navedenih podatkov bi lahko sklepali, da so bile poznane tudi na naših tleh igračke v obliki punčk, lutk, že v 17., še bolj pa v 18. stoletju, in to ne le najpreprostejša cunjasta skrpucala, ki naj bi sijih delali otroci sami, temveč tudi bolj umetelne oblike. Izdelovali so jih mojstri, ki so bili stvari kos in so obvladali stružnico. Očitno so bili “kugle, kegli in tatermani” najbolj običajne lesene igrače namenjene sejmom in podobnim tržiščem. Zato so bile “nürnberške” lesene igrače vse 19. stoletje, sodeč po ponudbi številnih trgovcev, ki so se samo v Ljubljani ukvarjali s to prodajo, že znan in dobro idoč artikel.




3. Sveta družina, 1510. Avtor je češki slikar, im. Mojster iz Okoličnega. Slika je bila last grofov Száparyjev iz Murske Sobote. Od leta 1930 je lastnina Narodnega muzeja v Ljubljani. (Iz fototeke NM)

The Holy Family, 1510. The author was a Czech painter called the Master from Okolično. The painting was in the possession of the counts of Szápary from Murska Sobota. Since 1930 it has been in the possession of the National Museum in Ljubljana (Picture Library, National Museum).




Likovne upodobitve

Mojster iz Okoličnega, Janez Potočnik

Za ilustracijo igrač, o katerih govori slovarsko gradivo, težko najdemo primere na naših tleh, še težje je z avtorji mojstri, ki so ustvarjali pri nas. Vzeli si bomo torej pravico in omenili tudi delo, ki je sicer nastalo na tujem, a je kasneje prišlo k nam. Kako nepomembni v družbeni hierarhiji nižjih pa tudi srednjih slojev so bili včasih otroci, in kako se je sčasoma njihova veljava večala, nam prav dobro pokažejo upodobitve.

V srednjem veku je bila najobičajnejša upodobitev otroka kot Jezuščka z materjo Marijo. V gotiki nastajajo ob podobah svetnikov ali Svete družine še različni žanrski prizori. Iz začetka 16. stoletja dolgujemo češkemu Mojstru iz Okoličnega upodobitev Svete družine. Vsi člani so okrašeni s trakovi s svojimi imeni. Razporejeni na platnu v največji zbranosti pozirajo gledalcu. Kot da ne sodi v ta resni trenutek, se je z desnega kota proti sredini zapeljal s hojco mali Janez Krstnik. Priprava na treh kolesih, ki je otrokom pomagala pri učenju hoje, ni ravno igrača po današnjem okusu, vendar je orodje, s katerim naj bi se otrok igraje naučil hoditi in se med tem tudi zabaval. Dokazuje, da se v začetku 16. stoletja dojenčki niso obnašali prav nič drugače kot v današnjem času. Tabelna slika je v lasti Narodnega muzeja v Ljubljani.




4. Dekletce v otroškem “stoleku”. Posneto na Dolenjskem, 1948. (Iz fototeke SEM)

A little girl in a highchair, Dolenjska, 1948 (SEM Picture Library).



Hojca je namenjena učenju hoje. Je pripomoček ali igralo, s katerim naj bi si otrok pomagal naprej, ki naj bi ga vzpodbujal in učil. Če ga gledamo tako, res ni razloga, da bi tudi hojce ne vključili v krog predmetov (hojce, stajce, hodulje), ki pomagajo otroku na igrajoč način premagovati prve težave premikanja, ali pa so v pomoč starejšim, ki se ukvarjajo še z nebogljenim dojenčkom, ki potrebuje nekakšno varstvo.

Slike, ki so nastajale kasneje, so bile večinoma portreti plemiških naslednikov. Strogi, resni, skoraj postarani otroci se od renesanse dalje umikajo bolj sproščenim upodobitvam. Pogosto slikarji pokličejo na pomoč tudi kakšno domačo žival, redkeje igračo. Vendar pa so tudi igrače v 19. stoletju že precej pogosti atributi otroškega portreta. Pri upodobitvah otrok na slovenskem ozemlju je seveda pomembno, da ugotovimo, kakšne igrače so poznali v času, ko je bila podoba narejena. Ob koncu 18. stoletja je nastal portret malega barona Lazarinija, ki ga je naslikal Janez Potočnik. Konjiček, na katerega je položil roko portretiranec, je lesen, na deščici s štirimi kolesi. Ne moremo soditi, od kje ga je otrok dobil, vsekakor je oblika podobna lesenim struženim konjičkom, ki so ob koncu 18. stoletja krožili po trgovskih poteh srednje Evrope in so jih prodajali po sejmih. Ker je na sliki mladi baron plemenitega rodu, igrača najbrž ni bila vsakdanja, saj bi je sicer ne ovekovečili ob otroku. Kakih sto let kasneje so imeli podobne pripomočke že fotografi, zato bi bilo takrat prav tako težko soditi, ali je igračka domača ali posojena.





PRVA POLOVICA 19. STOLETJA: IGRAČE PRIHAJAJO K OTROKOM LE OB REDKIH PRILOŽNOSTIH


Likovne upodobitve

Pavel Künl, Andrej Herrlein, Jožef Tominc, dva neznana avtorja

V 19. stoletju so si portretiranje svojih naslednikov vedno bolj številno privoščili tudi bogati meščani. Vendar so upodobitve igrač še vedno dokaj redke. Pogosteje so otroci na sliki v družbi raznih domačih živali. Slike otroških iger iz kmečkega okolja so bile še redkejše. Andrej Herrlein, slikar iz Nemškega, ki je umrl leta 1817 v Ljubljani, je naslikal portret Deklice z lutko. Deklica drži v levi roki punčko z leseno glavo in premakljivimi udi, oblečeno v empirsko obleko odrasle osebe. S široko odprtimi očki zre v gledalca, hkrati pa z desnim kazalcem kaže na punčko. Tu je pomembnost in dragocenost igrače več kot očitna.

Pavel Künl (1817-1871), znani portretist ljubljanskih meščanov, je naslikal portreta dojenčkov, eden je Amalija Kermavner. Oba držita v rokah umetelno pleteni ropotuljici. Tudi ta dojenčka, eden starejši, drugi mlajši, sta otroka premožnih staršev, ropotuljici pa sta prav tako predmeta občudovanja. Ob tem morda ni napačna domneva, da ropotuljici pripadata nemara kar slikarjevim pripomočkom pri slikanju portretov, torej sta nekaj podobnega kot rekviziti v kasnejših fotografskih delavnicah. Sta si namreč kar precej podobni. Na Tominčevih portetih so otroci večinoma v družbi živali, prav tako na Langusovih in Stroyevih slikah. Na Tominčevem portretu Frančiške Schmitt (1821) je tudi sin Ferdinand, morda oče kasnejšega trgovca z igračami v Ljubljani, Ferdinanda Melchiorja Schmitta (Šuštar 1996, str. 98). Njegovi nasledniki imajo trgovino in jo oznanjajo kot “staroznano tvrdko” še leta 1932.

Iz prve polovice 19. stoletja je pravtako slika neznanega avtorja, skupinski portret štirih otrok. Po vsej verjetnosti so to otroci meščana Janeza Zupančiča, leposlovca, zgodovinarja in pisca (Zalar 1992, str. 118). Ena izmed deklic drži v roki lutko dojenčka. Lutka ima na glavi čepico, povita je po vsem telesu. To je pravzaprav precej nenavadno, saj poznamo v tem času predvsem igračke - punčke, ki predstavljajo odrasle osebe, kar nakazujejo z garderobo. Slika je last Narodnega muzeja, hranijo jo v Mestnem muzeju v Ljubljani.

Iz približno istega časa je portret plemiških otrok, katerega hranijo v Goriškem muzeju v Kromberku. Avtor je neznan, letnica na sliki pa je 1833. Deček jaha na vzpenjajočem se konjiču, deklica pa ima v roki porcelansko punčko. Konjiček je razkošen in nenavadno velik.


Spomini in literatura

Malopomembnost otroka kot člana družbe odraslih

O otroškem igranju in igračah za obdobje pred 1800 pri nas ni veliko pisnih virov. Slovenci nismo izjema, tudi po drugih deželah Evrope so podatki o igračah oziroma o igrah otrok zelo redki, v splošnem pa omejeni na pripadnike višjih stanov. Vedenje o uporabi otroških igrač pri različnih slojih je premosorazmerno s položajem lastnika: višji je, večje podatkov.




5. Otroci ljubljanskega meščana Janeza Zupančiča, 1. polovica 19. stoletja. Avtor ni znan. Slika je lastnina Narodnega muzeja, hrani jo Mestni muzej iz Ljubljane. (Iz fototeke Mestnega muzeja v Ljubljani)

The children of Janez Zupančič from Ljubljana, first half of the 19th century, anonymous. The painting is in the possession of the National Museum and kept by the Municipal Museum of Ljubljana (Picture library, Municipal Museum of Ljubljana).



Šele v prejšnjem stoletju so se začele množičneje uveljavljati nove ideje o pojmovanju otroške vzgoje, ki so poudarjale, da je igra otroku potreba, igrače pa nuja. Redki pedagogi so šele v prejšnjem stoletju začeli prodirati z idejami o svobodnejši vzgoji otrok, še redkeje so te ideje pronikale v vzgojne institucije (šole, vrtce - ustanavljanje vrtcev), najkasneje pa v okrilje družin nižjih plasti družbe. Položaj otrok je bil vseskozi na splošno tak, da so odrasli leta odraščanja imeli bolj za nujno zlo kot obdobje, ki naj bi bilo namenjeno neskrbnemu uživanju in igranju. “Staršem je namenjeno strogo postopanje z otroki,” citira G. Makarovič poleg drugih tudi Dalmatina, Krelja in Trubarja, ki so v svojih nasvetih strogi in se držijo vzgojne šibe, ki je mladosti potrebna (Makarovič 1995, str. 192). Otroci so po pojmovanju odraslih bili že zelo zgodaj godni za delo (Makarovič 1995, str. 84), torej je bil glavni problem pravzaprav pomanjkanje časa za igro. V takem okolju se tudi igrače niso mogle razviti.

Odnos odraslih do otrok se je v zadnjih dveh stoletjih zelo spremenil; niso se spremenile le igrače in igre. Javnost je sprejela splošno spremenjeno podobo o potrebah otrok. Redkim pedagogom je samo s težavo uspelo, da so obelodanjali svoje poglede na vzgojo, še bolj redki starši so ta dela brali, med neuko množico večinskega prebivalstva pa so nove ideje zašle že zelo poenostavljene šele po dolgem času.

Za omembe igrač in iger na Slovenskem se moramo zahvaliti nekaterim piscem, ki so v drugi polovici 19. stoletja začeli objavljati spomine. Kdorkoli je pisal o svojem življenju, so se mu pritaknili tudi brezskrbni časi, ki jih je preživel v družbi svojih sovrstnikov in igrač. Zapisi v knjigah ali v časnikih pa so, dasiravno naključni, dovolj pomembni, da nam lahko ilustrirajo stanje v tistem času.




6. Tako so se na “kulah” igrali otroci leta 1948 v vasi Vino na Dolenjskem. (Iz fototeke SEM)

Children playing in the village of Vino in Dolenjska in 1948 (SEM Picture Library).



Tako se pravzaprav potrjuje podoba, ki kaže, da so bile igrače otrok na kmetih neprimerno preprostejše od tistih, ki so jih imeli lahko otroci bogatejših mestnih prebivalcev. To dejstvo pomeni, da so si morali kmečki otroci, ki jim zlepa niso kupili igrač, mnogo bolj prizadevati, da so si s pomočjo lastne domišljije, spretnosti in dela ustvarili predmet, ki jim je služil za igranje. Vendar pomanjkanje kupivnih igrač gotovo ni niti vzpodbujalo niti ni bilo vzrok pomanjkanja otroške domišljije. Za ilustracijo tega, kako in s čim so se igrali otroci v 19. stoletju, naj nam služijo odlomki iz različnih biografskih in avtobiografskih del, ki so izšla v časnikih in knjigah.

Friderik Irenej Baraga

V Novicah je prav na začetku 20. stoletja izšel kratek starejši zapis, v katerem sestrična Friderika Ireneja Barage, kasnejšega škofa, pripoveduje o spominih, ki jih je ohranila na skupna otroška leta. Takole pravi: “Krtine so mu bile vrtki. Zjutraj je takoj gledal skozi okno in nove krtine štel, potem pa prosil mamo semenov za toliko in toliko vrtkov. S semeni je potem šel od krtine do krtine. S pralico je kopice zravnaval, obsejal in seme zabrskal... Posebno priljubljena igrača mu je bila, zvezati po pet ali še več “pručic” in jih prepeljavati. Ženske so bile nejevoljne, ker je vse perilo znosil, kolikor ga je dobil, ga je porabil za povezo. Še ko je s V. latinske šole prišel na počitnice, je rad s “prukami” vozaril. Nekatere dni pa je na travniku “Brdavs”, tam, kjer se iz petih krajev vodke delajo, delal mlinčke s kladvički.”5 Friderik Irenej Baraga je bil rojen 1797, njegova sestrična je bila tri leta starejša od njega. Spomini so vsekakor iz prvega desetletja 19. stoletja. Še dandanes delujejo prijetno in vsakdanje, kot da ne bi minilo od tedaj že skoraj dvesto let. Baragova družina je bila premožna in otroci so očitno lahko izživeli svoje želje po igranju. Uporabil je za igračo pravo delovno orodje, pralico, in spet pravi stolček, ki pa mu je služil, s pomočjo otroške domišljije, seveda, za popolnoma nekaj drugega. Sestrična pripoveduje še drugačne zabavne zgodbe, kako so se otroci vsi skupaj igrali v tistih zgodnjih letih na Dolenjskem. Pručke, ki so fantiču povezane predstavljale najbrž vozove, bi bile prav lahko v rabi še danes. Vendar pa je njihova predstava v vsakem času drugačna. Ko se je čez dobrih petdeset let pojavil vlak, so se fantje prav tako vozarili z narobe obrnjenimi stolci, z zaboji ali vozički, ki so jim takrat najbrž predstavljali lokomotivo in vagone.

Jernej Andrejka

Kako so se igrali otroci premožnejših kmetov kmalu po sredi 19. stoletja, zvemo tudi iz spominov Jerneja Andrejke. Takole opisuje svoja prva doživetja: “Toliko, da sem stal na ravnih nogah, že se je pričela špartanska vzgoja, dobil sem srajčico iz hodničnega platna; to je bila vsa moja obleka skozi dolga leta, zakaj pri nas je bila stara navada, da so otrokom napravljali hlače in čevlje šele o birmi. V tej skromni opravi sem se pridružil drugim vaškim in domačim otrokom, s katerimi smo gradili hiše in gradove iz peska in blata, postavljali mline ob potočkih, lovili rake, iskali ptičja gnezda, klestili in obirali domače in tuje sadje, vabili murenčke iz toplih zemeljskih luknjic, držaje jih z bilko. Posebno radi smo spuščali papirne barčice po vodi. Pozimi smo privlekli sani izpod podstrešja, nataknili stare krevse na noge in hajdi sankat v sami srajčici” (Andrejka 1934, str. 34, 35).

Do odhoda v šolo so kmečki otroci večinoma izživeli svoje sanje o igranju na način, ki očitno ni potreboval kake posebne vrste igrač, vsaj takih ne, ki bi jih bilo treba kupiti. Vse, kar je bilo zabavno, si je otrok lahko preskrbel sam, še sanke so bile lahko le navadna zakrivljena deska od starega razpadlega soda. Za igrače je porabljal predmete, ki so sicer služili drugemu namenu, ali pa si jih je tudi naredil sam. Take igrače delajo še danes, dasiravno bi jih bilo laže na novo narediti kot pokazati stare. Bile so namenjene igranju in njihova trajnost je bila kratka. Nimamo muzejske zbirke, ki bi jih lahko pokazala v izobilju, čeravno je to tiha želja marsikaterega muzealca.

Vrnimo se k pripovedovanju mladega Jerneja Andrejke. Ko je bil pripovedovalec star nekaj nad sedem let, je šel k birmi: “Po škofovem zadnjem blagoslovu smo zdrevili na trg pred cerkvijo, kjer je bilo polno kramarjev. Ko je veliki zvon oznanjal poldan, sem imel že orgeljce in tudi sam nanje oznanjal poldansko uro. Kupil mi je boter tudi še lepo rdečo ruto za trideset krajcarjev, v katero sem zavil mnogovrstna darila. Med temi sta me poleg orgeljc najbolj razveselila trobenta in jezdec na konju, ki je znal tudi zadaj piskati” (Andrejka 1934, str. 46).




7. Babica in vnuk se “kamenčkata”. Posneto na Dolenjskem, 1950. (Iz fototeke SEM)

A grandmother and her grandchild playing with pebbles, Dolenjska, 1950 (SEM Picture Library).



To so bili torej predmeti, ki so mu jih kupili za birmo, in o teh predmetih poroča kot o prvih kupljenih igračah. Najbrž je bil že kdaj prej deležen kakega manjšega darila s stojnice na sejmu, vendar to ni mogla biti obstojna igrača, sicer bi se je bil gotovo spomnil. Orglice so bile v tistem času zelo moderno darilo, vsaj v širši ljubljanski okolici, o njih poroča tudi pisatelj Janez Trdina (Kumer 1983, str. 88). Kot štirinajstleten fant je v družbi svojih vrstnikov precej prostega časa porabil za “bližanje ali cvenkanje. Kadar krajcarjev ni bilo, smo bližali ali cvenkali za gumbe, ki smo jih porezali od hlač, hlače pa smo nosili na lesenih klinčkih ali cvekih... Fucanje ali bližanje, to je zelo preprosta igra. Položijo kamen ali kak drug predmet na gladka tla, se postavijo deset korakov proč ter začnejo s krajcarji ali knofi fucat ali bližat. Kdor najbližjemu kamnu prifuca, ta dobi” (Andrejka 1934, str. 51). Gumbi so bili dragocena igrača, saj so bili dragi in redki, igranje z njimi pa je za vsakega fantiča pomenilo tudi svojevrstno avanturo in podajanje v nevarnost: če so jih zalotili, so bili “štrafani” od kaplana in staršev.

Jakob Alešovec

Nekako ob istem času, sredi 19. stoletja, je v okolici Ljubljane preživljal svoja otroška leta pisatelj Jakob Alešovec. Njegovi spomini so bolj trpki in nekako ustrezajo temnejši polovici zgodbe o igri in igranju otrok na kmetih. Alešovec je bil sin revnega čevljarja na vasi, zato se ne spominja nobenih kupljenih igrač, še za birmo ne, pač pa le podarjenih stvari, ki jih je dobil pri kaplanu. Rad je risal. Kaplanove podarjene liste papirja je zamenjeval pri domačem mizarju za barve, z izkopano glino in kredo pa je čečkal in risal po hišah. To seveda niso bile igrače v pravem pomenu besede, in jih tudi starši in njegovi sovaščani niso jemali kot posebno koristno delo. Danes je drugače, saj so kupljeni pripomočki za pisanje in risanje izrazito vzgojne igrače.

Kot nekakšne vrste igrače pa so služile Alešovcu tudi piščalke iz vrbe. Mati ga je spomnila na to, da je rekel spretnemu sosedu, naj mu naredi piščalko iz vrbe, “mu bom pa jaz enkrat dala kruha” (Alešovec 1910, str. 20). Kasneje si jih je delal sam, a mu te igrače niso prinašale kaj prida radosti, saj so se hitro polomile in se jih je kmalu naveličal. Na podoben način so verjetno vedno potekale zamenjave med spretnejšimi sosedi in tistimi, ki so potrebovali njihove izdelke.

Anton Šantel

Tudi spomini Antona Šantla, matematika in fizika (1845-1920), ki je preživljal otroška in deška leta na kmetiji na Tolskem vrhu na Štajerskem okrog srede 19. stoletja, so neizčrpen vir spoznavanja življenja na kmetih. S posebno ljubeznijo opisuje otroška opravila. “Moje glavno opravilo pa je bila paša. Zabaval sem se najraje z izdelovanjem raznih predmetov iz ilovice.” Kadar je bilo dosti vode, “se je ponudila priložnost urejati bajarje, jezove, kanale, zlasti pa žlebove in pod njimi vrteča se kolesa, ki so navadno gonila stopo.” Svojo ustvarjalnost je, kakor mnogo drugih fantičev pred in za njim, izživljal tudi z rezanjem, vrtanjem, žaganjem in dolbenjem lesa. Ker pa si ni upal izposoditi očetovega orodja, si je delal bolj ali manj uspele piščalke in “borove škornje” s pomočjo žepnega nožiča, “ki ga je imel pač vsak otrok enakega, kupljenega za dva krajcarja.” Take igrače so bile vedno na razpolago in ni jih bilo škoda, če so šle hitro v zgubo (Šantel A. 1989, str. 539). Najbolj imenitno pa so se imeli fantje, kadar jih je bilo več, in so ob pastirskem ognju prižigali “pipe”: “Iz zeljnih štorov so se delale pipe, iz orehovih paličic cevi. Kadilo pa se je zrezano orehovo listje kot tobak” (Šantel A. 1989, str. 540).

Rezljanje različnih predmetov iz palic ali kosov lesa je bila stara in večna igra fantov, kadar so posedali ob živini na paši. Vedno se je našlo kaj časa, ki so ga lahko porabili zase. Pri tem je bilo skoraj bolj pomembno, da so preiskušali svojo spretnost, manj pa so bili pomembni izdelki, ki so nastali. Kdor je bil spretnejši, se je s tem ukvarjal več in marsikdaj iztržil tudi kaj koristnega zase. V vsakem obdobju lahko naletimo na take spomine in predmeti, ki so pri tem nastajali, so bili vedno odvisni od spretnosti posameznika.


Trgovina in reklama

Nürnberška roba

Kot je bilo že večkrat omenjeno, se Slovenci pač ne moremo pohvaliti s kakšno posebno nagnjenostjo k industrijskemu izdelovanju igrač. Očitno je, da se celo v hišni obrti nismo kaj prida naslanjali na izdelke za potrebe otroške igre, kaj šele, da bi na tem temelju nastala kaka večja trgovska ali celo industrijska dejavnost. Tako imenovane ribniške lesene igračke so novejša stvar in so imele svoj trg večinoma na slovenskih tleh. In zato se vedno znova, od druge polovice 19. stoletja dalje, po časnikih sprašujejo, kako je vendar mogoče, da uvažamo toliko tujih igrač. A vsakih nekaj let se kljub temu pojavi kaka tako imenovana Prva tovarna otroških igrač.

V prejšnjem stoletju, ko je bilo izdelovanje otroških igrač kot veja domače industrije in trgovine poznano že v mnogih deželah Evrope, se tudi na slovenskih tleh nismo mogli pritožiti, da otroci ne bi poznali takih igrač. Trgovska mreža v avstrijskih deželah je poskrbela, da so kupci tudi pri nas kar hitro prišli do njih. Kako je potekala ta pot, oziroma kakšne vrste igrač so prodajali v trgovinah, lahko zasledujemo po časopisnih člankih in oglasih. V Ljubljani, ki je bila brez dvoma največje tržišče, so namreč ponujali svoje izdelke tudi tako imenovani trgovci z nürnberškim blagom.

Nürnberško, norimberško blago ali v nemščini Nürnbergerwaaren (ali waren) v besedilih trgovskih ponudb v ljubljanskih časnikih nudijo vsaj od začetka tridesetih let 19. stoletja dalje. “Nürnberger-waaren” nastopa najbolj pogosto skupaj z “Galanterie waren” in z “Nippsachen”, torej igračke, galanterija in drobne stvari. Po definiciji iz leta 1872 avtor pod poglavjem Drobna roba navaja: “Lesena drobna roba. Največ lesene drobne robe, zlasti otročjih igrač, škatljic, itd. izdelujejo na Bavarskem v Amergavu in Berhtesgadnu. Tam skor vsaka vas kako posebno sorto lesene robe izdeluje. Vsa ta lesena roba pride pod imenom ‘Norinberške robe’ v kupčijo, ker jo večidel Norinberški predkupci po vaseh spokupijo” (Kočevar 1872, str. 171). Norimberški je pridevnik od italijaniziranega Nürnberga - Norimberk (Cigale 1860).

V Ljubljani je trgovec Anton Krisper, preselil se je iz Slovenske Bistrice, imel že od leta 1834 dovoljenje za trgovino z nürnberškim blagom (Valenčič 1981, str. 82). Nekako istočasno, je leta 1840 trgovec Matheus Kraschowitz v svoji trgovini, pravzaprav kar pod velbom na Glavnem trgu “vdano naznanjal, da je prejel popolnoma novo izbiro galanterijskega in norimberškega blaga.”6 Lesene igračke, ki naj bi jih prodajali pod imenom “norimberško blago”, so dokumentirane v vaseh Turingije in Erzgebirga že od 17. stoletja naprej. Rezljane in stružene igrače so na široko pošiljali v prodajo po vsej Evropi, tudi na Rusko. Zato ni prav nič čudno, da so imele svoj trg tudi v deželah avstro-ogrske monarhije.

Izraz “nürnberška” ali “norimberška roba” se je pojavljal v trgovskem in pogovornem jeziku še vse 19. stoletje in tudi še v prvih dveh desetletjih 20. stoletja. Uradno ga najdemo še leta 1928, ko je trgovina Ivana Samca, nasl. Vasota Petričiča, navedena kot “veletrgovina galanterijskega, norimberškega in drobnega blaga” (Adresar 1928). Da je bil izraz “norimberške igrače” poznan še po 2. svetovni vojni, dokazuje prevod knjige Anatola Francea, Spomini in zgodbe, kjer Karel Dobida prevaja takole: “...predstavljal sem si stvarstvo kot veliko škatlo norimberških igrač, ki se vsak večer zapira s pokrovom, ko so vsi ti zabavni možički in te majhne ženice lepo in skrbno pospravljeni” (France 1950, str. 51).




8. Deklica s punčko – iz radovljiške trgovske družine. Slikana je bila v fotografskem atelieru, 1900. (Iz fototeke SEM)

A girl with her doll. From a Radovljica trader's family, studio photograph, 1900 (SEM Picture Library).



V prvi polovici 19. stoletja so bile trgovine, zlasti specializirane, v Ljubljani še dokaj redke, prav tako tudi ponudba po časnikih. Glede na to, da pa se vendarle reklame za nürnberško robo pojavljajo že tako zgodaj, to najbrž pomeni, da so bile igrače resna stvar in so imele dovolj kupcev. Do približno šestdesetih let prejšnjega stoletja se pojavlja v časopisih na Kranjskem kar nekaj trgovcev, ki vneto priporočajo svoje izdelke, z imenom nürnberško blago. Navedeni Kraschowitz je leta 1858 umrl in svoji dve trgovini zapustil vdovi in sinu. Vdova je prodajala nürnberško in galanterijsko blago Pri zlatem poštnem rogu, nasproti mestnega vodnjaka, sin Johann pa je imel trgovino s podobnim blagom v trgovini Pri poštnem golobu na Glavnem trgu.7

Igrače so prodajali tudi drugi prodajalci, saj leta 1855 ponuja Helena Marolani kot Miklavževa darila sladkarijo, galanterijo in traganterijo: “V naslednjih treh dnevih jih boste lahko videli pod posebno dekoracijo in večerno razsvetljavo.”8 Miklavžev čas nedvomno kaže, da so bili na ogled tudi predmeti, namenjeni otroškemu igranju.

Papirnate figurice kot ogledalo mode

Še pred sredo 19. stoletja so meščanskim damicam ponujali “premikajoče se modne figurice”, ki so izšle v časopisu Der Spiegel der Kunst, Eleganz und Mode, in jih je bilo moč naročiti po pošti. “Te premikajoče se figurice, ki jih prinaša samo Spiegel, imajo to prednost, da lahko predstavijo obleko na najbolj naraven način z vseh strani. Istočasno služijo za prijetno zabavo. Vsak, ki se bo naročil na časopis, bo najprej dobil že narejeno in na najfinejši način kolorirano glavno figuro, med semestrom pa še številne pregibne, fino obarvane obleke, zgornja krila, plašče, klobuke, avbe, lasni okras itd, vse izdelano po zadnji originalni dunajski modi.”9 Podatek, da “istočasno služijo tudi zabavi”, jih uvršča med igračke za gospe in gospodične iz višjega razreda.

Ta zabava s papirnimi punčkami je prišla v modo že zgodaj, konec 17. stoletja v Nemčiji in se je potem razširila po vsej zahodni Evropi in tudi po deželah Avstro-Ogrske. V različnih variantah je postala papirna punčka popularna in precej cenena igračka vse 19. stoletje (Bachmann, Hansmann 1973, str. 107 in dalje), predvsem pa v 20. stoletju, ko lutka zgubi svoj modni značaj in ostane samo igračka. Iz zgodnjega obdobja, ko so jih ponujali naročnikom modnih revij, na naših tleh ni ostalo nič oprijemljivega, vendar pa so med meščanskimi gospodičnami gotovo krožile.





DRUGA POLOVICA 19. STOLETJA: TRGOVINA Z IGRAČAMI NARAŠČA

To je obdobje, v katerem najdemo že kar precej pisnih virov o igračah na naših tleh, vsekakor več kot je ostalo materialnih. Vendar vse omembe, tako v literaturi kot časopisju, navajajo k prepričanju, da smo bili s trgovsko mrežo trdno zasidrani v avstroogrski monarhiji. Zato so bili tudi otroci, čeprav v manjšini premožnejših, pri nas deležni enakih igrač, se pravi predvsem vseh novosti, ki sta jih prinašali nova tehnologija in tehnika izdelave. Mesta so bila centri te trgovinske distribucije.


Slovarji

Matej Cigale, Maks Pleteršnik, Občeslovanski lingvistični atlas

Če pogledamo v pomembnejše slovarje, ki so izšli v tem obdobju, vidimo, da je imenoslovje za igrače (ostanimo pri “punčki”, ki jo spremljamo že od prej) drugačno, obširnejše, saj so našteti številni narečni izrazi, kijih v istočasnem časnikarskem jeziku ne uporabljajo. Cigaletov slovar iz leta 1860 navaja pod geslom Puppe: “punčika, čeča, lila, lilika, donda, puža za igračo”, pod geslom Puppenhandler pa “lilar, prodajavec lil, puž, dondza igračo”. Vse to bogastvo narečnih izrazov se je v časnikih zmanjšalo na preprosto “punco” (glej Schreyerejeve reklame v Slovenskem narodu 1875). Tudi Pleteršniku so še znani izrazi “lila” v pomenu punčka, ali “lilar” v pomenu “izdelovalec punčk”. Geslo “tatrman” pa je med drugim: “zgornji konec vodnjaške cevi, nav. s kakim okraskom” in “strašilo v prosu”. Niti sledi ni več o kakšni otroški igrački.

Naj ob koncu navedemo še nekaj izrazov iz Gradiva za Občeslovanski lingvistični atlas (OLA), ki je bilo zbrano okrog leta 1980. Izrazi so seveda starejši.10 V petindvajsetih slovenskih krajih so spraševali za narečni izraz “punčka” - igrača. Rezultati so bili naslednji: Najpogostejši izrazje “punčka” (Bohinj, Valburga pri Smledniku, Babno polje pri Starem trgu pri Ložu, Ribnica na Dolenjskem, Dragatuš v Beli krajini, Bučka na Dolenjskem, Mostec pri Dobovi, Horjul pri Ljubljani). Ostali izrazi so bili razporejeni takole: “bambola” (Sv. Križ pri Trstu, Šmartno v Brdih, Pomjan v Istri), “puža” (Luče v Savinjski dolini, Šmarje pri Jelšah, Kneža na avstrijskem Koroškem), “pupa” (Spodnja Ložnica pri Slov. Bistrici, Videm ob Ščavnici, Solbica v Reziji), “pupka” (Komen na Krasu), “punca” (Cerkno prildriji), (Hrušica pri Ilirski Bistrici), “la pepina” (Okčnje v Nadiški dolini), “baba” (Gomilice v Prekmurju), “bava” (Zg. Senik v Porabju), “ceca” (Potoče v Ziljski dolini), “čeča” (Šentjakob v Rožu). Ne da bi se podrobneje spuščali v obravnavo teh podatkov, lahko opazimo, da je najpogostejši izraz po zelo različnih slovenskih pokrajinah - “punčka”.


Likovne upodobitve

Simon Ogrin

Likovne upodobitve igrač, v povezavi s portretirancem ali kot žanrski prizori, so še vedno redke. V tem času so vse pogostnejši fotografski otroški portreti, ki pa imajo, prav tako kakor na slikanih upodobitvah, kot igrače razpostavljene raznovrstne živali.

V Narodni galeriji v Ljubljani hranijo majhno perorisbo slikarja Simona Ogrina iz leta 1876. Prikazuje slikarja Rafaela pri slikanju. Opazuje ga skupina ljudi. Med njimi je otrok, ki je pustil svoji igrači, lesenega konjička na vrvici in še eno, očitno tudi leseno igračko, v kotu, in se posvetil ogledovanju. Simon Ogrin je bil predvsem freskant in je bila risba nemara mišljena kot osnutek za večjo slikarijo. Konjiček na sliki je podoba igrače, ki jo je poznal slikar iz lastnih izkušenj in nima povezave s historično upodobitvijo Raffaela. To dokazuje, da so bili konjički na kolescih v tem času dovolj razširjeni in znani v vseh okoljih. Po risbi je težko soditi, kakšen je bil izdelek, najverjetneje lesen.


Spomini in literatura

Janko Mlakar

Naj se povrnemo na pričevanja, ki najnazorneje lahko pokažejo, s čim so se ukvarjali otroci v drugi polovici prejšnjega stoletja. To so avtobiografski spomini, ki postajajo tudi na področju igrač in iger vse bolj bogati in številni. Neizčrpni so spomini pisatelja Janka Mlakarja, ki je, sodeč po pripovedovanju, tudi v poznih letih ohranil smisel za otroško igro. Pripoveduje o življenju otrok v Ljubljani, torej v mestnem naselju v zadnji četrtini 19. stoletja.

“Cvenkanje” ali “fucanje” z gumbi, ki je bilo tako popularno v času Jerneja Andrejke, se je v mestnem okolju kakšnih dvajset let kasneje spremenilo v “štolcanje”. Gumbe so nadomestila peresa: “Po bolezni sem se vrgel na zbiranje pisalnih peres, ki smo jim rekli ‘štolce’. Ker pa ‘štolci’ niso ležali na ulicah, sem jih moral priigrati ali - kakor smo se izražali - prištolcati. Štolcanje je bila zelo zabavna pa tudi dobičkonosna igra... Na tla smo zarisali četverokotnik in ga razdelili na štiri enaka polja. Potem smo v primerni oddaljenosti potegnili črto. Kdorje vrgel svoje pero najbliže črti, je pobral vsa peresa drugih igralcev in jih zagnal v četverokotnik. Kar jih je padlo v polja, so bila takoj njegova, in je smel poleg tega tudi prvi frcati peresa, ki so padla zunaj četverokotnika... Jaz sem znal precej dobro štolcati. Priigrana peresa sem povezal po deset in deset v snopiče in jih hranil v postelji pod žimnico... Imel sem res lepo zbirko; zastopane so bile v nji skoraj vse tovarne peres” (Mlakar 1975, str. 25).

Princip fucanja ali cvenkanja ali štolcanja je že zelo star. Tako so se igrali že Grki in Rimljani, le pripomočki so bili drugačni. Evropski prostor ima podobne igre tudi v srednjem veku (Grunfeld 1993, str. 158-160). Nekaj podobnega je igranje s pirhi na velikonočne praznike, kar je bila fantovska igra. V Mlakarjevem času pa so imeli tudi frnikule, saj poroča, da “sem mu dal lepo stekleno kroglico”, ki se je lesketala v mavričnih barvicah in se je od nje silno težko ločil (Mlakar 1975, str. 38). Očitno pa frnikulanje v tistem okolju ni dosegalo štolcanja. Peresca so morala biti za šolarje, ki so imeli vsak dan opraviti z njimi, vedno na razpolago in so poleg igralne strasti vzpodbujala pri njih še stalen občutek avanturistične nevarnosti. Prodaja peres različnih izdelovalcev je cvetela, kar dokazujejo dokaj pogoste objave v časnikih, kjer so različne dunajske firme ponujale svoja “vsakovrstna jeklena peresa”.11

V družbi otrok, sosedov ali sošolcev, v kateri je preživljal svoja otroška leta, ni bilo videti, da bi imeli fantje kaj prida lastnih igrač. Več ali manj so se zadovoljili z improviziranimi predmeti, ki so jim v danih trenutkih pomenili zahtevano stvar. “Zelo radi smo se igrali ognjegasce ali, kakor smo pravili, ‘fajerlešerje’. Potrebno gasilsko orodje so nam ‘posojale’ mlekarice in branjevke, ki so tiste čase prodajale na Mestnem trgu in shranjevale svoje vozičke delno na Ribjem trgu, delno Zavodo. V te vozičke smo se vpregli kot konji, majhne deklice smo z njihovimi lesenimi punčkami vred pometali na vozove kot ognjegasce, potem smo pa med krikom ‘Šiška gori’ drli proti Frančiškanskemu mostu” (Mlakar 1975, str. 59).

Kot po naključju Mlakar omeni še dekliško igračko - lesene punčke, ki naj bi jih imele njihove sosede pri igri. Tovarišice so jim bile dekleta bolj redkokdaj, bolj v sili, saj so bili fantje in dekleta po skupinah ločeni in so se igrali vsak posebej in predvsem drugačne igre. Kaj bolj natančnega o teh lesenih punčkah ne zvemo, lahko pa sklepamo, da so se Zavodo (obrežje Ljubljanice pred potresom) igrali otroci bolj revnih staršev. “Boljši” otroci niso bili med to družbo niti zaželeni, če je kak zašel mednje, se je držal bolj sam zase.

Avgusta Šantel

Iz zadnje četrtine 19. stoletja izvirajo spomini na otroška leta slikarke Avguste Šantel st., katere je preživljala v avstrijskem Leobnu in Gradcu. To so bili doživljaji dekletca, ki je živelo v meščanski sredini in se igralo z igračkami, ki so bile tedaj v modi. Takole pripoveduje: “Igrače smo imeli lepe in jih ni bilo preveč. Kar je prinesel Božiček, to je moralo zadostovati za celo leto... Najstarejša igrača, ki se je spomnim, so bile v leseni skrinjici zložene, štirioglate lesene prizme, kake tri centimetre debele, vseh mogočih dolžin, od treh pa do tridesetih centimetrov. Od vsake dolžine sta bili najmanj po dve enaki. S temi prizmami smo najraje zidali večje in manjše stopnice, ki so vodile od zunaj do roba skrinjice in od tu zopet v notranjost škatle, ki je predstavljala sobo ali stanovanje. Po teh stopnicah so hodile naše papirnate pupice gor in dol...” (Šantel Avg. 1966).

To so bile zelo priljubljene “škatle z gradilnimi kockami” in so bile predhodnice kasnejših Ankerjevih kock. Očitno pa so v njihovi družini praznovali drugačni datum: otrokom je nosil darila Božiček in ne Miklavž. “Imeli smo tudi več iger za sestavljanje slik iz raznih nepravilnih koščkov. Dve taki igri sta bili še iz mamine otroške sobe, mislim, da celo iz otroške dobe njenega očeta. Ena, posebno lepa in velika, je predstavljala Mater božjo z Jezuščkom, obdano s cvetnimi venci...” (Šantel Avg. 1966). To so bile najbrž sestavljanke iz lepenke, ki so danes znane predvsem z angleškim izrazom “puzzle”. Tiskane slike so bile zelo različne, iz 20. stoletja poznamo predvsem ilustracije raznih Grimmovih pravljic, različnih žanrskih prizorov, skratka vzgojnih vodil za otroke, ki naj bi slike sestavljali. Religiozni prizori so bili v teh igrah predvsem pogosti v 19. stoletju.

V meščanskih družinah so se otroci igrali tudi z majhnimi trgovinicami. Takole se jih spominja avtorica: “Od istega deda smo imeli tudi malo prodajalno, zelo fino izdelano. Na treh stenah so bile poličke, napolnjene z majhnimi lesenimi škatlicami in ovojčki, pod njimi pa oddeljeni prostori za riž, moko, fižol in drugo. Na prodajni mizi je bila pritrjena tehtnica, majhna z medeninastimi skledicami” (Šantel Avg. 1966). Takih igrač ni bilo težko posnemati. Igra prodajanja in kupovanja je poznana povsod, kjer si otroci lahko sami pripravijo nekaj igračam podobnega.




9. Bratec s klobukom in sestrica s punčko. Slikana sta bila v Postojni, okoli 1890. (Iz fototeke SEM)

A boy with a hat, a girl with a doll, Postojna, around 1890 (SEM Picture Library).



Posebno zanimivi so spomini na punčke: “Najstarejša punčka je bila Olga. Bila je dolga kakih petintrideset centimetrov in je imela glavo iz gladkega porcelana z belim obrazom in s črnimi lasmi, ki so bili samo naslikani. Kasneje sem dobila punčko z dolgimi pravimi človeškimi lasmi, ki sem jih lahko česala, ji napravila kite in razne frizure. Ime ji je bilo Otilija. Še pozneje sem dobila Anico z voščeno glavo in s svetlima kitama. Potem pa sva dobili (skupaj s sestro, op. T. T.) enkrat za Božič punčki iz papirnatega mašeja. To je bilo takrat nekaj novega. Imeli sta jako ljubke obraze in lepe nakodrane laske. Moja je bila plavolasa, imela je plavo obleko in se je imenovala Danica. To punčko sem imela posebno rada. Nekoč je ostala zunaj čez noč. Ponoči je deževalo in dobila sem jo vso premočeno. Obraz je izgledal strašno, kakor po črnih kozah, ves skažen! Kako sem bila nesrečna! Ko pa se je posušila, je bila zopet lepa. Takrat sem že začela sama šivati oblekce...” (Šantel Avg. 1966).

Šantlova je imela zelo bogato zbirko punčk, takih spominov ni veliko. Pri hiši so bile tri sestrice in vsaka izmed njih je imela svojo punčko. Zanimivo je tudi to, se spominja avtorica, da so imele pravzaprav različne vrste punčk, pravo bogastvo materialov, posebno če ga primerjamo z današnjimi neuglednimi sintetičnimi igračami: punčke s porcelansko glavico s pravimi lasmi, voščeno glavico in glavico iz papier mâchéja. To je moralo biti res razkošje, verjetno pa niti ne posebna redkost med meščanskimi otroki iz uradniških družin.

V drugi polovici 19. stoletja so se zelo hitro menjavale različne nove tehnologije, vsekakor pa je le cenejša izdelava večjega števila predmetov vplivala na širjenje igrač na trgu. Dokler so bile punčke izdelane ročno, vsak kos telesa posebej, so bile drage in dragocene, ne glede na material. Lesene rezljane punčke so izdelovali v istem obdobju kot tiste iz papirne mase, kakršne so v Franciji začeli ročno delati že od 16. stoletja dalje. Šele 19. stoletje je razvilo izdelovanje punčk na hitrejši in cenejši način: papirno maso z dodatki so vkalupljali, barvali, pa tudi oblivali z voskom. Tudi vosek je bil zelo dragocen material in vse 17. in 18. stoletje so bile voščene punčke dosegljive le otrokom najpremožnejših. Takrat so jih delali še iz masivnega voska, ki so ga mešali z različnimi substancami in barvami, da je bil čimbolj podoben barvi človeške kože. Vlivanje voska v kalupe v 19. stoletju je izdelavo pomnožilo, a so bili izdelki še vedno zelo dragi.

Predvsem izpopolnjena tehnologija je še povečevala izdelavo in s tem tudi rabo punčk.

Tudi izdelava porcelanskih punčk je v 19. stoletju doživela neštete spremembe in izboljšave. Pravzaprav je šel razvoj izdelovanja punčk v prejšnjem stoletju predvsem v smeri pocenitve, saj je bilo odjemalcev med novimi meščani vse več. Od 1870 dalje so se že začele pojavljati celuloidne punčke. Zdržale so vse do uporabe vinyla in trde plastike kmalu po letu 1950.

Pomembna iznajdba je bila tudi izdelava gumijastih izdelkov od srede 19. stoletja dalje, kar so spretno izrabili tudi proizvajalci igračk. Zato ni bilo nič nenavadnega, če so imeli otroci v istem času na voljo podobne igračke, ki so se razlikovale le po materialih, sicer pa so služile istemu namenu. Avgusta Šantel takole nadaljuje svoje spomine: “Posebno veselje pa smo imeli otroci še z drugačno vrsto punčk. Največkrat sva se igrali ‘šolo’. Iz zidakov sva v predalih postavili šolske klopi, na katere sva posadili lutkice, ki sva jih sami napravili. Narisala in pobarvala sem jih jaz. Izdelovali sva tudi papirnate punčke, ki so dobile vsak dan drugačno oblekico iz papirja.” Za svojega brata Arturja, ki je umrl mlad, omenja Avgusta Šantel, kako se je rad igral z vojaki, dokler ga niso medse zvabile kar dekliške igre njegovih starejših sester (Šantel Avg. 1989).

Izrezovanje papirnih punčk je bilo znano zlasti v 19. stoletju, ko se je povečalo in pocenilo tiskanje predlog. Bolj vešči otroci (ali starši) so seveda lahko oponašali to igro in sami narisali potrebne osebice in garderobo.

France Bevk in France Koblar

Spomini pisatelja Franceta Bevka in Franceta Koblarja, literarnega zgodovinarja in teatrologa, nas vračajo v okolje kmečkih otrok in njihovega načina življenja. France Bevk, ki je otroška leta preživljal ob koncu stoletja, je dobro poznal rezljanje s pipcem, in voliči, ki so nastajali iz rogovil lesa, naj bi bili podobni tistim “bušam”, ki jih je zasledil T. Cevc na Veliki planini. Naj na tem mestu omenimo avtorjevo razpravo v kateri je skušal figuricam govedi slediti čim dlje v zgodovino. Ko jih je prvič opazil, so bile v glavnem namenjene igranju otrok. Toda podatki za starejše čase kažejo, “da so pastirji menda prinesli ‘buše’ v kapelico na Veliki planini in pri ‘ofru’ položili živalce na oltar, ‘da bi imeli srečo pri živini’” (Cevc 1979, str. 70).

Kaže, da se je “šega ohranila vse do danes, ko se srečujemo z njo po romarskih shodih, v cerkvah, kjer romarji razpostavijo po oltarju prošnje darove, posnetke resničnih. Po tej poti so se morda ohranile pri življenju tudi velikoplaninske ‘buše’, medtem izgubile prvotni pomen, prešle v roke otrok, dokler niso na pragu dvajsetega stoletja dokončno izgubile svoj obredni pomen in celo tudi kot igračke” (Cevc 1979, str. 75). Avtor jim prisodi izvirnost, njihova shematična in stilizirana oblika pa ga spominja na prazgodovinske upodobitve govedi. Da so bili votivi živalic otrokom najbrž vedno privlačni in so se stežka poslovili od njih, ko so jih že imeli v rokah, izvemo od udeležencev lahko še danes, posebno tam, kjer se udeležujejo “ofrov” ob Štefanovem.12

Številni otroci v Bevkovi družini so poznali več drugih iger in vsaka, kjer so si po mili volji izmišljevali lastne igrače, je pomenila izpolnjevanje otroške domišljije. Igrače so bile narejene doma. Pod otroškimi rokami so nastajale “kmetije v malem, njivice in vrtiči, hišice in hlevca, vse ograjeno s plotci. Smrekovi storži so nam bili krave, a macesnovi ovce. Voliče sem izrezoval s pipcem iz rogovil veja” (Bevk 1969, str. 49). Tako so si kmečki otroci nadomestili vse tiste igrače, ki so jih že dolgo izdelovali in prodajali po trgovinah. “S škarjami sem izstrigoval iz papirja različne živali, po več hkrati. Težko bi bilo uganiti, katere živali so to bile; morala jih je izpopolniti domišljija, da so bile čemu podobne” (Bevk 1969, str. 49). Ni težko primerjati Bevkovih opisov z opisi igrač, ki so jih v drugi polovici 19. stoletja prodajali v trgovinah večjih slovenskih mest. To so bile škatle z domačimi živalmi, lepo rezljanimi in pobarvanimi. Namenjene so bile meščanskim otrokom in so jim slikale pisani svet kmečkega dvorišča. Kmečki otroci so si z lastno fantazijo ustvarjali živali, ki so jih poznali. Večji križ je bil s punčkami, nastajale so prav posebne vrste: “Za punčke iz cunj sem bil pravi mojster. Vsakdo je hotel imeti svojo, tako veliko, kakor on sam; bile so podobne nestvorom. Kadar se je mati hotela preobleči v zavsednjo jopico, je morala prej razdreti eno tistih pošasti” (Bevk 1969, str. 50). Punčke iz cunj niso bile majhne, pripravne za naročje, ampak velike zmašene postave, oblečene v materine stare obleke.

Zelo zanimiva je pripoved F. Koblarja o fantovskih igračah. Otroška leta je preživel kot sin iz družine žebljarskih delavcev. Še pred letom 1900 so se fantje iz Železnikov “šli vojake”. O tem poroča takole: “Gotovo novejša je bila navada mladih vojakov. O sv. Jožefu - tedaj ko je kopnel sneg - so si pripravljali dečki vojaške čake iz papirja - visoke grenadirske klobuke in čake - lesene pa tudi železne sablje, celo bluze. Na sv. Jožefa po kosilu so nastopili v četi in se pokazali, kdo je lepši - najimenitnejši je bil ‘ta vikši’...” (Koblar 1976, str. 44). Te fantovske igre bi, glede na ustaljen datum, skoraj lahko uvrstili med otroške koledarske šege. Za otroke žebljarjev iz Železnikov je bilo igranju namenjenega kaj malo časa, zato so bili stalno določeni datumi nemara še najbolj pripravni, takrat so jim namreč odrasli morali pustiti čas in jim dati priložnost, da se znorijo. Več kot gotovo je, da so bili pripomočki za igranje, “igrače”, narejeni doma, z ali brez pomoči odraslih.

Nekako istočasno opisuje podobne fantovske igre tudi pisatelj in duhovnik Janko Mlakar. Toda njegovi vojaki se niso zgledovali po starih francoskih grenadirjih, ampak so jim za vzgled služili junaki Karla Maya. To so bile igre mestnih fantov. “Nam branje indijanskih povesti ni škodovalo; kajti nikomur ni prišlo na misel, da bi šel v Ameriko. Koristilo nam pa je, ker smo se iz indijaneric, ki so bile izključno nemške, naučili precej nemščine. Naš ‘Divji zapad’ je bila vsa ljubljanska okolica, zlasti pa Tivolski gozd. Po pragozdovih smo hodili oboroženi s pračami in streljali, ker ni bilo sovražnih Indijancev, v drevesa” (Mlakar 1975, str. 146).

Kot fantje na kmetih niso poznali oseb iz knjig Karla Maya, tako tudi mestni večinoma niso znali delati pip iz zeljnih storžev, poiskati muževnih stebelc za piščalke in niso pekli krompirja na paši. Igre so bile sicer drugačne, igrače pa ne: oboji so poznali meče in sablje, frače in papirna pokrivala. Kot odmev se ponavljajo v reklamnih sporočilih istodobnih časnikov igrače, ki so temu podobne in služijo istemu namenu, le da so bile narejene v delavnicah ali tovarnah in na voljo za drage denarje.


Trgovina in reklama

Družabne igre

Ljubljanski meščani (tudi ostali prebivalci mesta) so bili ob nürnberških igračah in zabavnih modnih figuricah še pred sredo stoletja deležni tudi kar številnih družabnih iger. Te vrste zabava je bila v navadi v mestnih kavarnah in domačih salonih (Mal 1957, str. 102). Leta 1850 je knjigar Johann Giontini v dnevih pred Božičem starejšemu in mlajšemu občinstvu naštel družabne igre, ki jih je imel na prodaj: “1. Orakelj ali pogled v bodočnost. Zabavna igra z dvaintridesetimi vedeževalnimi kartami. Cena 20 kr, 2. Čudežni odgovor, ali umetnost, kako vprašati vsako osebo, koliko je stara, koliko denarja ima, in tako naprej. Zabavna igra za mlade in stare s sedmimi kartami, 12 kr, 3. Čarobne karte, 20 kr, 4. Kladivo in zvon, sestavljive kocke, 18 kr, 5. ‘Igra za kratek zhas’, 4 kr, 6. Karte z vprašanji in odgovori, 10 kr, 7. Tombola, od 1 gld do lgld 40 kr.”13

Tako imenovane družabne igre so bile še v prejšnem stoletju zelo priljubljene med visoko družbo. Bile so očitno primerne tudi za praznične dni, saj se njihovo oglašanje ponavlja predvsem v decembru, pred Miklavžem in Božičem. Med vsemi igrami, pisane so bile seveda v nemščini, se v naštevanju pojavlja edina “Igra za kratek zhas” kot igra v slovenščini. Očitno je imela tudi besedilo v slovenskem jeziku.(!) Družabnih iger je bilo toliko, da so si oglasi v decembru sledili kar vsak dan, na da bi se bili ponavljali. Pri Giontiniju se je istega leta dobilo še: “Igrice za otroke: Teater, Omarica za gledanje (Guckkastchen), Senčna igra, Camera obscura, Kitajska igra, Kalejdoskop, Gradilna igra (Bauspiele), Figure za postavljanje - vojaške, jaslične in gledališke, vse v škatlah, od 30 kr do 3 gld.” Pri Giontiniju so imeli tudi barvice v škatlah, od 1 gld do 10 gld. Pod Otroške igre, ki so primerne za Miklavževo darilo, so pri Giontiniju pet let kasneje ponujali “Bralno igro profesorja Winternitza”. Sestavljena je bila iz črk in številk v kartonu in tablic in je obljubljala, da se bodo z njeno pomočjo “otroci naučili brati in pisati in si dobršen del zemljepisa in zgodovine zapomnili.”14

Najbolj znani ljubljanski trgovci z igračami

Že leta 1862 so odprli trgovino z nürnberškim blagom, katere lastnik je bil Vaso Petričič, ki je v njej zdržal kar do leta 1912. Kasneje ga je nasledil I. Samec. Samčeva trgovina je bila znana marsikateremu Ljubljančanu še vse do konca 2. svetovne vojne.

Kot že omenjeno, je slabih trideset let prej, leta 1834 začel svojo trgovsko pot v Ljubljani s prodajo nürnberškega blaga začetnik znamenite Krisperjeve trgovine, Anton Krisper. Toda najbolj znani časi njegovih naslednikov, ki so se vtisnili v spomin starim Ljubljančanom, so prišli šele precej kasneje. Po časopisih ob začetku svojega trgovanja ne kaže posebne vneme, čeprav vztrajno oglaša mimo drugega tudi veliko izbiro igračk, torej nürnberškega blaga.

Medtem so se pojavili v Giontinijevi trgovini kot najcenejša zabavna in zelo primerna božična darila, zlasti za mlada dekleta “kolorirani jeklorezi krasnih modnih in kostimskih slik”15. Štejemo jih lahko med podobne zabavne risbe, kot so bile tiste premikajoče se modne figurice, ki so prihajale v Ljubljano prek nemškega modnega časopisa. Nasploh se po letu 1860 začne v Ljubljani močnejša trgovska dejavnost, hkrati z njo pa tudi ponujanje in reklamiranje po časnikih. Trgovine z nürnberškim blagom in igračami se oglašajo praviloma le v zimskem času, pred Miklavžem ter božičnimi in novoletnimi prazniki. Poleg galanterijskega in nürnberškega blaga prodajajo v njih včasih še zdravila, tudi slaščičarske izdelke.

Trgovci Petričič, Wildner, Krisper, Kraschowitz, V. Pessiak, Karinger in Ferdinand Mellchior Schmitt (Schmittova trgovina ustanovljena decembra 1868), so v šestdesetih in sedemdesetih letih vsi objavljali reklame za nürnberške ali otroške igrače. Na tem mestu kot zanimivost omenimo tudi, kako je trgovec Karinger poimenoval svojo trgovino. Trgovčev sin, slikar Anton Karinger je med študijem v Münchnu spoznal srbskega kneza Miloša Obrenovića. Le-ta ga je prišel obiskat v Ljubljano in mladi Karinger ga je takrat portretiral. Knez je svojo sliko daroval rodbini, Karingerjev oče pa je po obisku svojo trgovino poimenoval z imenom visokega gosta Pri knezu Milošu. Zgodbo o imenu trgovine je napisal Ivan Lah, za njim pa povzel Milan Valant (Lah 1934; Valant 1980, str. 14).

Leta 1863 se je pojavil nov trgovec, Andreas Schreyer, ki je bil očitno najpodjetnejši in je svojo trgovino odprl natanko 1. novembra. Vendar je prav ta podjetnost ob koncu, čez kakih dvajset let, verjetno trgovino tudi pokopala. Nekaj dni pred Božičem je objavil, da “v bivši Schafferjevi hiši Pri Zlati lopati na Dunajski cesti prodaja veliko izbiro galanterijskega blaga in otroških igrač.” Poleg drugih stvari je naštel tudi “pokrajine, narejene iz pločevine in premikajoče se s pomočjo vodne sile in veliko izbiro še nikoli videnih igrač po ceni od 3 do 20 gld po kosu.”16 Te cene igrač so objavljene prvič in prav gotovo zelo visoke. Zato ni dvoma, da so si jih lahko privoščili res samo najbogatejši. To so bile tako imenovane mehanične igrače in zelo popularne na Nemškem nekako ob istem času. Ob naštevanju svojega blaga je Andreas Schreyer kot eden prvih uporabil besedo “otroške igračke” (= Spielwaaren). Ker so vsi ostali prodajalci še vedno uporabljali predvsem izraz “Nürnbergerwaaren”, lahko mislimo, da je imel imenovani naprodaj predvsem druge vrste igrač. Vsekakor ostajamo v mejah dvoma.

V šestdesetih letih so imeli kupci v Ljubljani priložnost kupovati igrače pri domačih trgovcih, pa tudi po pošti. Še največkrat so jim jih ponujali trgovci z Dunaja.

Prva dunajska trgovina “za deset krajcarjev”, ki se je zelo optimistično imenovala “Pri napredku” in kjer so bili vsi predmeti po deset in dvajset krajcarjev, je prodajala med drugim nürnberško robo in igralne karte. “Lahko se je naročilo po pošti”.17 Knjigar Johann Giontini je skrbel, da so bili Ljubljančani na tekočem s tiskanimi igračami. Za otroke je prodajal slikanice, za nekoliko starejše pa v tistem času prav tako zelo nove in moderne papirne teatre - “teater, ki se razstavi, s figurami in ozadjem”. Istočasno je “promptno” obveščal javnost, kdaj so prispele “nove münchenske slikovne pole, črne in kolorirane”.18 Še bolj je Giontini najbrž razveselil svoje kupce leta 1870, ko je ob povabilu na božično razstavo naštel prvič v reklamah tudi razmeroma široko paleto in opis igrač. Mimo že oglaševanih “münchenskih slikovnih pol, ena pola po 7 gld”, ponuja še naslednje: “Mali mizar, Mali knjigovez, Mali papirničar, škatle z orodjem, od 2 do 4 gld; Mali tiskar, zraven spadajoča stiskalnica, 3,5 gld; Teater za razstaviti, z dekoracijo in figurami, od 80 kr do 8 gld; Velike senčne igrice, 8 gld; Igre za otroke in odrasle v veliki izbiri; Modelirne pole z jasličnimi figuricami, kroji za punčke in senčne slike.”19 To kaže, da je bilo pojmovanje igrač še v drugi polovici prejšnjega stoletja precej drugačno, kot ga poznamo danes. Škatle s tako nedvoumnimi naslovi so bile, bolj kot igranju gotovo namenjene učenju. Vsekakor so bile cene naravnost astronomske.

Fröblove igrače in dolga naštevanja po seznamih

Tudi ljubljanski trgovec, že omenjeni A. J. Kraschovitz s trgovino Pri poštnem golobu na Glavnem trgu, se je v časopisnih obvestilih spustil v podrobno naštevanje božičnih in novoletnih daril. Med njimi so bile naslednje igrače: “Gradbeni kamenčki, servisi iz lesa, porcelana, pločevine, pohištvo in tisoč sort škatel, Dojenčki in punčke, Puške, Priprave na vodni pogon, Čarobne skrinjice, Vse Fröblove igrače - vaje iz kvačkanja, vaje iz šivanja, vaje iz mrežkanja (spletanja), pisalne in risalne vaje, bralne vaje itd., in zraven spadajoče igrice na sto različnih načinov.”20

Friederich Fröbel (1782-1852) je bil znameniti nemški pedagog in velja za ustanovitelja otroških vrtcev. Leta 1836 je ustanovil prvega v Blankenburgu, sprva kot “zabavišče”. Ob drugem je svoje vzgojne metode skušal uveljavljati tudi s posebnimi igračami. Še pred smrtjo je doživel, da je pruska vlada prepovedala ustanavljanje vrtcev. Vendar se je ideja obdržala in se širila tudi na avstrijsko ozemlje. Prvi otroški vrtec na slovenskih tleh, ki pa je bil pravzaprav zavetišče, tako so ga namreč imenovali, je bil odprt v Ljubljani leta 1834. Prvi mestni slovenski otroški vrtec pa so odprli prav tako v Ljubljani leta 1885 (Pavlič 1991, str. 32, 51).

Prej kot je uspelo pedagoškim navdušencem odpreti vrtce, so našle svoj trg igrače, ki so jih delali po Froblovih idejah. V posel sta se vključili tako industrija kot trgovina, kar je bila vsekakor pomembnejša in močnejša veja moči, kot naj bi bili šolniki in človekoljubi, ki so v času močnega razvoja kapitalizma začenjali skrbeti tudi za otroke, saj so bili ti, poleg staršev-delavcev, tudi sami vse bolj izkoriščani. Fröblovih igrač niso prodajali z namenom, da bi jih uporabljali v vrtcih, ampak jih je meščansko prebivalstvo imelo pač za nekaj novega, modernega, morda tudi zanimivega, vsekakor pa zelo vzgojnega. Ljubljana verjetno ni kaj prida zaostajala za drugimi mesti. Z avtorjevim imenom so bile nove igrače, dokler je to vzbujalo zanimanje kupcev, nekaj let še na razpolago (sklepamo lahko po omembah v oglasih), kasneje pa so se s podobnimi igrale že naslednje generacije otrok, ne da bi vedele, da so te nekoč nosile ime Friedericha Fröbla.




10. Fantek iz ljubljanske meščanske družine s svojim konjičkom. Slikan je bil v fotografskem atelieru, 1900. (Iz fototeke SEM)

A boy with a toy horse, from a middle-class family in Ljubljana, studio photograph, 1900 (SEM Picture Library).



Razcvet trgovine in reklame

V sedemdesetih in osemdesetih letih prejšnjega stoletja postaja industrija igrač vse številnejša, trgovanje močnejše. Konkurenca je očitno tudi v slovenskih mestih vedno večja in trgovci postajajo v svojih reklamah čedalje bolj radodarni. Seznami z igračami se daljšajo in postajajo bolj zapeljivi. Meščansko tržišče je pomenilo seveda zaključeno enoto, kjer so krožile kupljene igrače v omejenem krogu bogatih meščanskih otrok. Koliko so prišle tudi med podeželske, težko sodimo. Če se spomnimo na pot, ki so jo zlasti v drugi polovici 19. stoletja prehodile nekatere modne meščanske obleke, podarjene po določenem času služkinjam in deklam, ki so bile doma s kmetov, bi si nemara tudi za igračke lahko predstavljali kaj podobnega. Vendar pa so bile najbrž že po kratkem času bolj izrabljene kot obleke in ni bilo več kaj podarjati, četudi bi bila želja.

Na podeželske sejme je gotovo prišla tudi tako imenovana nürnberška roba, čeprav se po zapisanih spominih v glavnem lahko opiramo le na domače igrače, na lect in lončene izdelke. Prav tako so tudi v Ljubljani in drugih večjih mestih prodajali domače igrače iz lecta, iz lesa in lončenine. Prodaja tega blaga je bila običajno na stojnicah, brez oglasov v časopisih. Trgovci z igračami v mestih so imeli veliko konkurenco v trgovcih zunaj slovenskega ozemlja, predvsem na Dunaju. Nekateri so imeli ob trgovinah na Dunaju tudi podružnice v Ljubljani.

Eden takih je bil tudi Eduard Witte, ki je ponujal v dolgem seznamu med drugimi naslednje igrače: “Parižanko”, zraven še karton z otroškimi oblekicami, klobuki in zraven spadajoče toaletne potrebščine; Garnituro pohištva za punčke, pletena je iz lakirane žice; različne zabojčke z orodjem; Metallophon; trobente; pločevinaste vojake; Laterno magico; Domino; škatle z gospodinjskimi pripomočki, s pohištvom, z vojaki, z mesti, z lovci; premikajoče se pločevinaste figurice; različna orožja in sablje; majhne predmete za punčkine hišice; iz Fröblovega vrtca pa samozaposlitvene igrice za štiri do desetletne otroke, kompozicijske igrice z angleškimi barvno tiskanimi slikami in novim Froblovim bralnim aparatom.21

Konkurenco mu je delal Peter Blau z Dunaja, ki je pošiljal po povzetju “promptno in vestno”: “Za 5 gld se dobi sedemindvajset komadov najnovejših igrač za dečke in deklice vsace starosti, in sicer: 1 velika punca, ki poje; 1 mehanična plesalna vrtavka; 1 Bajacel s cinelli, ki muhe lovi; 1 Indijaner, plesalec na vrvi v narodnej obleki; 1 kompletni porcelanski servis za 6 oseb; 1 Orang-Utang, kateri 15 umetnosti napravi; 1 zadanski samokres s streljanjem; 1 velika domina; 1 škatljica polna z igračo; 1 karton z vsemi živali; 1 polk angleške vojske z vojno napravo; 1 mehan. panorama sveta; 1 slavček, ki po sobi leta; 1 čisto novi aparat za smejati; 1 čarovna piščalka z nebeškimi glasovi; 12 komadov jako lepih božičnega drevesa dekoracij.”22 To je vsekakor ena prvih ponudb igračk pisanih v slovenskem jeziku. Na voljo so bile igrače za oba spola, za deklice zlasti “pojoča punca” in porcelanski servis, za fante pa predvsem samokres in angleški polk vojakov. Večina drugih igrač pa je bila mehaničnih, kar dokazuje, da so bile takrat hudo v modi. Glede dodatka, da so igrače za otroke vseh starosti, je moral imeti trgovec prav, saj so bile mehanične igrače vedno zanimive predvsem za odrasle.




11. Oglas v verzih namenjen prodaji igrač v trgovini Andreasa Schreyerja iz Ljubljane. Nemška verzija pesmi je podrobnejša in daljša od slovenske. Objavljen v Laibacher Zeitung, 11. decembra 1875. (Foto T. Lauko)

Advertisements in verse for the collection of toys on sale in Andreas Schreyer's toyshop in Ljubljana. The German version is more detailed and extensive than the Slovene version. Published in Laibacher Zeitung, December 11, 1875 (Photo: T. Lauko).



Ves december leta 1875 je Andreas Schreyer, ki je imel v tem času, sodeč po objavah v časopisih, kar dve prodajalni, na Dunajski cesti in na Špitalskih ulicah, vneto ponujal prav podobno blago. Obenem sta izhajali objavi tako v nemškem Laibacher Zeitung kot novem Slovenskem narodu. V slovenščini je bila njegova reklama taka:

Za Miklavža in božiča

na veselost otročiča

Lepe igrače jaz ponujam

ker se “Andreas Schreyer” imenujem.

Punce, oblečene in samo v srajci,

Tudi take, ki vpijejo: mama in papa,

Živali z repetnicami, posebno lepi zajci,

Ognjišča in kuhinje iz črnega pleha.

Konji in krave, pesi in osle,

Slone pa kače in druge zverine,

Mačke in tigre, leve in kozle,

Ptiče in pave, najlepš’ peteline,

Rogove za lovce, gosle, kitare,

Čake in sablje, flinte in bobne,

Trompete in flavte, in druge piščare,

Orgelce in harmonike, velike in drobne,

Jaselca, gledališča in šole za otroke,

Železnice z mašino in naslikanim vozom,

Barke Noeta in vozove za pelat na roke,

Prodajalne z blagom v prahu in kosam,

Postelje in zibelke, kostnje in škrine,

Bukvice s podobam, smešne in verne,

Leteči angeljni, in tisoč drugih reči,

Zgornji gospodam posebno priporoči.23



Že ob takih obetih so se morale otrokom cediti sline, vendar pa je bil še bolj podroben ob istočasni reklami v nemškem jeziku. Tam ponuja “najnovejše punčke z glavicami iz porcelana in voska, z najmodernejšimi frizurami, tudi z dolgimi kitami. Magnetne živali, mačke, ki mijavkajo, kanone iz medenine in lesa, šole za šivanje in vezenje in še mnogo drugih Fröblovih igrač, pletene vozičke z otroki, konje iz kože za vožnjo in jahanje, dirkalne železniške vozove, velocipede, kočije, igrače na vodni pogon itd.”24 Vse skupaj je v verzih. Celotna reklama je imela dvainpetdeset vrstic.

Vsi ti seznami in naštevanja kažejo, da so morali biti ljubljanski potrošniki, v večini pač meščani, na tekočem z razvojem igračk po zahodni Evropi. Fröblove igrače so bile pravzaprav med prvimi, če ne celo prve, ki so v reklamah krožile z avtorjevim imenom. Uporaba tega pri trgovcih kaže, da so se zavedali, kaj je novo in kaj je moderno, obenem pa so že morali vedeti, da je splošna raven kupcev tolikšna, da bo taka reklama vlekla. Navsezadnje so v tem času tudi punčke že izdelovali v tovarnah ali večjih delavnicah, poznali so jih z imenom lastnika ali izdelovalca. Vendar se pri nas ne pojavljajo njihova imena. Zaenkrat so bile pomembne le dežele, iz katerih so prihajale igračke.

Po reklamah ne moremo trditi od kod so jih uvažali, čeprav lahko domnevamo, da so prihajale pretežno iz nemških in drugih avstrijskih dežel. Neko obvestilo v časopisu pa nam vendarle pove, da so “na voljo originalne francoske igrače, ki jih je naročati po povzetju na Dunaj.” Po seznamu so prodajali: “1 pariški variete - gledališče, jako zabavno in ozaljšano; 1 očarani zabojček, v katerem je ujet jeden paša, ki hoče uiti; 1 Miklavž, pripravno posebno za dan sv. Miklavža; 1 piano, ali 1 novoiznajden metallophon; 1 Kitajec, mehanično, se zmirom smeji in vzbuja veselost; 1 japonski kiosk, umet. delo, v katerem je premakljiv kolibri, ki poje; 1 bajazzo, umeteljno izvršuje najlepše reči; 1 gozdni hudič, ki pokaže jezik na ukaz; 1 punčika v vozu, elegantno oblečena, ki se pri peljanju premika, brca in kriči; 1 starorimska kočija z vprego.”25

Morali bi verjeti, da so to prave francoske igračke, saj so mehanične igrače naštete že pri drugih prodajalcih prav takšne. V Franciji so imeli že v 18. stoletju zelo znanega izdelovalca avtomatov, Vaucansona. Njegove igrače in igrače njegovih posnemovalcev in naslednikov so bile zelo priljubljene na dvorih in nasploh med visoko družbo. Bolj preprosti so postajali avtomati v naslednjem stoletju in so se hitro širili med meščansko družbo, predvsem pa so bili namenjeni igranju otrok in ne več odraslim v zabavo. Pravi izbruh pa je doživelo izdelovanje te vrste igrač na Nemškem ob koncu 19. stoletja, ko se je tehnika spremenila do take stopnje, da so jih lahko izdelovali v večjih količinah. Avtomate so lahko poganjali na več načinov, izrabljali so moč stisnjenega zraka, vode, peska, živega srebra ali pare (Curtis 1992, str. 44).

Kot pri drugih izdelkih namenjenih veselju otrok in odraslih, tudi tu lahko rečemo, da je bila Ljubljana na tekočem z vsemi novostmi, čeprav je bil trg za to vrsto igrač, ker so bile drage, najbrž zelo majhen. Pred božičnimi prazniki so v osemdesetih letih v Ljubljani trgovci že pripravljali svoje razstave. Opazovalec poroča v sicer precej obširnem članku v Laibacher Zeitung o pomembnejših trgovcih otroških igrač: Ferdinandu M. Schmittu, L. Pirkerju, Wittu, Wildnerju in njihovih prodajnih predmetih. V članku ni omenjen Schreyer, ki je svojo trgovino v tem času že zaprl. Sredi leta 1873 je namreč že razprodajal svojo konkurzno maso v trgovini na Špitalskih ulicah. Tudi v prihodnjih letih se njegovo ime ne pojavlja več.26 Nadomestili so ga drugi, saj je bilo igrač vedno več, vedno več pa je bilo tudi proizvajalcev in trgovcev.

Športni pripomočki, domači izdelovalci kovinskih igrač, družabne igre

Že leta 1850 so z naslovom Za drsalce ponujali celosezonski abonma za drsališče pod Tivolskim gradom po ceni 1,30 gld za odrasle in 1 gld za otroke. Drsalke so prodajali trgovci z galanterijo, nürnberškim blagom in železnino. Poročevalec z božične razstave je še leta 1883 objavil, da “se bodo dečki razveselili enega najlepših daril, para drsalk. Prodajata jih Albin Slitscher (v Slovenskem narodu Sličer) na Dunajski cesti in N. Hoffmann Pri rotovžu.” Par drsalk ni bil poceni, saj je veljal od 1,50 gld do 3,50 gld. Deklice očitno še niso bile posvečene v ta šport.27

Kar precej časa je moralo preteči, da so se na trgu pojavili tudi drugi športni predmeti. Že omenjeni A. Krisper, naslednik prvega trgovca, ki je bil začetnik trgovine in je leta 1865 umrl, se v 19. stoletju ni kaj prida razdajal spoštovanim kupcem, njegove reklame so bile dokaj redke, verjetno se s prodajo igrač najprej sploh ni ukvarjal. Leta 1902 pa je objavil v dnevih pred Veliko nočjo naslednji oglas: “A. Krisper priporoča pristne angleške in amerikanske rakete, žoge in obutala za tennisove in nožne žogovne igre.”28 Raketi pomenijo loparje. Po tem lahko sodimo, da je bilo igranje tenisa že kar razširjeno, hkrati pa tudi druge igre z žogo, nemara nogomet.

V osemdesetih letih se začno oglašati pri prodaji posebnih otroških igrač - posodic in podobnih kuhinjskih pripomočkov, tudi trgovci z galanterijo, predvsem pa obrtniki, kleparji. Kuhinjsko posodo so v glavnem prodajali trgovci in je bila nedvomno uvožena. Spadala je k tistim igračam, ki so na Nemškem polnile znamenite “punčkine hišice” in so jo izdelovali že od 17. stoletja naprej. V oglasih naših trgovcev v 19. stoletju sploh ni zaslediti ponudbe “hišic”, vsaj s tem imenom ne, pač pa se v vsakem večjem seznamu igrač pojavijo tudi različni jedilni servisi, pohištva itd., skratka vse tiste reči, ki so bile potrebne za opremo hiš. Igrače - hiše so bile med najdragocenejšimi predmeti.

V nemških deželah so “hišne” predmete izdelovali najprej unikatno, za prav posebnega, znanega naročnika. Šele po 1840 je postala produkcija te zvrsti igrač bolj številna, izdelava posameznih predmetov pa še vedno zelo minuciozna. Pri opremi ene bogate punčkine hišice je lahko sodelovalo več specializiranih obrtnikov, npr.: srebrarji, mizarji, kositrarji, kovači za baker, tapetniki, izdelovalci intarzij, lončarji, izdelovalci porcelana itd. (Bayer 1978). Ta množica obrtnikov, ki se je pojavila pri izdelavi ene same igračke, je bila v prejšnjih stoletjih posledica cehovskih pravil, kasneje pa seveda potrebne specializacije. Do tako razvejanega dela v domači izdelavi in prodaji na Slovenskem seveda ni prišlo, saj je bil trg odločno premajhen. Lahko domnevamo, da so bili otroci plemenitašev ali bogatih meščanov (veletrgovcev, advokatov, zdravnikov, tovarnarjev) odvisni le od nakupov v tujini, igračke te vrste pa so bile med najprestižnejšimi.




12. Oglas, ki je vabil na razstavo igrač pri znamenitem Krisperju v Ljubljani. Obljavljen v Jutru, 23. novembra 1930.

An advertisement inviting readers to visit the exhibition of toys at the famous Krisper's in Ljubljana. Published in Jutro, November 23, 1930.



Potrebam domačih otrok so zadoščali posamezni kosi pohištva za sobe in kuhinje, servisi, posodje in podobno. Leta 1880 je tako izšel oglas: “Za Miklavža vam ponuja pločevinaste igračke, dokler bo trajala zaloga, klepar Josef Stadler na Starem trgu 6 - kuhinjske in gospodinjske naprave, štedilnike, ognjišča, orožje in vrtiljake, cinaste figurice, železnice in razne instrumente, orožarske naprave - po ugodnih cenah.”29 Proti koncu 19. stoletja so se lahko otroci že kar dobro opremili s kupljenimi igračami. Njihovo opisovanje zveni domače za vse tiste, ki so se igrali še v prvi polovici 20. stoletja. Po navedbah so si lahko kar podobne. Nekako istočasno je klepar v “Slonovej ulici” št. 18 vabil na popolno razprodajo: “Za bližajoč se praznik sv. Rešnjega telesa so na prodaj cerkvene svetilnice in svečniki, kakor tudi pušice za nabiranje darov v cerkvi. Vsem gospodinjam in kuharicam, ki se hote ceno kuhinjsko pripravo oskrbeti, se prav gorko priporoča. Prodado se omare, kakor tudi druge kleparske reči in igrače prav ceno.”30 Obrtnik in trgovec, ki je prodajal verjetno tudi lastne izdelke, je na koncu oglasa ponudil še igrače, dasiravno čas (že po birmi) za prodajo ni bil najboljši.

Hkrati sta cveteli založniška in knjigotrška dejavnost, saj so bili časniki vse leto polni knjižnih ponudb. V decembrskih dneh se vrste seznami z naslovi otroških knjižic, ki so polne raznovrstnih življenjskih naukov. Med njimi so abecedniki in čitanke, knjige zgodb in pripovedk, zraven pa tudi “slikanice s premikajočimi se figuricami.”31




13. Pohištvo in kuhinjska oprema iz poznih tridesetih let 20. stoletja. Izdelana sta bila po naročilu za lastnico iz ljubljanske trgovske družine. (Iz zasebne zbirke)

Furniture and kitchen accessories from the late 1930s. Made to order for a lady from a Ljubljana trader’s family (private collection).



Osrednja založba in tiskarna je bila Ign. v. Kleinmayr & Fedor Bamberg (Andrejka 1934, str. 186), pomemben je še vedno tudi Johann (Janez) Giontini. Vsi knjigarji so vestno zalagali tržišče z “družbinskimi igrami”. Posebno priljubljene so bile med odraslimi raznovrstne tombole, ki so jih prirejali v različnih družbah (npr. v strelskem društvu), pa tudi v zasebnih salonih. Cvetela je trgovina s tombolskimi dobitki, a tudi prodaja raznovrstnih kartonov z različnimi figurami za izrezovanje.

Vzgojne igrače

V začetku osemdesetih let je velika dunajska tovarna otroških igrač ponujala izdelke, ki so bili razdeljeni na štiri skupine: 1. Za deklice: Ljubka oblečena punčka, Škatla s kuhinjskimi pripomočki, Plavalna punčka v kopalni kadi, Kovinski štedilnik, Miniaturni klavir, Fröblove vzgojne igrice, Čudežni ptič, Čudovita knjiga, Hranilnik, Čudovita usnjena denarnica, Vezena ročna torbica, Kavni mlinček, Mehanično premikajoči se čevljar, Orientalska igra barv, Balon z glasbo, Porcelanski servis s kavo, Pouk v vezenju. 2. Za večje deklice: Salon s pohištvom, Zelo lep šivalni pribor, Delovni pouk, Porcelanski servis, Majceni šivalni stroj, Oblečena punčka, Garnitura za punčko, Pisalna mapa, Samozaposlitvena igrača, Knjiga pripovedk z ilustracijami, Košarica z delovnimi pripomočki, Majhen jedilni pribor, Tombola z dobitki, Leteči ptič, Elegantno oblečena punčka, Kredenca s predmeti, Predmet za smejanje-zastonj, Karton čudovitih okraskov za božično drevesce. 3. Za dečke: Velociped, Mehanično se premikajoč teater, Čudežni slavček, Zabojček s kovinskimi konji, Zračna pištola, Švicarska škatla za grajenje (Baukasten), Škatla vojakov pešakov, Škatla konjenikov, Krog z muziko, Čudovita razstavljiva slika, Domino, Tombola, Harmonika, Kovinska železnica. 4. Za večje dečka: Teater s figurami in dekoracijo, Laterna magica (Zabava za velike in majhne) (!), Škatla z različnimi čudovitimi aparati, Razkošne gradilne kocke, Igra za potrpežljivost, Ljubka šolska torba, Pušica s šolskimi potrebščinami, Kovinski klavir (nov glasbeni instrument), Atlas sveta, Risalna šola, Škatla z barvicami, Otroška žepna ura, uporabna, Družabna igra, Smešna glava, ki se smeji in joče, Skakajoča žaba, na struno, Predmet za smejanje - zastonj, Karton čudovitih okraskov in svečic za božično drevesce.32

Seznam igrač ločenih za deklice in dečke v dve skupini istega spola samo zaradi cenovne razlike pove, da je bila večina igrač zelo vzgojnih. Ali pa so se štele med igrače tudi take stvari, ki jih danes otroci pojmujejo kot šolske pripomočke npr. šolska torbica in pušica. Froblove igrače, ki so namenjene le deklicam so podobne tistim, ki so jih naštevali trgovci A. Schreyer, Kraschowitz. Vsekakor so bila sedemdeseta in osemdeseta leta preteklega stoletja leta Froblovega vpliva, najprej pri uveljavljanju njegovih igrač, kasneje pa tudi pri začetkih naših vrtcev. “Kindergarten” je postal slovenski “vrtec” že na samem začetku, ko je izraz prišel k nam iz nemških krajev. (Anglosasi so npr. prevzeli nemškega in niti ne poznajo lastnega izraza.)

Nekako moderno zveni navedba: Plavalna punčka v kopalni kadi, vendar bi potrebovali podrobnejši opis, da bi ji lahko pripisali predhodnost današnje gumijaste igrače, namenjene igranju v vodi. Toda ob koncu osemdesetih let so se tudi v ljubljanskih časnikih že pojavljali oglasi za “različne punčke in druge igračke iz gumija”. V trgovini F. Bilina & Kasch, ki je bila na Židovski stezi 1, so nasploh prisegali na “največjo izbiro neoblečenih, nelomljivih in pralnih punčk.”33

Gradilni kamenčki in zidalne kocke

Med predmeti v seznamu dunajske tovarne igrač najdemo nadalje tudi Švicarsko škatlo z zidalnimi kockami (Baukasten). Splošno velja, da je igra s kockami za zlaganje tako rekoč prastara. Vendar ni tako. Od srede stoletja so ljubljanski trgovci med reklamami za igrače objavljali tudi tako imenovane gradilne kamenčke, škatle z gradilnimi kamenčki, ne da bi podrobneje opisali, iz kakšnega materiala so, niti kdo je izdelovalec. Prva verjetna omemba te vrste igrač je Gradilna igra (Bauspiele) pri oglasu J. Giontinija že leta 1850, vendar je težko ugotavljati, kakšna je bila. Dvajset let kasneje, 1870 je Kraschowitz ponujal “gradilne kamenčke”. Morda se podobne igrače skrivajo tudi v kakšni izmed mnogih “škatel z igračami”, ki so jih v paketih ponujali skoraj vsi trgovci vse do konca 19. stoletja in še čez.




14. Oglas namenjen prodaji Ankerjevih gradilnih kock. Objavljen v Laibacher Zeitung, 28. novembra 1901. (Foto T. Lauko)

An advertisement for Anchor building blocks. Published in Laibacher Zeitung, November 28, 1901 (Photo T. Lauko).



Sestavljanje kakršnihkoli kock ali podobnih predmetov vse do srede stoletja ni bilo preveč cenjeno, ker je bila to najbrž premalo vzgojna, premalo učljiva igrača, skratka premalo koristna. Šele ko je pedagog Friederich Fröbel pred sredo 19. stoletja razvil teorijo o tem, da se smisel za disciplino in ustvarjalnost majhnih otrok lahko pospešuje in razvija s pomočjo igre z navadnimi kockami in so začeli obravnavati otroka kot otroka in ne majhnega odraslega, se rode igre in igrače, ki niso dobesedno koristno oponašanje odraslih.

To je čas zmagovitega pohoda kock za zidavo ali gradilnih kock. Sprva so bile lesene, nestabilne in so se zlahka podirale. Kasnejše kocke iz umetnega kamna so bile pravzaprav izum bratov Lillienthal, ki sta kasneje postala slavnejša kot ena prvih letalcev. Ker sta pri tem zapravila pravo majhno premoženje, sta prodala izum za skromnih tisoč mark lastniku tovarne Anker, Richterju. V kratkem času, okrog 1878, so škatle z gradilnimi kockami z imenom Anker začele svoj svetovni pohod. (Dr. Richterjevi sidrni zidaki, kar zaščitno ime Sidro brez dvoma pomeni, so se dali tako rekoč “zasidrati”.) Lastnik Richter je bil mojster reklame in je v času, malo pred koncem stoletja, izdal zanjo nezaslišano vsoto denarja - dva milijona mark.




15. Sestri iz bogate ljubljanske trgovske družine pri igri s kockami. Slika je bila posneta leta 1914. (Iz fototeke SEM)

Sisters from a wealthy trader’s family playing with building blocks, 1914 (SEM Picture Library).



Nekaj let po začetku v Nemčiji so prišle gradilne kocke tudi na naš trg. Tovarna jih je pošiljala po pošti. Predstavitvi na trguje posvečala precejšno skrb, kar je moč sklepati po tem, da so bili oglasi številni in opremljeni z risbami otrok, ki sestavljajo nekaj mogočnemu gradu podobnega. Richter je takoj uvedel fiksne cene in poskrbel, da se je proizvodnja nadaljevala z vedno novimi in novimi škatlami kock, ki jih je bilo mogoče smiselno vključevati med stare. “Na splošno je znano, da so Richter’s Ankerjeve gradilne kocke otrokom najljubša igrača in sredstvo za zaposlitev. So primerno darilo. Deležne so bile mnogih nagrad, nazadnje zlate medalje na svetovni razstavi v Parizu. Zdaj jih lahko z dokupom škatle z mostovi načrtno dopolnjujete: s starimi in novimi škatlami kock postavljate železne mostove s prelepimi kamnitimi mostovnimi podstavki. Anker škatle z gradbenimi kockami so po ceni od 0,75 do 10 kron, Anker škatle z mostovi pa od 3 kron naprej. Dobite jih v vseh trgovinah z igračami. Poglejte na vsako škatlo, če ima znak sidra, če ne, jo vrnite nazaj.”34

Ko je leta 1910 lastnik in začetnik Anker kock Richter umrl, sta bila delovanje in prodaja na vrhuncu. Nato pa so se že začele pojavljati nove konkurenčne tovarne (Matador, Märklin itd.) in 1931 so največjo tovarno Anker na Dunaju zaprli. Kocke kot otroška igrača so postale že tako popularne, da so jih ponarejali, oziroma so jih izdelovali tudi drugi, vsekakor pa so bile v prodaji v domačih trgovinah in jih ni bilo treba več naročati po pošti. Ista tovarna, “prva avstrijsko-madžarska c.k. privatna tovarna gradbenih kock” je ponujala še tako imenovane “igre potrpežljivosti”, med njimi tako rekoč neuničljivo “Človek, ne jezi se” (Zornbrecher). Šele leta 1963 so tovarno Anker v Rudolstadtu (takratni Vzhodni Nemčiji) dokončno zaprli. Približno štiristo različnih izdelkov te tovarne iz petin-osemdesetletnega delovanja pa je postalo predmet zbirateljev (Bruckmann 1987, str. 199).





PRVA POLOVICA 20. STOLETJA: STARŠI VSEH DRUŽBENIH PLASTI SE ZAVEDAJO, DA OTROK IGRAČO POTREBUJE


Likovne upodobitve

Ivan Vavpotič, Saša Šantel, Maksim Gaspari

Ob začetku 20. stoletja najdemo upodobitve igrač še vedno predvsem na portretih otrok iz meščanskega okolja. Igrače, ki se pojavljajo na slikah, niso tam zato, da bi poudarjale imenitnost portretiranca, kar je značilno še v 19. stoletju, ampak so preprosto atribut, ki označuje otroka. To je tudi razlika, ki v prvih desetletjih slikani portret loči od fotografskega. Naročniku slikanega portreta ni bilo treba z dragimi pripomočki dokazovati svoje mogočnosti. Igrače, ki se pojavljajo na slikah, torej niso prestižni predmeti, temveč porabni, čeravno ni znano ali so bili resnično last tistega, ki so ga z njimi naslikali, ali pa so bili le slikarjeva zamisel.

Ivan Vavpotič je avtor številnih meščanskih portretov. Slika Dete s pajacom je nastala leta 1905, Deček na vrtu pa 1922. Pajac s prve slike je oblečen v črtano klovnovsko obleko, s poslikanim obrazom, ta je lahko iz papier mâchéja ali lesa. Na portretu Dečka so igračke razpostavljene po sliki: z eno roko drži deček obroč, z drugo palčko, s katero ga poganja. Zadaj je odloženo vedro in na bok položena jadrnica, na drugi strani stoji pajac. Pajac je igrača, ki se je v različnih oblikah pojavljala že v 18., predvsem pa v 19. stoletju. Priljubljen je bil kot avtomat, ki se je premikal (o čemer nas obveščajo reklame v časopisju, glej pogl. O trgovini in reklamah), pa tudi kot lesen pajac, ki so ga v najrazličnejših oblikah prodajali kot nürnberško blago. Pajac na Vavpotičevi sliki pa je mehka igrača, kakršne so izdelovali lahko tudi doma. Šele v zadnjih desetletjih iz arsenala igrač izginjajo prav te figurice. Zelo zanimiva igračka na Vavpotičevem portretu dečka je navaden obroč, ki so ga poganjali s palčko. Kar nekaj časa je že, kar je ta igrača pristala v zgodovini, saj se vsaj po 2. svetovni vojni nihče več ne igra z njo.35 To je bila pravzaprav igra, ki je vzpodbujala hitrost in gibanje. Ko so se otroci navadili na triciklje (ali holenderje), na skiroje, dvokolesa, je bilo konec tekanja za obročem. Še en portret deklice je iz tega obdobja, Hči Dušana slikarja Saše Šantla. Nastala je leta 1914. V naročju drži punčko. Ker je slikar portretiral svojo hčer, ni dvoma, da je punčka, ki jo drži v rokah, res njena igračka. Po sliki težko sodimo iz česa je narejena.

Podobne so igračke, ki jih je položil v roke kmečkim otrokom slikar Maksim Gaspari. Največkrat imajo dekletca v rokah punčke. Če pogledamo kako vise čez stol ali voziček, kaže, da so iz cunj. Pa tudi njihovi vozički so preprosti izdelki domačih rok. Dasiravno je Gaspari upodabljal tako imenovano kmečko življenje, težko verjamemo, da so imele deklice na kmetih tudi tako pogosto vsaka svojo lepo izdelano punčko. Spomini, ki jih navajamo iz koroških krajev (glej pogl. Kmečke igrače), dokazujejo, da je bilo to redko, bolj verjetno je, da je slikar pri slikanju uporabil spoznanja iz svoje mestne sredine in jih priličil kmečkim podobam. Igračke, ki so tako rekoč razpoznavni znak v 19. in prvi tretjini 20. stoletja, so punčke, konjički na kolesih in vozički. In nemara so bile prav te igrače tudi najbolj pogoste v otroških rokah tako kmečkih kot mestnih otrok. Velika razlika je bila predvsem v tem, kje so bile izdelane ali kje kupljene.




16. Stric je nečakoma prinesel bogata darila. Slikani v Žalcu, pred letom 1914. (Iz fototeke SEM)

An uncle has brought his nephews some luxurious gifts, Žalec, before 1914 (SEM Picture Library).



Zadnja četrtina 19., še bolj pa začetek 20. stoletja, že pomenita popolno uveljavitev portretne fotografije. V razmeroma kratkem času je postala tako poceni, da je bila vedno bolj dostopna tudi manj premožnim. Ateljejske postavitve so bile prav tako premišljene kot bi portretiranec stal pred slikarskim stojalom. Tu je iluzija lahko popolna. Iz osebe pred kamero se je dalo narediti kar si je fotografiranec sam zaželel. Na slikah so možje čestokrat strogi in dobrohotni poglavarji družine, žene zgledne matere in otroci ponos staršev, vsi skupaj pa navadno še malo prestrašeni ob neznani novosti. Ob priložnostih, ki so bile vredne ovekovečenja, so postavili otroka v domišljijsko okolje razkošja in mu z igračami pomagali do popolnosti. Te slike so varljive, saj ne vemo, komu so igrače v resnici pripadale, fotografu ali portretirancu. Vendar nam vseeno pomagajo - tiste, ki so prišle na fotografijo, so že morale biti moderne in priljubljene ter portretirancu v ponos.

Vedrca in lopatke so mestne igrače in jih verjetno otroci pred zadnjo tretjino 19. stoletja niso uporabljali. Ko se je vedno bolj številno meščanstvo v bidermajerju vzneseno začelo ukvarjati tudi z okraševanjem vrtov, so še gospe in gospodične prijele za umetelno izdelana orodja in kdaj pa kdaj pobrskale po prsti okrog okrasnih grmičev. Od tu do transformacije tega orodja v otroške igrače, ni bilo daleč. Na kmetih so otroci pri brkljanju po zemlji gotovo še uporabljali domača orodja, tako kot je (po pripovedovanju sestrične) mali Baraga z domačo pralico kopal jamice in sadil semena.36 Na vedno številnejših mestnih parkih in tako imenovanih peskovnikih pa so postale posode, vedrca, lopatke, grabljice tudi vedno bolj pomembne igrače najmlajših otrok.


Spomini in literatura

Lavo Čermelj, France Brenk, Vida Jeraj Hribar

Spomini pisateljev, ki so bili ob začetku 20. stoletja del igrajoče se množice otrok, postajajo zdaj vse pogostejši. Prek njihovih besed spoznamo igračke, ki so jim bile dostopne, in nemara še tiste, ki so sijih samo želeli. Zelo pogosto se ljudje ustavljajo tudi ob tem, kar jim je ostalo v spominu kot želja. Zlasti zanimivi so opisi tistih igrač, ki so bile tako rekoč nadomestne, tiste pač, ki so jih lahko gledali samo od daleč in si jih priredili s pomočjo lastne domišljije.

O fantovskih igricah in igračah, ki so si jih, ob pomanjkanju “kupivnih” igrač naredili otroci sami, je pisal Lavo Čermelj, znanstvenik in pisatelj. Rodil se je v Trstu, v preprosti slovenski družini, v hiši, ki bi danes stala takorekoč v strogem centru, na današnji Ulici 20. septembra. Za igranje pripraven fantiček je postal ob začetku 20. stoletja. “Na dnevnem redu so bile običajne otroške igre: skrivanje, razbojniki, frnikole in podobno. Nekakšna strast mi je postala ob pomanjkanju kovancev igra s peresci. Na poti v šolo smo se pogosto ustavljali, da me je mati marsikaterikrat morala priti iskat in sem imel desno roko vso razpokano od mraza in udarcev” (Čermelj 1969, str. 16). Fantje so morali biti prav zastrupljeni s “fucanjem” in jim je bila to neke vrste igra na srečo.

Ob tem pa se mu je odprl še drugačen svet, prav tako svet otroške domišljije: “Doma sva si z bratom ustvarila posebno življenje. Jedro so bile ‘konstrukcije’, to so po tiskanih barvnih predlogah izrezani in zlepljeni gradovi, cerkve in druge stavbe ter vojaki, lovci, domače in divje živali, nalepljeni na karton. Ker je bil arabski gumi predrag, sva kot lepilo uporabljala moko in vodo. Ko sva se zjutraj zbudila, so bili najini gradovi in najine vojske močno oglodani od miši. S posebnim veseljem pa sva izdelovala vlake. Iz deščic sva delala nosilne ploskve in ravne stene lokomotiv in vagonov, iz lepenke ukrivljene ploskve in dimnike ter iz tuljav za sukanec kolesa. Tovor so bile škatle različnih velikosti, ki sva jih izrezala in zložila iz debelejšega papirja” (Čermelj 1969, str. 17).

Okrog 1910 je v Dravljah, ki so takrat še živele kot vas pri Ljubljani, preživljal svoja otroška leta France Brenk. “Odkar pomnim, smo se igrali otroci na zeleni trati pod hruško, po deskah in na dvorišču, posutem z rdečkasto belim peskom iz Pesk nad Podutikom. Prevažali smo ga s šajtrgo in delali kupčke, s samokolnico, kakršno je moral narediti vsak očetov vajenec” (Brenk 1982, str. 8). Tudi pri družini obrtnika-mizarja ni bilo dosti takih igrač, kakršne je bilo videti po mestnih trgovinah. Otroci so s pridom uporabljali orodja odraslih in si jih prikrojili po lastnih željah, da so jim le pustili prosti čas. Na kmetih pravzaprav nikoli ni bilo težko dobiti stvari za igranje, igrač, ki bi na pogled lahko bile povsem nekaj drugega, težava je bila le s časom. Kmečki otroci so bili večinoma prej kot mestni (obrtniški in delavski) vpreženi v delo in so si morali ure igranja dobesedno ukrasti.




17. Večna pastirska igrača – mlinček ob potoku. Posneto v Št. Janžu v Rožu na Koroškem, 1953. (Iz fototeke SEM, foto: J. Šušteršič)

The never-ending game of shepherds - a tiny mill on a brook, St. Janž in Rož (Rosental), Carinthia, 1953 (SEM Picture Library. Photo: J. Šušteršič).



Morda bi bilo zabavno zvedeti tudi to, kako se je med igračke vpletel Ivan Cankar. Vida Jeraj Hribar, violinistka in hčerka slovenske pesnice, je otroška leta preživljala pred 1. svetovno vojno na Dunaju. Pogost družinski gostje bil tudi pisatelj I. Cankar. “Imela sem igračko, majhen šivalni strojček, in Cankarja sem prosila, da mi je sešil oblekico za punčko. Zanj je bilo to čisto lahko, saj je bil njegov oče krojač. Jaz tega takrat seveda nisem vedela in se mi je zdelo grozno imenitno” (Jeraj Hribar 1992, str. 19).

Kmečke igrače: koroška pričevanja

Na čas po letu 1900, še bolj pa po 1. svetovni vojni, se v spominih na otroštvo lahko vrača še mnogo ljudi. Spomini so tako sveži, kot bi se bili dogajali včeraj. To potrjuje, kako trdno se vsakomur zasidrajo v pomnenje dogodki iz otroških dni. Večina do zdaj navedenih spominov, še bolj pa časopisne reklame in obvestila, so nas vodili po svetu igrač, ki so bile “kupivne” in dostopne bolj ali manj otrokom v mestih, pa še te le pripadnikom višjih slojev. Otroci s kmetov ali delavski in obrtniški, ki si jih niso mogli privoščiti, so si jih skušali narediti po svoje. Lep primer pripovedovanj o takšnih doma narejenih igračah so spomini koroških Slovencev, ki so jih nabirali etnologi pod vodstvom Marije Makarovič. Izhajajo v Celovcu že od leta 1993. Veliko teh pripovedovalcev ali zapisovalcev se je najprej ustavilo pri lastnih otroških letih in takrat so jim prišle na misel tudi igrače in igranje, ali pa vsaj take reči, ki so jim služile za igranje. V tem smislu niso bili prav nič drugačni od otrok, ki so se rodili sto let pred njimi.

“Igrač otroci nismo imeli. Fantje so šlečkali s pečkami, deklice smo pečkale. Pečke so bili kamenčki. Igrali smo se na paši... Bili smo tako izurjeni, da nam je šlo zelo dobro, trava po tleh pa je bila pohojena in roke znucane. Igrale smo tako, da nismo krav niti čule niti videle... Na paši so fantje delali živali iz skorje. Največkrat so naredili kravo ali konja, in če so našli debelo skorjo, jim je uspelo narediti celo žival s štirimi nogami... Fantje so med pašo delali še mline ter jih postavljali na vodo, da so se vrteli.”37 “Rajna babica so nam čeče delali. Vzeli so coto, jo zvili skupaj, čeznjo potegnili nogavico ali pa kakšno drugo coto. S sestro sva imeli vsaka svojo čečo. Eni smo rekli Neža, drugi pa Urša.”38 Tako je bilo navodilo za izdelavo punčk iz cunj in ni vzroka, da bi ne verjeli, saj je bila taka izdelava tako rekoč “večna”. Za darila so dobivali podobne stvari, kot so jih prejemali Jernej Andrejka in njegovi vrstniki sredi 19. stoletja: “Ko je bil semenj, sem se nastavil na sejmišču in čakal krstnega botra. Dal mi je en seksar, sem si kupil nekaj cukrov. Ko sem šel k birmi, sem dobil klobuk in vrečko lecta.”39

Igrače so bile dragocene in redke. Pravzaprav je za današnje pojmovanje precej neverjetno, kakšno zrelo razsodnost so pokazali otroci, ki niso imeli igrač. Zanje je bilo vsekakor samo po sebi razumljivo, da igrač, ki so se kopičile na sejemskih stojnicah ali pa celo v mestnih trgovinah, ne bodo nikoli imeli. Njihove igrače so bile tiste, ki so si jih lahko sami naredili. “Igrali smo se kar z domačimi igračami: voleji iz skorje. Imeli smo pastirje, ki so pasli krave in iz skorje naredili krave, voleje.”40 Ali pa: “Punčke smo imeli iz cot. Starejši so nam delali lesene igrače, največkrat domače živali. Otroci smo potem v zemljo zabili cveke v krogu in v ogrado dali ovce, konje, čoleje. Moj sošolec je znal konja narediti iz skorje.”41 Dekletca so si delala “puže” iz cunj in iz turškega perja, iz koruznega ličja. “Zraven je spadala še škadla, ki smo jo imele za postelj. Če si jo hotel vleči, si dal noter še cvirn.”42 Igrali so se tudi z “glaževnatimi kuglicami, ki so bile pravo bogastvo. Petnajst let sem bila stara, ko sem imela to igro še vedno najraje, potem pa ni bilo več časa, ker sem šla delat v farovž.”43

Pričevanja iz različnih slovenskih pokrajin

“Glaževnate kuglice”, “knofi”, “puce”, kamenčki, peresa, “štolce”, vse to se je pojavljalo v otroških igricah, ki so se jih šli fantje in dekleta že od 19. stoletja dalje. Igre so poznali tako na kmetih kot v mestih, razlika je bila le v tem, da so uporabljali različne predmete. S peresi so se zabavali mestni otroci ob koncu stoletja (glej Mlakar in Čermelj), ko so bila peresa že predpisana v šolski rabi, po svoji ceni pa vendar dovolj dragocena, da so pomenila dobitek v igri na srečo. Enako se je godilo z gumbi v sredi 19. stoletja (glej Jernej Andrejka), vendar pa so bili ti še vedno dragocen material v belokranjskih vaseh v času pred začetkom 2. svetovne vojne. “Igrali smo se tudi s knofi, ’s pucami’. Otroci smo si jih sami odrezali od obleke. In smo bili kregani, če so nas dobili.”44

Podoba otroškega igranja na kmetih se v 20. stoletju ni kaj prida razlikovala po različnih slovenskih pokrajinah. Igranje je določalo kmečko delo. Šele ko je bilo vse postorjeno, so se lahko lotili igrač. Redke “kupivne” igračke pravzaprav sploh niso vplivale na sezonski ciklus igranja, saj so bili kmečki otroci bolj kot mestni odvisni od letnega časa in kmečkega dela. V kolikor so bili deležni daril v obliki kupljenih igrač, je to pomenilo predvsem izjemo. Punčke so bile igračke, ki so sijih dekleta po vseh slovenskih pokrajinah na kmetih naredile same, ali pa so jih naredili spretnejši odrasli. “‘Micko’ smo si otroci naredili kar sami, iz cunj, ampak tudi za cunjice je bilo težko. Leta 1934 pa je oče prišel na obisk iz Kanade in je prinesel s seboj punčko in zibelko. To je bila krasna punčka, a se je zgodila nesreča. Prišel je iz hleva župnikov šimel in stopil na punčko. Nikoli več nisem imela takšne punčke.”45

Po mnogih krajih so imeli spretne in pripravne odrasle, ki so morda tudi sebi v zabavo, hkrati pa za plačilo izdelovali igračke. Tako je v začetku tridesetih let za Miklavža izšel v Jutru članek, kjer časnikar opisuje Vidičevo mamo in njene ‘tontare’: “Pozna jo ne le vse Zagorje, tudi po bregovih raztresene vasi je že obhodila s cekarjem v roki. Okoli tega cekarja so spletli otroci nebeško glorijo, saj je bila notri cela skladovnica najlepših punčk, ki jih je napravila Vidičeva mama... Poklekali so okoli nje in jo prosili tako milo, da je mama razdelila načičkane tontare, da ni bilo radosti ne konca ne kraja. Matere tako obdarjenih otrok niso bile umazane, saj je bila v hramu vedno kakšna klobasica, jajce ali pest moke... Že od poletja sem ji nosijo otroci odrezke blaga, proseč za tontare. Saj so pa tudi tako umetelno napravljene, da lahko tekmujejo z vsako izložbo. Oblečene so spodaj kakor zares, s čipkami, nogavičkami, podvezami, da kar sije. Oblekca je kakor mavrica z rožicami posejana. Navadne punčke imajo glavico iz cunj, pokrito s šareno rutico, če hoče pa kdo boljšo, mora kupiti glavico iz celulojda. A to še ni vse. Mama napravijo najlepše blazinice, čepice, celo posteljice po meri...”46 Ob omembi plačila, ki je bilo v naturalijah, vidimo, da se približno v sto letih ni kaj prida spremenilo. Alešovčeva mati je prav tako plačala sinovo izrezano piščalko s kosom kruha.

Na Primorskem je teklo življenje otrok v tridesetih letih podobno kot drugod. V knjigi D. Jakomina lahko preberemo: “Deklice so se navadno igrale s kamenčki ali s ‘pupami’, ki so si jih naredile same; to so bile s senom ali s slamo napolnjene punčke iz cunj... Deklice so tudi po groblah iskale kamen, ki bi bil nekako punčki podoben. Ko so ga našle, so narisale nanj obraz in sešile potrebne obleke. Potem so jih pestovale, kakor se pač ziblje punčka” (Jakomin 1996, str. 93). Doma narejene punčke so imeli pred koncem 2. svetovne vojne tudi še otroci v okolici Gornjega grada: “Otroci smo imeli domače punčke, kratek čas, dokler niso razpadle, potem smo jih naredili znova. Se za misliti ni bilo, da bi nam jih kupili. Fantje pa so se igrali kar s stvarmi, ki so jih našli okoli hiše, s kakšnimi žeblji, z glaževno.”47

Iz petdesetih let so spomini dekleta, ki je otroška leta preživljalo na Raki na Dolenjskem: “Nobene kupljene igrače nisem imela, vse mi je naredil dedek. To sta bila en navaden lesen voziček, pa lojtrnik. Posebno rad pa mi je delal piščalke, rezljal mi jih je iz lesa, v obliki ptičkov, notri smo nalili vodo.”48 Kako zelo redke so bile igrače kmečkih otrok še v drugi polovici tega stoletja, pove zgodba iz haloške vasi: Ob koncu šestdesetih let je prišel domov na obisk oče, ki je kratek čas delal na Nemškem. S seboj ni prinesel punčke, čeprav so bile doma hčerke, ampak domine. Trije domači otroci so povabili v goste še vse svoje prijatelje, in tako so se začeli igrati z dominami. Ker pa niso poznali igre, so se igrali, kot da vozijo vlak: polagali so jih v vrste in jih potiskali po mizi sem ter tja. Zaradi teh domin so postali zelo pomembni v domači vasi.49




18. Deček in deklica iz meščanske družine. Deček ima v rokah žogo. Slikana sta bila v fotografskem atelieru v Ljubljani, 1913. (Iz fototeke SEM)

A boy and girl from a middle-class family. The boy is holding a ball. Studio photograph, Ljubljana, 1913 (SEM Picture Library).



Ena izmed iger, ki pa ni zahtevala igrač, je bilo potepanje. Že Fran Milčinski je v Ptičkih brez gnezda tako rekoč “dokumentirano” ugotovil, da je bila posebna slast mestnih otrok v pohajkovanju. Imeli so pač več časa. “Glede na kmečke otroke so bili delavski otroci polni prostega časa, imeli so bistveno manj domačih obveznosti kot otroci na kmetih” (Kremenšek 1970, str. 32). To seveda velja za 20. stoletje. Glede na čas in kraj, ki ga je raziskoval Slavko Kremenšek, so bili to pravzaprav predmestni otroci iz Zelene jame v Ljubljani, vendar pa je to “opravilo” že prav dobro poznal tudi Janko Mlakar, ki je nekaj desetletij prej stanoval v stari Ljubljani, ob reki Ljubljanici. Polni užitkov so spomini deklice, ki se je sicer rodila v Metliki, a so se že v prvih letih njenega življenja preselili v Ljubljano, na obrobje mesta, ob tobačno tovarno, “kjer so bila takrat vse do Gradaščice vse samo polja in kmetije, in tu smo se preganjali in se potepali po cele dneve. Prav nobene igrače nismo potrebovali. Spominjam se samo žoge.”50

Žoga je postala v 20. stoletju vedno bolj zanimiva in splošna igrača, tako v mestih kot na vasi. Na Primorskem so si v dvajsetih in tridesetih letih delali lesene krogle ali žoge in so z njimi balinali (Jakomin 1996, str. 94). V Beli krajini pa so si pomagali tako kot pri izdelavi domačih punčk. Dekleta so si tudi žoge naredila iz cunj. To so bile žoge, ki niso zdržale dolgo, so pa zato bile večkrat nove. Žoge so bile pravzaprav predmet, ki je doživljal izreden razvoj, oziroma skoraj prekvalifikacijo. Iz igrače, ki je bila namenjena predvsem otrokom (ali odraslim) višjih družbenih plasti in je bila temu primerno narejena predvsem iz boljših materialov, se je predvsem s športom razširila tudi med druge sloje. V 20. stoletju je postala uporaba vsakovrstnih žog množična.

Na Slovenskem med fantovsko družbo v določenih okoljih pomeni pravi statusni simbol. To je bila predvsem draga igrača ali igralni pripomoček. Imeti žogo kot igračo je še v petdesetih letih tega stoletja pomenilo izpolnitev sanj mnogih fantov tako na kmetih kot v mestih. Na nedoumljiv način si je žoga pridobila veljavo prestižnega predmeta, ki prihaja z Zahoda. Materiali, ki so jih uporabljali za žoge, so bili novi, manj dragi in na splošno bolj dostopni, pa vendar v naših krajih večini prebivalcev še vedno nedosegljivi. Domišljija otrok je bila brezmejna: “Sredi petdesetih let so iz Borovega že prihajale gumijaste duše. Ampak samo duše, ostalo je bilo treba narediti. Tako sem si sam šival zunanjo obleko za žogo iz trdega, gumiranega platna. Odpadke tega materiala, ki so ga uporabljali za izdelavo velikih branjevskih marel, je prinesel oče iz tovarne. To je bilo mukotrpno delo, pa mi je vseeno šlo od rok. Ko je bila zunanja žoga narejena, sem jo napolnil z dušo, jo napihnil - in tako sem bil ‘ta glaven’ na igrišču v Logatcu. Samo žoga je lahko fantu dala to samozavest, žoga, ki je nekaj časa trajala. Vse druge, ki so bile najbrž tudi narejene doma, so bile slabše in so se kmalu raztrgale.”51

Kot primer zelo običajnih otroških igrač nekaj let pred začetkom 2. svetovne vojne bi lahko služile še igrače, s katerimi se je igrala in jih po spominu navedla hčerka zavarovalnega zastopnika v Radovljici, rojena leta 1932: gumijasta žoga s premerom okrog 11 cm, lesen šparovček v obliki krogle s podstavkom, trobenta in vetrnica iz celulojda, gugajoči se, pobarvan palček iz pločevine, lesen, ornamentiran votel pirh, dve punčki, ena iz gume, ki piska, okrog 20 cm velika, druga iz celuloida in ta je bila kupljena za posebno priložnost v Ljubljani, kuža iz blaga, polnjen z oblanci, veverica iz gume, petelinček iz pločevine, piska, pobarvan zajček iz mavca, slikanica Moje domače živali, založba Schwentner, štedilnik, kuhinjska posoda in likalnik, vse miniaturno, iz belo-modro emajlirane pločevine. Nekaj teh igrač je dobila od sorodnikov, predvsem od tete za velike praznike, za Veliko noč, za Miklavža, pa tudi za rojstni dan. Te igrače seveda niso bile kupljene vse naenkrat, ampak v približno desetih letih, kar je pomenilo, da je bilo to obdobje, ki so ga otroku namenili odrasli in v katerem je imel pravico do igrač.52

Nekaj podobnega je pripovedoval deset let kasneje rojeni pripovedovalec iz Škofje Loke. V približno desetih letih je imel take igrače: cunjastega pajaca, ki ga je naredil nek krojač, podedovan pa je bil od obeh starejših sester, tricikelj, ki ga je izdelal poznan kovač, dva skiroja, eden od kovača, drugi od Elana, samokolnica, podedovana žoga z dušo (to je bila ena najbolj pomembnih igrač, ker se jih takrat ni dobilo), steklene frnikule, predvojne, škatla z velikimi lesenimi kockami, ladjica in cestni valjar, igra Človek ne jezi se, puška, ki jo je naredil nek poznan lovec, delal jih je tudi za druge fantičke. Imel je srečo, da je v obdobju, ko se je tudi pri igračah poznalo splošno pomanjkanje, podedoval igrače svojih starejših sestra in strica, ki je šel zgodaj od doma. Poleg teh igrač, ki so bile tako rekoč kupljene, pa je imel zelo rad navadne lepenkaste škatle, ki jih je (kot včasih Baraga stolčke), navezane na vrv, vlačil po kuhinji. Zelo veliko se je v otroških letih igral tudi z igračkami iz lepenke. Navadno so si otroci kar sami narisali različne figure in jih izrezovali.53 Izbira igrač za otroke, rojene po koncu 2. svetovne vojne, je bila neprimerno večja kot včasih. Zdaj so igračke vse bolj podvržene modnim spremembam in se menjavajo zelo hitro. Če bi si otroci delali sezname, kaj vse posedujejo, bi bili ti vsaj tako dolgi, kot so bili včasih časopisni oglasi.


Trgovina in reklama

Otroški vozički in drsalke

Ob vseh že znanih igračah je bilo še vedno največ nürnberškega blaga. Okrog leta 1900 pa se je očitno povečala, oziroma prišla v modo uporaba otroških vozičkov, ne sicer kot igrač, ampak prevoznega sredstva za dojenčke. Meščani so bili v tem času deležni uvoza iz avstrijskih tovarn in pletarskih delavnic. Katalogi, ki so izhajali, kažejo zelo široko ponudbo vsakovrstnih pletenih izdelkov. Po več ne tako redkih fotografijah lahko vidimo, da so se posluževali vozičkov za dojenčke tudi v manjših slovenskih mestih in trgih, lahko celo po vaseh. Uporabljali so jih seveda predvsem v družinah uradnikov, trgovcev, učiteljev, a tudi premožnejših kmetov.

Še pred koncem stoletja se je oglasil s svojo ponudbo ljubljanski tapetnik Obreza iz Šelenburgove ulice, ki je prodajal “največjo zalogo elegantnih in močnih otročjih vozičkov, od 6 gld do 25 gld.”54 To so morale biti takrat tako rekoč neverjetne cene, ki so jih prenesle le bogate denarnice. Zato prav lahko sklepamo, da so bili vozički prestižno blago in statusni simbol, kot nekoč otroške igrače. (Tudi tu ne gre pozabiti, da se je vozičkova pot često končala na povsem drugem koncu, kot je bil kupljen. Ko je namreč doslužil gospe, se je, če je bil še količkaj poraben, preselil na kmečki dom njene služkinje. Na kmetih se še vedno najdejo ostanki pletenih vozičkov, nekateri brez podvozja in z doma narejenimi kolarskimi kolesi, vendar umetelno oblikovanimi originalnimi ročaji.) Po 1900 so bili vozički v Ljubljani naprodaj že v več trgovinah.

Za Miklavža in Božič pa so npr. v Novem mestu ponujali prav takšne igrače kot v glavnem mestu, “največje mične pupe v največji izberi, nadalje vsakovrstna novošegna darila...”55 ali “veliko zalogo vsakovrstnih igrač, mičnih punčik, konjičkov, pajacov, železnic itd.”56 Verjetno je bilo precejšne povpraševanje tudi po drsalkah, saj so “drsalke vseh sistemov” ponujali v trgovinah z železnino pa tudi pri trgovcih z igračami in galanterijo.

Pred začetkom 1. svetovne vojne

Oglasi velikih trgovin, ki so ponujale celostranske reklame bogatih seznamov igrač so po letu 1900 začeli počasi ponehavati. Čedalje manj je bilo naštevanj in nenavadnih opisovanj še bolj nenavadnih igrač. V časopisih s slovenskim jezikom je včasih čutiti prizadevanje, da bi se opis igrače ujemal z nemškim originalom ali pa da bi bil čim bolj poveden. V času svojega nastanka je pri sočasnih bralcih, pravzaprav morebitnih kupcih, gotovo vzbujal takšno zanimanje, kot pri sedanjih.

Za zaključek nekega obdobja, ki je uveljavilo igrače kot izrazito tržno blago, a vendar s takšno ponudbo, da je vzbudila zanimanje tudi pri tistih, kijih niso bili deležni drugače kot v besedah, je štiri leta pred začetkom 1. svetovne vojne izšel oglas “krščanske tvrtke H. Auer z Dunaja”. Spet so si na moč prizadevali, da bi nemške opise primerno poslovenili. Za dečke so našteli triintrideset igrač, kar je veljalo 9.50 kron, med temi je bila cena “parnega stroja, kurilnega z varnostnim ventilom, ki žene modele”, tri krone. Za deklice pa je v seznamu naštetih kar štiriinštirideset igrač za isto ceno. “Švicarska gradilna omarica z lesenimi gradilnimi kamenčki” nadaljuje sistem Fröblovih vzgojnih igrač in je primerna za deklice in za dečke. Prav tako so za vse otroke “Goldinasta ura za navijanje”, “Kartoni živine na paši”, “Kartoni s kmetskim posestvom”, “Domine v lesenem kartonu” in “Knjige z barvastimi podobami”. Dečkom so pripravili “Dunajski pometalni voz s konjem, teče samotvorno”, “Kovinasto leteč zmaj, premičen” in “Žerjav, kretalen s strojem na veter”. Premičnih kovinskih igrač so bile deležne tudi deklice s “Kovinskim ptičnikom z jedočim premičnim ptičem”, zraven pa še “Kovinastega fotografskega šaljivega aparata”, “Otroškega gramofona, ki igra” in “Motornega zrakoplova Zeppelin, ki leti na vrvici”.




19. Voziček za dojenčka in voziček za igranje. Gospa ob prvem je sodnikova žena, otroci ob igrači so domačini iz Ilirske Bistrice, kjer je bila fotografija posneta, 1905. (Iz fototeke SEM)

A pram and toy pram. The lady behind the pram is a judge’s wife, the children are from Ilirska Bistrica where the picture was taken in 1905 (SEM Picture Library).



Dečkom so privoščili še orožje, in to “puško za streljanje”, kar pravzaprav preseneča, saj je bila to v seznamu edina militantna priprava za igranje. Deklice so imele priložnost dobiti “Govorečo, 38 cm visoko orjaško punčko z uspavalnimi očmi, (ki) sedi, stoji, da se umivati, govori: papa in mama.” Poleg tega še “Veliko sobo za punčke, ki je najfineje tapecirana”, “Kompletno sobno opravo za punčke, politirano” in “Kuhinjsko opravo z leseno in kovinsko posodo in kovinskim ognjiščem”. Seznam dunajskega trgovca dokazuje, da je industrija igrač po Evropi sledila tehniki in njenim najnovejšim odkritjem. Težko seveda sodimo, kolikšna je bila potrošnja teh igrač pri nas. Vsekakor so bili kupci, če drugače ne, vsaj z reklamami na tekočem. Razen punčk, ki so ostale med najbolj trdnimi in gotovo tudi najbolj zaželenimi igračami, so se pogosto pojavljale tako imenovane kovinske igrače, ki so se premikale. Drugi val teh premikajočih se igrač je nastopil šele precej po koncu 2. svetovne vojne, ko so svet preplavile poceni azijske igračke na navijanje.

Po koncu 1. svetovne vojne, v novi državi

Verjetno otroci kot glavni potrošniki niso občutili posebne spremembe v zvezi z igračami, ko se je končala 1. svetovna vojna in je Slovenija vstopila v novo državo. Vprašati bi bilo treba trgovce, ki so spet začeli prodajati igračke, te so zdaj prihajale od drugod, ne le iz avstrijskih in nemških dežel. V Ljubljani je imel trgovec Anton Krisper še vedno trgovino nasproti Rotovža, Ferdinand Melchior Schmitt pa v bližini Škofije. To sta bila le dva izmed večjih trgovcev z “norimberškim blagom”, ki sta prodajala še v prejšnjem stoletju. Ivan Podboj je bil leta 1912 naveden kot “prodajalec drobnine in igrač” na Sv. Petra cesti 101 (Lapajne 1912). Štampiljka “Ivan Podboj, izdelovalnica igrač, Sv. Petra 98” pa je bila v uporabi pred začetkom 2. svetovne vojne. Leta 1922 se je pojavil “Slavko Henč, tvornica igrač in lesenih predmetov iz Zagreba”, ki je ponujal “miniaturno pohištvo, emajlirano in politirano, tramvaje, avtomobile, trezine (za vožnjo), vozičke, keglje in kroglje.”57

Istega leta je začela v Ljubljani delovati nova “tvornica letečih igrač in drugih novosti - Icarus.” Pohvalili so se, da “se bavijo z izdelovanjem vseh vrst povsem novih igrač in galanterije. Igrače so pri nas, in nekatere tudi za inozemstvo, same novosti.”58

Ljubljanski trgovec Karl Wörsch je prodajal izdelke “Lutke, prve jugoslovanske tovarne igrač iz Maribora”. Kupčija pa ni cvetela, zakaj “zaradi opustitve obrata se bodo 10. dec. razprodajale vse filcaste in plišaste igrače, punčke in dr., tudi množina gumija, celulojda in mehaničnih igrač.”59 Tovarna očitno ni dolgo zdržala in je v vsem delila usodo podobnih delavnic in tovarn, ki so jih ustanavljali in zapirali v obdobju med obema vojnama.

V Adresarju mesta Ljubljane je navedena tudi “tvornica pločevinastih in kovinskih izdelkov Uranus”, ki je na Krakovskem nasipu v Ljubljani med drugim izdelovala igrače (Adresar 1928). V začetku tridesetih let so v “Eksportni hiši Luna v Mariboru” prodajali gugalne konje in vozičke za lutke, prav tako ostale igrače v veliki izbiri.60 Oglas ne pove, kje so bile igrače izdelane, niti kam jih je “hiša Luna” prodajala. Kot izdelovalci in prodajalci v času med obema vojnama postajajo različni obrtniki: kleparji, tapetniki, mizarji, ki nudijo še različne vrste igrač: kovinske igračke, drsalke, sanke, pohištvo za punčke, raznovrstne vozičke za malčke in igrače. Gospodarske razmere niso bile naklonjene ustvarjanju velikih podjetij, to se je posrečilo zelo redkim.




20. Deklica ima v roki modelček za potičke, poleg je kanglica s peskom. Slikana je bilo verjetno pred letom 1914. (Iz fototeke SEM)

A girl holding a model for pastries; next to her is a toy pail with sand. Probably before 1914 (SEM Picture Library).



Vozički iz Tribune, Miklavževe razstave, otroške igračke v malih oglasih, plišaste igračke, kanglice in lopatke

Podjetje, ki je preživelo in si ustvarilo ime tudi v novi državi Jugoslaviji, je bila ljubljanska “Tribuna”. Lastnik je bil Franc Batjel, ki je bil najprej vajenec v pilarski delavnici v Hrenovi ulici, kmalu pa je šel po svetu in se iz Amerike vrnil po 1. svetovni vojni kot specialist za šivalne stroje (Valant 1980, str. 7). Nemara od tod tudi razlaga zakaj je dal tako ime (Tribuna) svoji prodajalni šivalnih strojev in dvokoles. Trgovino, tovarno in mehanično delavnico, ki se je vse bolj širila, je imel na Karlovški cesti. V prvih oglasih nudi “otroške vozičke, zložljive lesene stolice za otroke, ki služijo obenem kot mizica, razne igračne vozičke z in brez košare, šivalne stroje in dvokolesa.”61 Istega leta so začeli pri Batjelu delati in prodajati “najnovejša zmanjšana dvokolesa za otroke že od pet let naprej ter najnovejše samokolnice - holenderje.” Opisi so čedalje bolj razkošni, saj prodajajo tudi “igračne vozičke in stolice za otroke, zložljive kot stolček in mizice za učenje v hoji. Igračni vozički več vrst v poljubni velikosti.”

Veliko priljubljenost pri mlajših kupcih, ali samo občudovalcih, si je gotovo pridobil z vsakoletnimi Miklavževimi prireditvami v začetku tridesetih let: “Za Miklavža - novost za Ljubljano! V nedeljo in ponedeljek popoldne ob 5 uri bode zopet Gašper gledališče pri ‘Tribuni’, tovarni dvokoles, otroških in igračnih vozičkov na Karlovški c. 4. Vsi izložbeni prostori so opremljeni z najnovejšo reklamo. Vse se vozi, ter tudi Miklavža in parkeljna ne bo manjkalo.”62 Naslednja leta so prireditev ponavljali. Ob koncu tridesetih let je Batjel odprl še eno trgovino svojih izdelkov v Mariboru. Leta 1940 je umrl, Tribuna pa je bila po 2. svetovni vojni podržavljena, a je delovala z istim imenom še v devetdesetih letih.

Uspešna miklavževanja in hkrati reklame za svoje izdelke so pripravljali vsi večji mestni trgovci vse do konca 2. svetovne vojne. Pojem otroške paše za oči je očevidcem ostala razstava igrač v Krisperjevi trgovini. Zapomnili so si jo vsi, ki sojo kadarkoli videli. Pri ljubljanskih meščanih je med obema vojnama prišlo v navado, da so svoje otroke obvezno peljali na ogled igrač, prav tako kot na Miklavžev sejem, ki so ga pripravljali na Kongresnem trgu. Ogled Krisperjevih igrač je bil pravzaprav kot sprehod žejnega čez vodo, mnogo vprašanih se namreč spomni, da so jim starši največkrat že sam ogled igrač namenili kot darilo za Miklavža.




21. Oglas Batjelove trgovine Tribuna iz Ljubljane namenjen lutkovni igri v času pred Miklavžem. Objavljen v Jutru, 1. decembra 1931.

An advertisement for Batjel's shop Tribuna in Ljubljana for the puppet theatre performances preceding the feast of St. Nicholas. Published in Jutro, December 1931.



Zanimivi so bili Miklavževi sejmi, ki so ob razstavljenih predmetih šele po koncu 1. svetovne vojne vzbudili žalovanje ob pomanjkanju kvalitetnih in pristnih slovenskih igrač. Ko je obiskovalec leta 1883 opisoval božično razstavo v Ljubljani, je na dolgo in široko poročal o trgovinah in njihovih izdelkih in hvale ni bilo ne konca ne kraja, igrače so bile v glavnem uvožene, pravzaprav pripeljane iz drugih dežel cesarstva.63 Kot posebna kvaliteta in odličnost je bila pojmovana čim bolj hkratna uporaba na domačih tleh in tam, kjer so bile igrače izdelane. Tu si slovenski meščani vse 19. stoletje nimajo kaj očitati. Njihovi otroci so bili s svetovno proizvodnjo na tekočem, če sta le bila denar in volja staršev.

Poročevalec z Miklavževega sejma v letu 1936 pa je s svojim opisovanjem dodal tudi splošno sliko slovenskega igračarskega trga: “Eno pa je brez dvoma hvalevredno na tem sezonskem sejmu pod šotori na Kongresnem trgu: kar je igračkaste otroške galanterije, se z zmerom lepšim uspehom uveljavljajo domači proizvodi, delo malih obrtnikov, trgovcev, pa morda tudi priložnostnih izumiteljev, ki so prišli do spoznanja, da je s solidnim, cenenim domačim izdelkom prav lahko izpodriniti malovredni, pa stokrat preplačani kič, ki ga za Miklavža in za božične praznike vsako leto v neznanih količinah brez potrebe uvažamo iz tujine.”64 Obrtniki, ki so izdelovali domače igrače, so bili resda številni, a so izdelovali igrače v majhnih količinah. Zato je bil trg še vedno založen tudi in predvsem z uvoženimi izdelki. Ekonomske razmere, ki niso bile naklonjene majhnim obrtnikom, so povzročale, da so si prijave in odjave obrti sledile na zelo kratke roke. Iz starejše igračkarske tradicije so črpali le ribniški suhorobarji in lončarji, vendar so te igračke ostale na obrobju, namenjene sejmom, žegnanjem, ali pa tudi stojnicam na mestnih trgih.65 Glede na to, da so se objave reklam in ponudb za prodajo igračk v tridesetih letih drastično znižale, bi lahko sklepali, da so bili slovenski meščanski otroci zdaj manj poučeni o modernih igračah. Povečali pa so se prispevki z nasveti o vzgoji, šoli, modi itd.




22. Deklica z medvedkom. Slika je bila posneta v fotografskem atelieru v Ljubljani, 1930. (Iz fototeke SEM)

A girl with a bear. Studio photograph, Ljubljana, 1930 (SEM Picture Library).



Že vsa dvajseta leta se v slovenskih časnikih pojavljajo posebni oglasi za nakup in prodajo igrač. Ponudbe rabljenih igrač lahko zasledimo zlasti pred Miklavžem, ko prodajajo škatle s kockami (še vedno kot Baukasten), športna vozila, gugalnice, lokomobilo, parni stroj, drsalke in sanke, “skyroje”, vozičke za lutke in prodajalne, štedilnike, leteči aeroplan - 1.20 m premera, gledališče lutk Märklin, tri škatle Märklina, gugalne konje, dobro ohranjene železnice z veliko tračnicami in vagoni. Naprodaj so skoraj samo igrače za dečke, punčk za igranje kot da ni. Zelo redki so tudi razni kuhinjski pripomočki ali pohištva za punčke. Ti oglasi se povečajo v času gospodarske krize, ob koncu dvajsetih in začetku tridesetih let. Hkrati se pojavljajo novi izdelovalci, obrtniki pa tudi ljudje, ki so igrače izdelovali ljubiteljsko, oziroma so skušali vnovčiti svojo spretnost. Vse pogostejše so ponudbe za gugalne konje, iz česar bi lahko sklepali, da so bili v teh letih zelo priljubljeni. V oglasih iz prejšnjega stoletja ni omemb gugalnih konj, verjetno jih niso uvažali v večjih količinah. Taki konji so bili najbrž v 19. stoletju še zelo draga igrača. Sredi tridesetih let najdemo ponudbo v ljubljanskem časniku: “Lepe, trpežne gugalne (na kolesih) konjičke, razne velikosti prodam. Iste izdelujem po naročilu.”66

Nekako od začetka 20. stoletja se v slovenskem trgovskem prostoru začno širiti plišaste igračke. Do takrat ni omemb, niti kakšnih poučnih člankov o novih igračah, ki se navadno pojavljajo ob Miklavževih dnevih. Mehke igračke, ki so bile otrokom tako ljube, so bile večinoma kar punčke iz cunj. Ponudba takih cunjastih punčk ni bila vredna reklame, vsaj tako lahko sodimo po opisih trgovskih ponudb. S prvimi medvedki pa je bilo verjetno tako kot z vsako drugo dragoceno igračo: bila je redka in zaradi svoje cene spet dostopna le redkim. Ni dvoma, da smo bili tudi o novih mehkih igračah dovolj zgodaj obveščeni.

Rojstvo mehkih igrač s premakljivimi udi si lastijo, čeprav dovolj miroljubno, Nemci in Američani. Angleški izraz “teddy bear” pripisujejo ameriškemu predsedniku Theodoru Rooseveltu (1858-1919), ki naj bil bil s svojim dobrim dejanjem na lovu, ko je rešil gotovega strela medvedjega mladiča, sprožil navdušenje občinstva. Podjetni trgovec Morris Michtom iz New Yorka je začel prodajati rjave plišaste medvedke s pripetimi udi in, kar je postala značilnost, z gumbi s čevljev kot očmi. Medvedki, imenovani Teddy bear, so imeli velik uspeh, kar je povzročilo, da je Morris Michtom kaj kmalu zaprl trgovino in ustanovil Ideal Toy & Novelty Company, eno najuspešnejših tovarn igračk v Ameriki (Sparrow 1993). Nemara je ta zgodba resnična, vendar so bile živali iz blaga, ki jih je začela izdelovati Margarete Steiff (1847-1909) še pred koncem stoletja, verjetno za evropsko tržišče igrač bolj pomembne. Steiffova je bila šivilja, ki je že od leta 1880 po pošti prodajala mehke cunjaste igračke. Nov tip medvedka s premakljivimi udi pa je nastal šele 1902 in je že na leipziškem sejmu igrač 1903 doživel izreden komercialni uspeh - takrat je namreč prav kupec iz Amerike naročil kar tri tisoč medvedkov. Ta tip igrač je moral biti v Ameriki v tem času že toliko znan, da ga je trg zahteval v večjih količinah.

Ko so tovrstne igrače prišle do našega potrošnika, jih je bilo že več, ne le medvedi. Vsekakor jih je že pred 1925 izdelovala “Lutka, prva jugoslovanska tovarna otroških igračk iz Maribora 2”, ki je zaradi opustitve lokala razprodajala vse filcaste in plišaste igrače.67 Tovarna konfekcije Tivar ob obleki ponuja tudi kosmate igrače: medo, slon, kuža in podobno.68 V svojih reklamnih katalogih jih je navajala tudi znana celjska trgovina Strmecki. Nekako ob istem času nastane ena prvih reklam za danes zelo pogosto igračo: “Miklavž prihaja in obdaruje pridne otroke z lepo aluminijasto kuhinjsko garniturico, vedricami za pesek, lopaticami... katere so v bogati izberi pri tvrdki Stanko Florjančič v Lj., Sv. Petra c. 33.”69

Kanglice in lopatke so bile do tedaj že nekaj desetletij najmlajšim nepogrešljive igračke. V tridesetih letih so bile še vedno v glavnem kovinske in lesene, s pomočjo plastičnih materialov pa so postajale cenejše in pogostejše. Javna otroška igrišča se številneje pojavijo z urbanizacijo, oziroma s strnjeno in načrtno pozidavo novih mestnih naselij. Tik pred začetkom 2. svetovne vojne je izšel v Jutru članek o načrtih ing. Jegliča za ureditev otroškega igrišča sredi šempetrskega okraja, na današnjem Hrvatskem trgu: “Že sedaj bi potrebovali v Ljubljani kakih deset javnih otroških igrišč, razdeljenih po raznih okrajih.” Za igrišče na Hrvatskem trguje predvidel “udobno peščenico, čofotalnico, gugalnico in navore itd.”70 To so bila igrišča, ki so seveda zahtevala povsem drugačne igrače kot so jih imeli otroci lahko doma. Prvo in največje otroško igrišče pa je bilo narejeno v Tivoliju. Čudovite opise tivolskih iger dolgujemo Janku Mlakarju.

Začetek in konec dobrepoljskih igrač

V predbožičnem času leta 1938 je v Slovencu izšel celostranski članek, kjer neznani avtor navdušeno obvešča javnost, da v Dobrepoljski dolini že leto dni uspešno delujeta tečaja za izdelovanje igračk in lutk. “Zamisel, naj bi Dobrepoljska dolina postala slovenski Nürnberg, je prav posrečena in tudi izvedljiva. Saj uvažamo vsako leto za nad pet milijonov dinarjev igrač iz tujine... Banska uprava je podprla stremljenje župnika Mrkuna in poslala ter plačala strokovno osebje. Za izdelovanje lesenih igrač je bil ustanovljen tečaj, ki ga je vodil kipar in strokovni učitelj Fr. Repič. Za izdelovanje lutk in igrač iz blaga in usnja pa je bil ustanovljen tečaj pod vodstvom strokovne učiteljice Rezike Horvatičeve.” Za tečaj za obdelavo lesa so skušali pridobiti mlade fante, za izdelavo punčk pa dekleta-domačinke. Prijav je bilo več kot prostih mest. Navdušenje poročevalca ne pozna meja, saj že predvideva, da bi se v Dobrepoljah osnovala “stalna igračarska šola. S tem bi bila dana možnost, da se igračastvo v Dobrepoljski dolini razvije tako, da bo zavzelo ves jugoslovanski trg igrač in da bo moglo uspešno izpodriniti nepotrebne in večinoma tudi nevzgojne igrače iz tujine. Da bo to prav lahko mogoče, dokazuje dejstvo, da že danes razpošiljajo igrače iz Dobrepolj do Skoplja v Južni Srbiji... Tudi prodajna organizacija je deloma vpeljana in že sedaj potuje nekaj potnikov, ki prodajajo trgovcem igrače po Sloveniji in tudi po drugih delih države.” Naštete so igrače, ki jih izdelujejo z enostavnim skobeljnim strojem: konjički, kokoške, račke, mačke, kamele, psički, medvedki, lokomotive, vagoni, tovorni in osebni avtomobili.

Izdelava, ki jo opisuje avtor, je morala biti zamudna in docela obrtniška. Vsak je delal vse. Prav tako so dekleta izdelovala po kosih punčke in nagačene živali. Sprva so uporabljali še uvožene “inozemske glavice, ki s svojim izrazom nisopristojale krasnim narodnim nošam.” Izdelovali so namreč lutke v narodnih nošah, po predlogah Alberta Siča, kar v tridesetih različicah. “Zato so zdaj začeli izdelovati tudi slovanske tipe glav.” Skratka, sprva nameravano izdelovanje punčk se je spremenilo v izdelovanje lutk v narodnih nošah, ki so jih prodajali po vsej Jugoslaviji kot uspešne turistične spominke. “V nekaj letih se bo izdelovanje igrač samo po sebi preselilo v številne domačije, kjer bo zlasti pozimi vsa družina mogla pri delu pomagati... Vzporedno s tem pa se bo po domovih razvila prava domača obrt, ki bo izkoriščala tehnične pridobitve sedanjosti in jih oplajala s pristno slovensko domislico, ornamentiko in bogastvom oblik.”71

Izdelovanje igračk, ki se je tako obetavno začelo v letu 1937, pa ni imelo sreče. Ko se je začela 2. svetovna vojna, je vse skupaj prenehalo: “Tovarna za izdelovanje lesenih igrač je zadnja leta opustila izdelovanje igrač. Izdelovati je začela leseno obuvalo, ki je važnejšega pomena zlasti v vojnem času.” Tako je zapisal župnik Anton Mrkun, tisti, ki si je prizadeval, da bi se vse skupaj v Dobrepoljski dolini tudi začelo (Mrkun 1943, str. 60-63).

Po podatkih N. Kureta (Kuret 1959, str. 152, 153) ni bilo nič nenavadnega, če je vojna vihra tako na hitro in dokončno pometla z izdelovanjem igrač v Dobrepoljski dolini. Domačini niso imeli skoraj nobene tradicije v izdelovanju lesenih predmetov, razen v ročni obdelavi zobotrebcev. Med njimi so bili posamezni spretni rezbarji, ki pa niso imeli več posnemovalcev. Že lokacija igračarskih tečajev in delavnic v Dobrepolje naj bi imela političen predznak. Stroje za obdelavo lesa so namreč v letu 1937 premestili iz Ribnice. Prebivalci Ribniške doline pa so vseeno imeli nekaj več spretnosti in izkušenj pri izdelavi lesenih struženih ali kako drugače obdelanih predmetov. V Ribnici jih je v tridesetih letih uvajal v delo učitelj Janko Trošt, ki je bil Kuretu tudi kasnejši vir informacij. Pravi, da je avtor dobrepoljskih igrač, kipar Repič, posnel tipe po nemških igračkah, ki jih je spoznal na potovanju po Nemčiji, “in zato niso bile docela naše” (Kuret 1959, str. 153). Lahko bi rekli, da se je kratek čas pred 2. svetovno vojno na naših tleh pojavila “norimberška roba” iz domačih logov. Lesene pobarvane igrače, ki jih prodajajo še danes na trgih in sejmih, so izdelki Ribniške doline in nimajo z dobrepoljskimi igračami nobene povezave.




23. Otroci na tricikljih. Slikani so bili v ljubljanskem Tivoliju, 1938. (Iz fototeke SEM)

Children on tricycles. Picture taken in Tivoli park in Ljubljana, 1938 (SEM Picture Library).





DRUGA POLOVICA 20. STOLETJA: RAZLIKE MED IGRAČAMI KMEČKIH IN MESTNIH OTROK NI VEČ


Slovarji in dialektološki pregled

Ob obilici drugih virov za preučevanje igračk nam slovarske omembe besed, ki se nanašajo na igrače v drugi polovici 20. stoletja ne izdajajo nobene skrivnosti več. Narečne besede za “punčko”, ki so jih uporabljali nekateri pisatelji (npr. donda, čeča, punička, faček cilka, pupa, micka, celo tatrman) še v prvi polovici 20. stoletja, se v moderni literaturi izgubljajo in jih vse bolj nadomeščata besedi “punčka” in “lutka”. Tako kot igračka sama, ki je postala večinoma tovarniški izdelek in zato podobna ali celo enaka po vsem slovenskem ozemlju, je tudi njeno imenovanje izgubilo barvitost in razkošje. Ne da bi si posebno prizadevali z imenovanjem igrač, ki prihajajo s tujega tržišča, se trgovci in seveda tudi kupci zadovoljijo z originalnim imenom. In ker ni potrebno več prevajati, pomeni, da imamo v zadnjih letih v igračarstvu pretežno anglosaksonske besede.


Igračarska obrt in industrija

V letih po koncu 2. svetovne vojne se je začelo obdobje, ki ni vzpodbudno vplivalo na osebne pobude. Redki zasebni izdelovalci igrač so na kratke roke prijavljali in odjavljali igračarsko obrt, izumljali svoje izdelke in se ubadali z davki. Več kot pisnih je ustnih podatkov o igračah, ki so vseeno prišle na trg. V tem času je spet zacvetela prodaja rabljenih igračk po oglasih. Igračke so postale v mestih še dragocenejša roba. Z njimi so se, kot prej, ukvarjali obrtniki, ki so jih izdelovali ob svojem glavnem delu.

Kako zapleteno so bile postavljene ovire za dosego cilja, lahko pokaže dopis Ane Pengov, ki je imela izdelovalnico igrač v Ljubljani na Kolodvorski ulici. Na OLO - Urad za cene je poslala prošnjo za odobritev kalkulacije za izdelavo igrače “Vrtiljak”, ki je vsebovala v dveh postavkah popolno razčlenitev materiala in dela v kar dvanajstih izračunih (!), kar je dalo skupno ceno za deset kosov. Izdelek je bil odobren.72 Prosilcem za obrt za izdelovanje igrač so izdajali dovoljenje tudi v primeru, če “je bila krajevna potreba”. Tako je zaprosil Metod Paternost za “izvrševanje obrti igrač in raznih galanterijskih izdelkov v Ljubljani na Predjamski ulici, v kleti” leta 1945, obrt pa je prav tako zaprl 1945.73

Kakšne punčke so izdelovali in prodajali v času po koncu 2. svetovne vojne, kaže podatek iz Gradiva za Slovar slovenskega knjižnega jezika, kjer so pod geslom “punčka” navedli podatek iz popisa prebivalstva leta 1954: “šivilja punčk iz blaga”. Prav tako se v teh letih dokaj pogosto pojavljajo v malih oglasih ponudbe za usluge pri popravljanju punčk. To dokazuje, da so bile v rabi še vedno stare med in predvojne igračke, punčke, celuloidne ali iz papier mâchéja, ki so se rade kvarile tako, da je odpadel kak del. Potrebna je bila določena spretnost, da je bil nameščen nazaj.

Za izdelovanje igrač so zasebni obrtniki uporabljali večinoma odpadni material: les, lepenko, papir. Tak način dela z naravnimi materiali je vendarle dopuščal neko individualno inventivnost. Uvoz z zahodnih trgov je bil takrat pretrgan. Namesto njega so prihajale k nam igrače večinoma z Vzhoda in iz drugih delov Jugoslavije. Prav tako so skušali slovenski izdelovalci prodajati drugam, vendar niso bili preveč uspešni. V planskem gospodarstvu so bile igrače bolj postranska stvar, a so vseeno tudi zanje ustanovili tovarno v Novem mestu (TIN). Kuret o teh izdelkih pravi: “Vzorci TIN so bili dobri, sodobno oblikovani, a so v kvaliteti zaostajali za predvojnimi dobrepoljskimi” (Kuret 1959, str. 154). Obrtniki, ki so se ukvarjali z igračami, so bili v petdesetih letih združeni v zadrugi Galis, bilo jih je okrog stoosemdeset, leta 1957 je bila zadruga že razpuščena.




24. Dečka na tricikljih. Slikana sta bila na Dolenjskem, okoli 1950. (Iz fototeke SEM)

Two boys on tricycle, Dolenjska, c. 1950 (SEM Picture Library).




Domače tovarne z večjo vlogo na slovenskem trgu

V tem času so že izdelovali kovinske igrače v tovarni Mehanotehnika v Izoli. Njena ustanovitev je bila zanimiva: ideja o gradnji tovarne, ki naj bi izdelovala igrače za potrebe jugoslovanskega trga, se je rodila leta 1951 na 2. kongresu Ljudske tehnike v Ljubljani. Naslednje leto je ljudski odbor mestne občine Izola izdal odločbo o ustanovitvi podjetja za proizvodnjo in prodajo kovinskih in plastičnih izdelkov Mehanotehnika. Tovarna je dobila ime po prvi igrači, ki jo je izdelovala. To je bila sestavljanka Mehanotehnika, ki je bila približna kopija ene izmed igrač angleške tovarne Meccano. Najprej so bile igračke kovinske (iz pločevine), kasneje pa plastične z različnimi električnimi deli. Zdaj izdelujejo tudi plišaste igrače.




25. Deklica na gugalnem konjičku, ki ga je izdelal domači mojster. Slika je bila posneta v Sanaboru pri Vipavi, 1958. (Iz fototeke SEM)

A girl on a rocking horse made by a local craftsman, Sanabor near Vipava, 1958 (SEM Picture Library)



Izolska tovarna pomeni vsekakor pojem v slovenskem igračarstvu. S tako imenovanimi tehničnimi igračami je prav gotovo uspešno lovila igračarsko modo v svetu. Od leta 1990 posluje z imenom Mehano. Pomembni izdelki te tovarne so bile male železnice. Z njihovo pomočjo je tudi pri nas preživel konjiček ljubiteljev in zbiralcev malih železnic. Za ameriški trg izdelujejo popolne kopije starih ameriških vlakov, ki so namenjene izključno zbiralcem. Na tem področju slovenski zbiralci še dolgo ne bodo enakovredni tujim.

Na Primorskem je bila tudi tovarna Ciciban. Rodila se je iz dveh delavnic: mirenskega Jadrana, kjer so bili še pred letom 1945 združeni domači čevljarji, in kasnejšega Cicibana, kjer so poskušali izdelovati le otroško obutev. Čevljarska in usnjarska obrt sta bili v Mirnu pri Novi Gorici znani že dolga desetletja, domačini pa so se preživljali tudi tako, da so večji del leta čevljarili po sosednji Furlaniji. Že od 1908 dalje so imeli čevljarsko zadrugo. V sedemdesetih letih so se preusmerili v izdelavo igrač, kar je bila delno tudi domača tradicija. To so bila njihova zlata leta. Pojem lesenih igrač Cicibana so pomagali ustvariti tudi nekateri znani domači oblikovalci, med njimi Oskar Kogoj, Sergio Gobbo, Krečič in drugi.

Trgovska sreča je bila opoteča, lesene didaktične igrače pa predrage za izdelavo in prodajo na domačem trgu. To so bili že časi, ko se je uvoz popolnoma sprostil in cenejše plastične igrače so preplavile vse slovenske trgovine. Končni udarec tovarni Ciciban je prišel v letu 1990. Po stečaju je razpadla na več samostojnih obratov. Ostanek nekdanje tovarne danes proizvaja, uvaža, sestavlja, barva in podobno končuje tako imenovani program za dojenčke. Na slovenskem trgu je bilo še veliko gumijastih igrač, ki so jih izdelovali v tovarni čevljev v Borovem na Hrvaškem, kar je bila nekdanja tovarna Bata. Gumijaste žoge so postale dostopne več ali manj vsem otrokom šele v šestdesetih letih.


Nekatere najbolj priljubljene igrače preteklih desetletij

V letih po koncu 2. svetovne vojne, ko je bilo pri nas še težko dobiti novo punčko, so v Italiji začeli izdelovati velike, oblečene punčke. Bile so zelo drage in že zaradi svoje velikosti docela nepripravne za igranje. Sprva so bile še večinoma iz papier mâchéja ali njemu podobne mase, pozneje pa iz plastike. Postale so eden izmed najbolj zaželenih predmetov za okras stanovanj in zato nepogrešljive v ilegalni trgovini ob italijansko-jugoslovanski meji. Razdelitev Trsta in okolice na cono A in B je blagodejno vplivala na skrivne trgovske tokove in sčasoma so se tržaške (in goriške) “bambole” bohotile po posteljah kmečkih pa tudi mestnih domov. Tudi v družinah, kjer sploh ni bilo otrok, so si ženske kupovale te punčke in jih razstavljale v najlepše urejenih sobah v stanovanjih. Včasih so spomini na te punčke prav nenavadni: “Nekega dne mi je mama prinesla iz Trsta punčko, ki jo je dobila od svoje ‘šjore’. Toda le malo sem se smela igrati z njo. Stric Anton mi je to punčko vzel in jo postavil v škatlo za čevlje, spredaj je namestil steklo in jo obesil na steno. Tako sem jo smela samo gledati, da se ne bi pokvarila” (Jakomin 1996, str. 45). Enaka moda je vladala tudi po drugih jugoslovanskih republikah, o navadah v Srbiji piše Vesna Duškoviú (Duškoviú 1987, str. 8, 9). V novejšem času o modi posteljnih punčk na Primorskem piše Inga Brezigar (Brezigar 1998, str. 4).

Pravi blagoslov za slovenske otroke (in najbrž tudi jugoslovanske) je nedvomno pomenila ustanovitev tovarne Jugoplastika v Splitu. Poplavo cenenih punčk iz vinilklorida, avtomobilčkov, vsakovrstnih žog in živali, junakov iz Disneyevega sveta in še drugih igrač je preplavilo slovenski trg že v šestdesetih, še več pa v sedemdesetih letih. Istočasno so prihajale na trg plišaste igrače, izmed katerih je bilo, kakšna ironija, še najmanj medvedov. Tudi tu je prevladal sintetični pliš vseh barv.

Nenavadno dolgo pa se je slovenski igračarski trg upiral uvozu Barbik. Zdaj splošno znana, predvsem pa veliko ponarejana punčka z različnimi imeni, je prehodila dolgo pot, še preden se je rodila v Ameriki. Že leta 1954 se je kot dvodimenzionalna junakinja Lili pojavila v stripu v nemški reviji Bild. Naslednje leto so jo prvič učlovečili v bavarski tovarni igračk Maar. Šele od tam je našla pot v kalifornijsko tovarno Mattel in dobila novo ime Barbie. Takoj je začela svoj osvajalni pohod po svetu, ki še vedno ni končan.

Pri nas so Barbike postale statusni simbol skoraj istočasno, ko je kot nekaj podobnega veljala še “posteljna punčka”, le da v drugačnem okolju. Dokler jih niso prodajali doma, je bilo treba ponjo na tuje, največkrat v Trst. Kako zelo so bile zaželene, dokazujejo potniki, ki so se vozili ponje z juga Jugoslavije tudi po več dni. Šele z Barbiko so tudi otroci na Slovenskem dobili tako imenovane “punčkine hišice”. Seveda to niso bile hišice iz 18. in 19. stoletja, vendar pa so na svoj ceneni način prikazovale blišč izmišljenega sveta odraslih. Realnost predmetov, ki so bili enaki pravim, le da so bili pomanjšani, je odpadla. Nikakor jih ne bi mogli uporabljati, če bi se po čudežu povečali. Čar starih hišic in njihove opreme je bil prav v tem, da so bile povsem enake pravim, samo manjše. Prek njih se da rekonstruirati ne le predmete, temveč tudi navade in celo število ljudi, ki bi lahko takšno hišo uporabljali. Prav mamljiva je primerjava med modnimi lutkami, s katerimi so se kraljevski dvori in plemiške dame v 17. in 18. stoletju obveščali o najnovejši modi ter plebejsko suhljato Barbie, ki razkazuje konfekcijske obleke za najširše občinstvo.

Dokler so bile naprodaj punčke, ki so imele po eno obleko, je bilo razumljivo, da je bilo treba ostalo garderobo narediti doma. Oblekice so nastajale tako pod prsti mamic, dobrih tet, kasneje pa tudi deklic, ki so bile same lastnice igračk. Za marsikatero starejšo gospo je še danes nepozaben otroški doživljaj obisk pri šivilji, ki je sicer izdelovala obleko za odrasle, zraven pa imela vedno še toliko različnih krpic in cunjic za domačo rabo. Včasih, pred letom 1950, je bilo v navadi, da so dekleta še do svojega štirinajstega, šestnajstega leta šivala obleke za svoje punčke, in to ne glede na velikost igrače.74 Za cunjice ali “flikce” ni bilo več takšnih težav, v kakršnih so se navadno znašla dekleta na kmetih še pred 2. svetovno vojno.


Stanje na igračarskem trgu

Zadnja leta se poleg večjih proizvajalcev igrač, kot sta bila npr. Mehanotehnika in Ciciban, pojavljajo spet številne delavnice, ki izdelujejo najrazlične igrače, večinoma tako imenovane družabne igre. Ena takih je Kocka (Jože in Olga Hribar). Igre navadno izdelujejo v pet tisoč izvodih, ker bi se jim manjša naklada ne splačala. Leta 1980 so prvi v Sloveniji začeli prodajati igro Monopoly. Ta igra je nastala v tridesetih letih, v času ameriške recesije in leta 1936 je Jutro navdušeno poročalo o tem, da “Monopoly igrajo delavci in milionarji, postala je prava nalezljiva bolezen.”75 Iznašel jo je strojnik iz Philadelphije, ki je v času krize izgubil službo, a tudi ta podatek o proletarskem poreklu ni pomagal igri, ki je imela preveč kapitalističnih pravil, da bi se pri nas pojavila kaj prej kot šele petdeset let po svojem nastanku. Hribarja sta uporabila za igralne vrednosti različne jugoslovanske kraje. Po letu 1991 pa so se ilustracije in vrednosti morale spet spremeniti in postati slovenske. Zdaj so pri nas naprodaj še Monopoliji, ki prihajajo k nam neposredno iz ameriškega igračarskega koncema Hasbro, tiskani pa so v slovenskem jeziku.

Za boljšo predstavo, kaj danes lahko dobimo na igračarskem trgu, naj navedemo trenutno ponudbo v eni izmed ljubljanskih trgovin.76 Prodajajo igrače približno šestdesetih dobaviteljev. Večina izmed njih je uvoženih. Le redki so tako imenovani dobavitelji, ki prodajajo lastne izdelke, nekaj je takih, ki sicer izdelujejo svoje igrače, a si zagotavljajo dobiček v glavnem z uvoženimi. Največ pa je čistih uvoznikov. V trgovinskem knjigovodstvu imajo igrače sicer urejene po lastnih oznakah, ob pregledu pa se pokažejo približno takole: 1. punčke vseh vrst in izdelovalcev, v glavnem iz plastike, veliko je dojenčkov, 2. živali in najrazličnejše figurice iz blaga, večinoma iz barvastega sintetičnega pliša, različnih velikosti, od nekaj centimetrov do metrskih velikosti, 3. sistem Lego sestavljank in vse ostalo, kar tekoče prihaja iz tovarne Lego, 4. Barbie program, originali iz tovarne Mattel, ponaredki iz azijskega trga, 5. kovinske konstrukcijske igrače, podobne igračam iz nekdanje Mehanotehnike, 6. konstrukcijske igrače iz plastike, K’nex, Playmobil, 7. pripomočki za modelarstvo, za zbiratelje in za otroke, 8. železnica, proge in vlaki, 9. lesene didaktične igrače, igre za sestavljanje raznovrstnih geometričnih likov, 10. kalejdoskop, 11. mobilne igrače: avtomobili, traktorji, triciklji, gugalni konjički, tobogani, gugalnice, vrvi za skakanje, 12. igrače na daljinsko upravljanje, 13. glasbeni inštrumenti, 14. družabne igre: sistem monopoli, Človek ne jezi se, detektivske igre, puzzle, domino, šah, igralne karte, Črni Peter, scrabble, 15. poletna plastika: kanglice, lopatke, pripomočki za peskovnik, žoge, posodice vseh vrst, plavalni pasovi in rokavci, plavutke, 16. miniaturni gospodinjski aparati, čestokrat na baterije, 17. slikanice, šolski pripomočki, barvice, pobarvanke, 18. ustvarjalne igrače: mase za gnetenje in modeliranje, izrezovanke, kalupi, pripomočki za vezenje, pletenje, šivanje, 19. avdio in video kasete, Nintendo, računalniške igrače, 20. drobnarije ali majhne igrače nižjega cenovnega razreda: frnikule, baloni, nalepke, miniaturne figurice vseh vrst, žoge, jo-jo itd., 21. oprema in igračke za dojenčke: posteljice, vozički, nahrbtniki in kenguruji, dude, ropotuljice, avtosedeži, konfekcije, kozmetika, baby alarm.




26. Kocka za sestavljanje, podobna “šurkovemu skednju”, uporabljena kot reklama za tiskalnik. Obljavljena v Newsweeku, 7. septembra 1998.

A cube to construct. Used as an advertisement for a printer. Published in Newsweek, September 7, 1998.



Pri prebiranju tega seznama, ki seveda ni popoln, a vendar daje nekakšno sliko igračarske trgovine, bi nemara pogrešali igračke, ki se ročno navijajo. Videti je, da so trenutni časi tem vrstam zabave nenaklonjeni, oziroma imajo pač preveliko konkurenco v igračah na električni pogon. Tudi čas preprostejših enačic znamenitih avtomatov se je končal. Prenehalo je tudi imenovanje igrač s slovenskimi izrazi. Tuja imena ostajajo, četudi je igrača narejena že doma. Podobno izbiro igrač lahko najdemo večinoma v vseh bolje založenih igračarskih trgovinah po Sloveniji. Tisto, čemur bi lahko rekli “domače igrače”: lončene piščalke, raglje, lesene konjičke in nekaj tako imenovanih ribniških lesenih igrač, lahko najdemo le v trgovinah z domačim folklornim blagom, po živilskih trgih in podeželskih sejmih.

Trg z igračami je v Sloveniji danes enako preplavljen z uvoženimi igračami, kot je bilo že pred stopetdesetimi leti. Otroci so “promptno” seznanjeni z novostmi svetovnih proizvajalcev. Igrače so tržno blago in na njihovem trgu veljajo enake zakonitosti, kot npr. na avtomobilskem. Namesto obširnih in zabavnih reklam po časopisih tovarne tiskajo reklamne prospekte in sezname igrač, ki naj bi vzpodbudili predvsem trgovce k večjemu nakupu. V vsaki trgovini namreč lahko postrežejo z razkošnim propagandnim gradivom. Kot je bilo že omenjeno, se je lastnik tovarne Anker, ki je izdelovala kocke za zidavo, še pred koncem 19. stoletja kot eden prvih domislil čudovite trgovske poteze: proizvodnjo kock je nadaljeval tako, da so se vedno nove in nove vrste smiselno vključevale med stare - torej je bilo treba vedno znova samo dokupovati. Tak princip dobrega trgovanja danes uporabljalo takorekoč že vsi proizvajalci igrač. K temu je usmerjena vsa produkcija lego kock in vsi številni izdelki iz sveta Barbik. Trg igrač je eden izmed najnasilnejših trgov, nasičen z informacijami o vedno novih izdelkih. Želi vplivati na majhne ljudi, na otroke torej, ki se obnašajo kot zbiralci šare in hočejo imeti vse in vedno več. Igrače so res bile od nekdaj potrošni material, le redko katera si je že v času svojega obstoja pridobila status takšne veljave, da je bilo treba nanjo paziti. Šele z naslednjo generacijo prihaja do selekcije predmetov, ko se starši odločajo, katere igrače zaslužijo azil, nemara v kleteh ali na podstrehah, in katere bodo romale na odpad.




27. Razkošje igrač za deklice v osemdesetih letih 20. stoletja, Ljubljana. (Iz fototeke SEM)

The abundance of toys for girls in the 1980s (SEM Picture Library).



V zadnjih desetletjih se tudi pri nas vse pogosteje pojavljajo zbiratelji starih igrač. Vendar je težko zbirati, česar ni. Predmete, ki so dragocenejši, tudi domači kolekcionarji večkrat kupujejo izven Slovenije. Torej ob njih odpade še zadnji in edini vzrok, zaradi katerega bi lahko bili pričevalni za našo kulturo: niti v rabi niso bili na slovenskih tleh. A bilo bi smešno, če bi obupavali. Navsezadnje se jih bo nekaj še vedno nabralo po muzejskih depojih. Tja pravzaprav spadajo vse tiste grde punčke, ki so bile narejene doma in nimajo odtisov znanih imen ali želv na tilnikih, in plišaste in mehke igrače, ki so napolnjene z vato ali starimi cunjami in nimajo “gumbov v ušesih”, konjički, ki so jih naredili mojstri iz sosedstva, lesene puške iz rok prijaznih lovcev, volički in krave iz drevesne skorje, vozički za punčke, in še in še podobnih reči.

Ob koncu ne bi hoteli biti preroški. Želimo si le: videti in doživeti kaj novega, brez strahu, da igrače postajajo drugačne in izgubljajo čar našega otroštva. Zato si poglejmo še najnovejšo napoved tiskovne agencije Reuter: “Da se bodo otroci kmalu poslovili od Barbik, letalskih modelčkov in sestavljank in se ukvarjali samo še z računalniškimi igricami, s katerimi bodo lahko celo lovili ribe, se pogovarjali s šahom in drugimi igračami virtualne resničnosti, se lahko prepričate na petindevetdesetem ameriškem sejmu igrač od 9. do 16. februarja 1998 v New Yorku... V zadnjem času otroke navdušujejo predvsem računalniške igrače, kot npr. elektronski ribolov in furby, ki si zapomni in ponovi dvesto besed, ki jih izbere otrok. Furby govori tudi svoj jezik. V Ameriki so že dodali glas tradicionalnemu šahu, ki igralca opozarja na napačne poteze. S cederomom pa je mogoče popeljati Barbiko v svet dogodivščin.”77





SKLEPNE MISLI

Pričujoče besedilo je nastalo ob in zaradi katalogiziranja zbirke igrač v Slovenskem etnografskem muzeju. Treba je bilo pojasniti, od kod so se vzele in kako so prišle v muzej. Ob tem se je zdelo mikavno pobrskati še malo dlje v čas in poiskati podatke, ki bi nam pojasnili kaj več, kot to morejo le predmeti, s katerimi razpolagamo. Večina katalogiziranih igrač ni zelo starih in tudi niso še dolgo v muzeju. Vendar so to igrače, ki so jih pri nas poznali in so se z njimi igrali otroci na Slovenskem. Igračam, ki jih poznamo, je bilo treba poiskati njihove prednice in po možnosti odkriti, s čim so se igrali otroci v preteklih stoletjih.

Kot je bilo omenjeno, imamo prav malo podatkov, ki bi nam sporočali, kakšne so bile igrače v starejših obdobjih. Predvsem pa se je treba zavedati, da so bili kmečki otroci ponekod še prav do srede 20. stoletja neprimerno bolj odvisni od tistega, kar so si naredili za igranje sami, kot tega, kar so jim kupili. Ko je bilo, vsaj že od srede 19. stoletja, za otroke bogatejših trgovcev in nasploh prebivalcev mest tako rekoč nujno, da so dobivali za različne priložnosti “kupivne” igrače, so se kmečki morali zadovoljevati z doma narejenimi, pa še te so bile neprimerno bolj redke kot pri mestnih vrstnikih.

Čeprav so imeli slovenski reformatorji s Trubarjem na čelu dokaj strog pogled tako na vzgojo, kot nasploh na odnose kmetov do gospode, ta je komaj dovoljeval kaj več kot delo in služenje Bogu, prav Trubarju dolgujemo eno prvih pisnih omemb igrač v slovenskem jeziku - leta 1575 v Catehismu z dvejma izlagama. Tudi kasnejše omembe so v glavnem slovarski zapisi iz konca 17. in začetka 18. stoletja izpod peresa slovarnikov Kastelca, Vorenca in Hipolita. Z gotovostjo nam povedo, da so Slovenci poznali igrače, kot so bile npr.: punčke, žoge, predvsem pa lesene stružene igračke, za katere nam sicer manjka otipljivejših podatkov, da bi jih lahko pripisali kar domačim izdelovalcem. O kaki množičnejši rabi ne more biti govora niti med bogatejšimi sloji, še manj med kmečkim prebivalstvom. Že v 18., še bolj pa v 19. stoletju, prihajajo v rabo kot igrače za kmečke otroke tudi najrazličnejše oblike lectovih malih kruhkov. Ohranjeni modeli kažejo na predmete, ki so bili prav gotovo posneti po igračah iz kakšnega trajnejšega materiala, ki pa kmečkim otrokom iz razumljivih razlogov ni bil dosegljiv (Makarovič 1981, str. 349).

Ob koncu 18. stoletja postanejo zanimivi redki portreti otrok, pripadnikov visoke družbe. Na njih so navadno upodobljeni otroci z živimi živalmi ali pa z dragocenejšimi punčkamilutkami in konjički na kolesih. Bolj kot igračka so pojmovani kot statusni simbol. Spremljanje slikovnih virov nas skozi vse 19. stoletje in pravzaprav še del 20., pripelje do sklepa, da so bile najbolj priljubljene igrače punčke, konjički, žoge. Ob tem najbrž ne bi bila napačna hipoteza, da so bile prav te igrače tudi najbolj reprezentativne. Ko se v 2. polovici 19. stoletja slikanim portretom pri raziskavi igračk enakovredno pridružijo fotografije, ki še številnejšim meščanom ponudijo potrditev “za vedno” doseženega položaja, so igrače, ki jih polagajo v otroške roke, spet podobne: punčke, konjički, žoge.

Za celotno 19. stoletje je že razmeroma veliko pisnih virov, ki nam odkrivajo igrače kmečkih otrok. Spomini na lastne ali na tuje igrače potrjujejo dejstvo, da so bili otroci na kmetih navezani bolj na svojo ustvarjalnost, igrače pa so bile tako rekoč enake po vseh slovenskih pokrajinah. Uporaba delovnega orodja odraslih ali pa ponavljanje njegovih oblik v otroških izdelkih so znani povsod. Slučajen podatek o Baragovih “prukcah” nam pove, da so bile nekatere otroške igre tako rekoč večne in se niso spremenile vse do danes. Resnično so imeli otroci predvsem na kmetih zelo malo časa za igranje, pa naj je bilo to z igračami ali brez. V različnih priročnikih namenjenih vzgoji otrok, ti so začeli izhajali šele proti koncu 19. stoletja, so se starši lahko poučili o vseh mogočih rečeh v zvezi s telesno rastjo, z vzpodbujanjem in izkazovanjem ljubezni v odnosu otrok-starši, z versko vzgojo in podobnim, nikjer pa ni bilo besede o otrokovi potrebi po igranju, kaj šele o igračah, ki naj bi jih uporabljali. Navodila so določala: “Otroke pošiljamo spat jedno uro po večerji. Ne igrajmo se prej z njimi, da se ne razburjajo” (Magister 1910, str. 9).

Sem in tja zaslutimo v kakšnih spominih otroško hrepenenje po “kupivnih” igračah, po takih, ki jih je imel bogatejši sovrstnik. In tako spoznamo, kako so se te igrače, ki kmečkemu otroku niso bile dosegljive, vseeno vrinjale v njegovo okolje v preprostejših enačicah. Ena od zelo razširjenih igrač v 2. polovici 19. stoletja so bile t.i. Noetove barke ali pa škatle s figuricami različnih domačih živali pod skupnim naslovom Kmečko dvorišče. Z njimi so obdarovali svoje otroke meščani za Miklavža, za Božič, in še za kake druge priložnosti. Fantiči na paši so si rezljali iz drevesne skorje “krave in voličke”, prestavljali so jih v ograde iz kamnov ali vejic. In tako je bila podoba tako imenovanega Kmečkega dvorišča, škatle s figuricami, s katerimi so se igrali mestni otroci (njim naj bi služile pravzaprav za spoznavanje kmečkega življenja!), skoraj prav takšna, kakršno je bilo videti pri bogatejšem vrstniku ali preprosto, v izložbenem oknu trgovine.

Iz pisnih virov tudi sklepamo, da so se kmečki otroci že v 19. stoletju igrali z izstriženimi figuricami, ki so si jih narisali sami ali pa jim jih je naredil kdo izmed starejših odraslih. To so verjetneje povzeli po kartonih z jasličnimi figuricami in na kartonih z modnimi figurami, ki so izhajali v modnih žurnalih. Podatki, ki so na voljo iz memoarske literature slovenskih pisateljev (France Bevk, Janko Mlakar, Fran Milčinski in dr.), bi lahko dajali vtis, da so bili kmečki otroci na nek način celo priviligirani, vsaj tisti redki, ki jim je bilo to dano: če so jim že privoščili prosti čas za igranje, jim je bil večkrat “dodeljen” še kak odrasel, ki jim je naredil igrače. Lahko je bil to bližnji sorodnik ali pa vaščan, sosed, ki je igrače izdeloval za plačilo v denarju ali naturalijah. Vendar tak vtis najbrž dobimo zaradi osebne prizadetosti avtorja spominov ali izjemnosti, resnica je, da so morali kmečki otroci trdo delati in je bil njihov čas za igro skrajno omejen.

Meščanska družba je v času bidermajerja začela priznavati otrokovo osebnost, ki se razvija in potrebuje poleg hrane in obleke tudi ljubezen. Takrat se je pojavil eden najbolj znanih in prvih modernih pedagogov Bavarec Friederik Fröbel. Velja za ustanovitelja otroških vrtcev, ki so jih začeli odpirati še pred sredo 19. stoletja. Meščani so si privoščili številnejše stvari, ki so še nedolgo veljale za nepotrebno razkošje, mednje pa so spadale tudi otroške igrače. Hkrati s tem pa sta razvijajoča se industrija, ki je pokopala manufakture, in vedno številnejša trgovina nudili tudi vedno večjo izbiro igrač.

Trgovci, ki so prav tako postajali številnejši in so se počasi izvijali iz cehovske zaprtosti, k čemur je pri nas veliko pripomogla francoska zakonodaja med štiriletno zasedbo, so začeli ponujati svoje blago s časopisnimi oglasi. Namesto, da bi najemali kramarje, ki bi prodajali blago po podeželskih sejmih, so se ozrli na potencialne kupce v mestih, kjer je bilo že dovolj premožnih prebivalcev. Oglasna sporočila v časopisih 19. stoletja kažejo pot, po kateri so v tem času krenili potrošniki, se pravi kupci otroških igrač. Pri tem se moramo seveda zavedati, da nam podatki ne povedo, koliko je bila kakšna igrača razširjena med uporabniki. Vendar smemo sklepati, da so jo prebivalci poznali, saj bi se sicer reklame ne pojavljale tako pogosto. Popolnoma jasno je, da so prodajalci nagovarjali že prepričane kupce.

Igrače, ki so jih ponujali trgovci, v veliki večini niso bile izdelane v domačih delavnicah. Uvožene so bile iz nekaterih večjih svetovnih centrov igračarske industrije. Od srede 19. stoletja so bili kupci v Ljubljani in drugih večjih mestih popolnoma na tekočem s srednje in zahodnoevropsko modo igrač in novostmi, ki so prihajale na trg v večjih središčih predvsem v Avstro-Ogrski pa tudi drugih evropskih mestih. Kar je bilo domačih proizvajalcev igrač, so lesene in lončene igračke navadno prodajali po sejmih na deželi, v mestih pa predvsem po stojnicah na trgu.

Slikovito opisovanje igrač v reklamnih besedilih nam še danes bliža predmet, četudi ga ni pred nami. Igrače, ki so prihajale iz tujih dežel, so imele tudi opise in imena v tujem jeziku. Največkrat je bila to nemščina. Originalni teksti so natisnjeni v nemških časopisih, ki so izhajali pri nas, v Novicah in zlasti v Slovenskem narodu pa najdemo bržkone najstarejše slovenske prevode. To so pravzaprav prvi slovenski opisi umetelnih avtomatov, kock za zlaganje, vsakovrstnih vzgojnih priprav, ki imajo videz igrače, in podobnega.

Stanje na področju igračk se v prvi polovici 20. stoletja pri kmečkih otrocih še vedno ni kaj prida spremenilo. Nasprotno, vsi podatki, ki so nam na voljo, povedo, da so bili otroci še vedno določeni predvsem za delo in pomoč na kmetiji. Šele če je ostalo kaj prostega časa, so ga lahko porabili za igro. In igrače, ki so si jih izdelovali, se prav tako niso razlikovale od igrač njihovih vrstnikov izpred sto in več let: mlinčki ob potokih, punčke iz cunj ali lesa, žoge iz cunj, piščalke iz vrbovine, volički iz drevesnega lubja in podobno. Večja sprememba je nastopila šele po sredi 20. stoletja, ko je bila struktura agrarne družbe že tako spremenjena, da je voljna sprejemala vplive industrijske kulture.

Prva jugoslovanska država je dala v prvem desetletju kar dober zagon tudi igračarski obrti na Slovenskem. Kako pa so igrače prišle v zavest odraslih kot nujna potreba otrok, kažejo mali oglasi, kjer se pojavljajo v precejšnem številu. V njih ponujajo ljudje najraznovrstnejše rabljene igrače. Seveda to kaže na krizne čase, vendar tudi na premik v pojmovanju otroške vzgoje. O večji industriji se v letih pred 2. svetovno vojno pač še ni dalo govoriti. Razvoj pa je bil ustavljen predvsem zaradi svetovne krize v tridesetih letih. Takrat se sicer pojavi večje število individualnih izdelovalcev igrač, a so njihove obrti kratkotrajne in nobena ne ustvari večjih korenin. Ob ustanavljanju novih tovarn po koncu 2. svetovne vojne tako ni bilo mogoče računati s kakšno posebno staro igračarsko tradicijo.

Danes je tržišče spet napolnjeno z uvoženimi predmeti. Paradoksalno, ampak zdaj je izbira prevelika, da bi bil kupec lahko izbirčen. V veliki količini je težko izbrati kakovost. Ob tem je zdaj prevladujoč kupec otrok sam in ne več odrasla oseba. Samo igrače prvih otroških let so namenjene izbiri odraslih, kasneje je odločilna volja otroka samega.



1 Več o tem v knjigi Igra in igrača, Ljubljana 1981.

2 Več o tej zbirki Slovenskega etnografskega muzeja v: Gorazd Makarovič, Zbirka ljudske umetnosti, Slovenski etnograf 32, 1980-82 (izšlo 1983), str. 87-112.

3 Navedba po Breznikovem pripisu v Pleteršnikovem slovarju, Leksikološka sekcija Inštituta za slovenski jezik F. Ramovša, ZRC, SAZU). Zahvaljujem se prof. Janezu Kebru za pomoč in nasvete.

4 Ves Hipolit je iz Gradiva za protestantski slovar, Sekcija za zgodovino slovenskega jezika, Inštitut za slovenski jezik F. Ramovša, ZRC, SAZU. Zahvala za pomoč in nasvete velja dr. Majdi Meršetovi in dr. Fr. Novaku.

5 Novice, 4. december 1900, str. 487.

6 Laibacher Zeitung, 15. avgust 1840.

7 Laibacher Zeitung, 4. december 1858.

8 Laibacher Zeitung, 18. december 1855.

9 Laibacher Zeitung, 20. december 1845.

10 Gradivo hranijo v Dialektološki sekciji Inštituta za slovenski jezik F. Ramovša, ZRC, SAZU. Zahvaljujem se dr. Veri Smole z Dialektološkega inštituta na SAZU za posredovanje teh podatkov.

11 Laibacher Zeitung, 7. julij 1888.

12 Terenski zapis T. T., Sora pri Medvodah 1996: “Ko sem prišel domov, so mi vzeli kravico in jo vrnili v cerkev.”

13 Laibacher Zeitung, 21. december 1850.

14 Laibacher Zeitung, 28. november 1855.

15 Laibacher Zeitung, 19. december 1863.

16 Laibacher Zeitung, 18. november 1863.

17 Laibacher Zeitung, 17. november 1865.

18 Laibacher Zeitung, 4. december 1867.

19 Laibacher Zeitung, 21. december 1870.

20 Laibacher Zeitung, 19. december 1870.

21 Laibacher Zeitung, 1. december 1875.

22 Slovenski narod, 28. november 1875.

23 Slovenski narod, 5. december 1875.

24 Laibacher Zeitung, 4. december 1875.

25 Slovenski narod, 1. december 1878.

26 Laibacher Zeitung, 15. december 1883.

27 Laibacher Zeitung, 15. december 1883.

28 Slovenski narod, 22. marec 1902.

29 Laibacher Zeitung, 2. december 1880.

30 Slovenski narod, 3. junij 1882.

31 Laibacher Zeitung, 15. december 1885.

32 Laibacher Morgenblatt, 3. december 1881.

33 Laibacher Zeitung, 12. december 1888.

34 Laibacher Zeitung, 28. november 1901.

35 Na tem mestu se zahvaljujem dr. G. Makaroviču za opombo, ki nekoliko časovno spreminja zgornji podatek. Navajam jo v celoti: “V Šiški nas je bilo mnogo, ki smo imeli obroče ali vsaj stara kolesa biciklov. Imeli smo tudi skiroje - rekli smo jim ‘skire’”. Podatek očitno velja za zadnja medvojna leta.

36 Novice, 4. december 1900, str. 487.

37 Tako smo živeli 3, 1995, Marija Vodivnik, r. leta 1910, str. 122.

38 Tako smo živeli 3, 1995, Dora Samonig, r. leta 1924, str. 156.

39 Tako smo živeli 3, 1995, Valentin Orasch, r. leta 1912, str. 136.

40 Tako smo živeli 1, 1993, Marija Mischitz, r. leta 1903, str. 50.

41 Tako smo živeli 1, 1993, Jožefa Habernik, r. leta 1911, str. 119.

42 Tako smo živeli 2, 1994, Marija Kontschitsch, r. leta 1926, str. 113.

43 Tako smo živeli 2, 1994, Angela Breitneker, r. leta 1909, str. 32.

44 Terenski zapis T. T. 1989, pov. Ana Režek, Močile v Beli krajini.

45 Terenski zapis T. T. 1989, pov. Marija Štajdohar, Stari trg ob Kolpi.

46 Jutro, 6. december 1931.

47 Terenski zapis Inje Smerdel 1995, Šmiklavž pri Gornjem gradu.

48 Terenski zapis T. T. 1996, pov. Marjana Krulc, Ljubljana.

49 Terenski zapis T. T. 1997, pov. dr. Vera Smole, Ljubljana.

50 Terenski zapis T. T. 1995, pov. Darinka Fajdiga, Ljubljana.

51 Terenski zapis T. T. 1998, pov. Ludvik Benigar, Ljubljana.

52 Terenski zapis T. T. 1997, pov. Marjeta Čampa, Kranj.

53 Terenski zapis T. T. 1997, pov. dr. Franci Štukl, Škofja Loka.

54 Slovenski narod, 11. januar 1896.

55 Dolenjske novice, 1. december 1903.

56 Dolenjske novice, 15. november 1906.

57 Trgovski list, 4. marec 1922.

58 Trgovski list, 15. april 1922.

59 Jutro, 2. december 1925.

60 Slovenec, 22. december 1932.

61 Jutro, 4. januar 1923.

62 Jutro, 30. november 1930.

63 Laibacher Zeitung, 15. december 1883.

64 Jutro, 4. december 1936.

65 V Splošnem strokovnem adresarju Velike Ljubljane je ob seznamu trgovcev z igračami dodano, da so igrače lahko prodajali tudi na stojnicah na Krekovem trgu pri suhi robi in leseni galanteriji.

66 Slovenec, 29. november 1936.

67 Jutro, 23. december 1925.

68 Slovenec, 17. december 1936.

69 Slovenec, 3. december 1930.

70 Slovenec, 3. december 1939.

71 Slovenec, 24. december 1938.

72 Zgodovinski arhiv Ljubljane, MLO Ljubljana, Tajništvo št. 2494/1949.

73 Zgodovinski arhiv Ljubljane, MLO Ljubljana, Tajništvo št. 3663/1945.

74 Terenski zapis T. T. 1997, pov. Mirjam Poljanšek, Ljubljana.

75 Jutro, 20. december 1936.

76 Trgovina Maxi kocka, Trubarjeva ulica, Ljubljana.

77 Delo, 12. februar 1998.





INTRODUCTION

Toys and children’s games are among the most ancient and enchanting things on earth. Everybody knows at least something about them and this may indicate that as soon as we become aware of ourselves we are familiar with games and toys. Children need to play to socialise and to develop normally. There exists a variety of scientific and unscientific theories on children’s games and playthings. These theories have changed in the past and will continue to change, and the same is true of views on the education of children and of the value of toys. The opinions of specialists and non-specialists alike about the educational value of certain toys, or rather of educational aids, differ in various periods and regions. It is sometimes incredible how some or other plaything is first highly appreciated, only to be completely forgotten overnight. The education of children has continued to have the same goals, but the methods have tended to change. “Playing games is something universal. It is a child’s natural activity, its need and desire, its basic manifestation of life which a child satisfies whenever possible. The basis of a child’s game is the toy, which gives ideas and content to a game.” (Marjanovič 1981, p. 7). Toys are a mirror of time, society and location. It would quite credible to say: tell me what you play with and I will tell you what you will be! Toys not only tell us about children’s dreams, but they quite often impart the wishes of adults. To play is something elementary. According to J. Huizinga, playing is older than culture, “for however limited the concept of culture may be, it always represents human society, and animals certainly did not wait for man to learn to play” (Huizinga 1970, p. 9).

John Amos Comenius, the famous pedagogue, published his educational writings in the 17th century, a time when children’s games and playing were certainly very much frowned upon. In his work “How to drive laziness out of schools” he wrote: “Pious and wise parents will thus help to drive laziness out of the school, if they do not tolerate this vice at home. But young boys, who are not yet capable of occupying themselves with serious tasks, should be allowed to play as they like, but never should they be left to themselves” (Komensky 1892, p. 81).

Nowadays, playing ranks high on the list of positive values as something that belongs to “the unspoiled world of childhood”. To maintain one’s predilection for playing and one’s ability to empathise with a child’s world as an adult person is considered to be smart and positive. Even adults who probably would not be able to play with anything other than a ball nevertheless pride themselves on this ability, which has become a general prerequisite today and a desirable character trait. Or is the withdrawal into the world of imagination, of children’s games and toys, only a reaction to the “cruel world of today”, to the reality created by adults?

N. Kuret is the ethnologist who certainly occupied himself most extensively with games and toys in Slovenia. In his book he writes that “there are as many definitions of games as there are theories on their origin. From good old F. Fröbel onwards they keep on changing and there does not seem to come an end to it...” (Kuret 1959, p. 15). In recent decades toys and their use have been the subject of studies carried out primarily by psychologists. In specific studies on good toys and bad toys they have attempted to define children’s playing, to tell us about toys, why they exist and what their place is, and to indicate their educational value as well as harmful effects. The intention of such and similar recommendations has, in general, been to help parents choose the right toys.1

Children care little about theories, and take toys as part of their everyday life. Adults can, of course, impose their will when choosing toys, but it is much harder to convince children that toys should mean to them to same as to adults. The way a toy is played with can confer quite different meanings on it. Every adult person carries with him memories of his childhood. Among the most powerful memories are certainly those related to toys and games. Sometimes these memories somehow combine in the sense that a happy childhood is identified with pleasant toys. In other cases, however, when a person’s childhood was unhappy or wretched, toys seem to have helped him or her to survive the worst. These toys are, then, remembered so vividly and permanently, as if they were living beings. As long as a child is still very young and fully occupied with playing, he or she cannot imagine putting the plaything away. A child may break, wreck or lose a toy, but these are events which naturally occur to both child and toy. Only when the time comes when a child no longer needs toys, can the two be separated. And even grown-ups can be quite possessive about their old toys: though they have not used them for ages, they refuse to part with them.

In recent decades toys have become not only welcome but even necessary objects in ethnological museums, because they contribute to a comprehensive presentation of the way of life in certain periods. There is a great variety of objects which children have used for their entertainment, to play with and to adapt themselves to the world around them, and these things have their own informative, documentary value. A century or more ago toys were accepted in museum collections almost exclusively if their primary significance was that of being artistic products made by famous craftsmen (for instance, the automatons made by well-known manufacturers from the 18th and 19th centuries), if they were collections of famous people (Queen Victoria’s collection of toys), or if they were specimens of national arts and crafts (the collections of wooden toys in the large German and Czech museums).

Toys have always led an inauspicious life in one way or another: when useful and practical a toy will be played with until it falls apart; and when beautiful and precious, a toy could, as a rule, only be admired from a distance. The latter kind of toy is, of course, a delight for collectors because its market usually features perfectly preserved toys. To museums, however, equally or perhaps even more important and informative are the more ordinary toys known to have been in widespread use, toys almost all children of a generation and of the same social class used to play with. This essentially means that they were simple, cheap or even free, and that they were either home-made or the products of craftsmen and, as a rule, made of low-cost material.

Until at least the mid-19th century the lifestyles of individual classes of society were regulated or stereotyped. Nowadays, differences in lifestyle are fading and so are the differences between the toys adults put into the hands of children. Moreover, it has even become uncommon for parents to do so because it is usually the privilege of shop assistants. It does not matter anymore where a child lives, in the town or the countryside: the latest cheap (plastic) toys are available everywhere. The collections established in ethnological museums therefore no longer strive to gather (only) the most exquisite, oldest and most precious toys, but aim toward the widest possible variety of authentic objects which were most important and most common in a certain time, space and social environment.

The collection of toys of the Slovene Ethnographic Museum is not very large and far from complete. The first objects related to the theme were occasional purchases or donations to the collections of the Provincial Museum in Ljubljana. These collections date back to the late 19th and early 20th centuries. In 1923, when the Royal Ethnographic Museum was founded in Ljubljana, some of these objects were transferred to the new museum. In 1946 the Slovene Ethnographic Museum took over part of the Grebenc Collection from the National Museum. Oton Grebenc was a collector, and the precious collection of folk arts and crafts which he sold to the museum also included toys, made primarily by folk artists, woodcarvers and potters. Quite significant among them are the wooden carved figures made by master craftsmen, who also made figures for Christmas cribs. That they were “admitted” to the museum was certainly based on the fact that they were considered and appreciated as folk art objects.2 Another precious object which joined the museum’s collection in the early 20th century was a Biedermeier doll, imported from one of the German-speaking provinces (of the Danube monarchy to which Slovenia then belonged - translator’s note). Among the older toys in the ethnographic museum’s collection are also ceramic figures of various animals, frequently made like whistles. They were classified as being products of folk crafts - that is, made by peasant potters.

From time to time and in particular as a result of the efforts of the museum’s field teams, who after 1948 visited various parts of Slovenia every year, a pram or baby-walker was added to the collection. But the field research of these teams was much more aimed at children’s games than toys. Though there were hardly any real toys to be found, here and there some home-made object was discovered, something children used to play with.

The collection started to expand only in the late 1970s and especially in the 1980s. This was probably not a coincidence but rather reflected the specific period and the growing general interest in toys in Slovenia and elsewhere. Towards the end of 1979 the Slovene Ethnographic Museum prepared the first exhibition of toys in Slovenia. It has to be said, though, that the exhibition was organised perhaps more as an indication of the country’s goodwill and to recommend itself on a special occasion: the International Year of the Child. At least half the objects in the exhibition were borrowed, mostly from a middle-class environment. The exhibition was important because it was preceded and followed by the more deliberate collecting of toys. Two of the biggest manufacturers of toys featured as donors of their latest products: the Mehanotehnika factory of Izola and the Ciciban factory of Mirna near Nova Gorica. In the years following the museum occasionally purchased more or less precious toys. Many toys were donated to it by individuals. In the 1980s the ethnologist Kuret donated to the museum a small collection of wooden, painted toys and carved figures made by Janko Trošt.

Meanwhile the market value of old toys and the number of collectors had increased. Collectors were also increasingly interested in toys that were not yet old but which were single-item products, and in toys which belonged to a certain type or series no longer manufactured. But the principal donor of toys to the museum still remains the Mehano factory (formerly Mehanotehnika) of Izola. The toys in the collection of the Slovene Ethnographic Museum cannot adequately illustrate the entire wealth of toys which at some time other passed through the hands of children in Slovenia. This catalogue deals with the toys acquired by the museum between 1933 (the first entry of toys in the inventory book) and 1998. They were owned by either peasant or town children. Prior to 1933 there was no major production of toys in territory of Slovenia and only the simplest kind of toys were made by peasants or craftsmen.

In view of the fact that the collection of toys is far from complete and that - regardless of whatever commendable intentions - it will hardly ever be complete enough to show everything that was at some time common in our country, and thus allow us to better understand the situation of toys in the past 180 years, we decided to focus in this survey on a presentation and evaluation of the situation on the toy market - that is, on the aspect of supply and demand in individual periods. The information on these issues stems primarily from articles and advertisements in contemporary newspapers, and from daily news in the major newspapers with the highest circulation. Among them are Laibacher Zeitung, Novice, Slovenski narod, Jutro and Slovenec. Other newspapers are listed in the literature.

Information from newspapers contributed a great deal to the general picture of the toy market in Slovenia and, though only partly, to an estimation of toy sales as well. The data shows that the situation on the Slovene market was similar to that in other Central European countries. In the major towns especially, customers were, of course, well acquainted with all new items on the market. Though sales figures were certainly low, “purchasable” toys nevertheless were, at least at first, the privilege of limited circles. In the later stages of their life, however, expensive toys in some way or other reached the children of the poorer classes. From the advertisements in newspapers which often and, especially in the last third of the 19th century, describe individual products in great detail, we can quite imagine what they looked like. By the second half of the 19th century, toys manufactured by craftsmen, and later also by the toy industry, had become mere commodities. They were then influenced more by market laws than by the appreciation (or lack of it) of pedagogues.

This means that over the last 140 years or so, the situation has not changed much. Almost 40 years have passed since Niko Kuret published his book Igra in igrača v predšolski dobi (Pre-School Games and Toys), but one of his major findings - that there were not enough educational toys made in Slovenia - is as pertinent today as it was then. To expect the voice of pedagogues to have more weight than that of tradesmen would be wishful thinking. And this is precisely the reason why toys tell us about the time they were made and are, above all, a reflection of the attitude adults had toward children.

Until 1868 the majority of advertisements for toys appeared in German newspapers published in Slovenia at that time. After that year, when Slovenski Narod was first published, extensive lists and descriptions of toys start to appear in the Slovene language too. They are probably the first translations and records related to complex toys in Slovene. Toys, and consequently also their names, arrived in Slovenia from other language areas, mostly from German-speaking countries, rarely from France and only exceptionally from the Anglo-Saxon countries. When a translation had to made, the Slovene language had little to offer for the translators to draw on. As a result, the authors of the first Slovene terms related to toys were actually journalists and tradesmen.

As an additional useful source to explain or show what children played with in past centuries, and given the scarcity of older written sources, we also used pictorial sources on toys. The children in these paintings - who of course, without a single exception, belonged to the aristocracy and wealthy middle classes - are depicted with their toys. Because they were very precious toys, they function as status symbols. The children in the pictures are often in the company of pets, which are treated like toys. The paintings were either done by artists who lived in Slovenia in a given period or they were brought to Slovenia quite soon after they were painted.

Portraits from the early days of photography - the 1860s and 70s - provide us with a significant source for establishing the use of individual toys. It was then still common for toys to be “exhibited” together with their “owners”. This might indicate how important and precious the toys were to the person who commissioned the painting or paid for the photograph of the child. The principal sources are, however, written memories and recorded narratives, whether published or in manuscript. And the closer we get to the 20th century, the more information there is on toys, especially on their use among children from different social classes.

To conclude this introduction, we may well repeat: everybody knows at least something about toys.





THE SIXTEENTH TO EIGHTEENTH CENTURIES: THE OLDEST REFERENCES TO TOYS


Trubar mentions St Nicholas’s presents

As the first printed reference to “toys” in the Slovene language (i.e. of objects belonging to children and intended to be played with), we may quote Trubar’s words from his Catehisem z dvejma izlagama (1575) :

“...by reason of his deedes the Papistes determined that it was God’s will that Saint Nicholas should make the poore man rich; therefore on Saint Nicholas night the Germanes place some knack under the children’s bowles or caps and make them belieue it was giuen to them by the Saint.”

The quotation is interesting for two reasons: it is the first reference in the Slovene language to the custom connected with St Nicholas - that he brings children presents on his feast day; and it mentions toys which were put under a child’s bowl or cap. Trubar reports on customs he had witnessed in Germany and though he did not approve of them, they seemed significant enough for him to inform his Slovene compatriots of them. The information must then have spread further orally, most probably through priests who explained it to the illiterate peasant population.

We may presume that Trubar mentioned customs he witnessed at the homes of members of the higher classes, German aristocrats and wealthy middle-class people. If Trubar had meant to refer to just any kind of gift similar to those that were customarily attributed to St Nicholas in the 19th-century countryside - nuts, dried fruit and the like - he would certainly have stated this clearly in Slovene as well. It is therefore most likely that the objects concerned were not food but indeed toys. Regardless of this information we have to be aware that it became a custom - at least in towns - to give toys to children on St Nicholas Day only after a very long time had passed, and that it took many more decades before the custom spread to peasant children. Kuret mentions information from as late as the mid-19th century according to which St Nicholas also brought town children “dolls in colourful dresses, further: whistles, trumpets, wooden and tin soldiers, horses, vessels...” (Kuret 1989, p. 229).


Dictionaries

Matija Kastelec, o. Hipolit Novomeški

The first reference in Slovene to the word “doll” - the best known and most common toy of all times is quite old. Reference to it in a dictionary can, of course, hardly tell us how common dolls actually were among children from different classes. The latter half of the 17th century, after 1688 to be precise, it the period of the material for Dictionarium Latino-Carniolicum (Latin-Slovene Dictionary), a manuscript (copied by Vorenc) compiled by Matija Kastelec. The entry “die Puppe” is explained in Slovene as follows: “a doll that little children play with”3. Even today the word” “punčica” (literally: little girl) is used for dolls and, moreover, the word still has exactly the same meaning, though later compilers of dictionaries added several other terms.

A more comprehensive explanation of the word which is supposed to mean a toy appears some thirty years later (in 1712) in Dictionarium trilingue (manuscript, except for the first three pages) compiled by Kastelec’s compatriot Hipolit Novomeški. There are several entries on toys: the one following “punčica” reads: “Doll, puppet which children play with” ((Hipolit: Diet. I, 196), “small figure of a doll, puppet which children play with” (Hipolit: Dic. I, 476), “daughter, doll or puppet which children play with” (Hipolit: Dic. I, 537), and “children’s toys like nice lassies, puppets” (Hipolit: Dic. II, 41).

The last explanation means “nice lassies” and can only refer to the toys of aristocratic children and, in fewer cases, to children from the wealthy middle-class. We can only guess what the dolls made by peasant children, if any, were like.

Another interesting entry is “taterman”: “a turner sits on his bench and makes balls, skittles, puppets and other children’s things and turnes goods with a chisel” (Hipolit, Diet.: Orbis pictus, 30). Hipolit thus explains the word “taterman” or “turner” as “someone” who, sitting on a bench, turns and works various objects with a chisel.4 For this at first sight unknown and unintelligible combination of quite different turned objects, an explanation may be found in Lexer’s dictionary of medieval German (Lexer 1986). Here we find the entry “Tateraere stm, Tatar, taterman m.Tatar; kobold, gliederpuppe, figur im puppenspiel, scherzh. vom turnierer.” This is probably the explanation for Hipolit’s expression “tatrmon”- a doll with movable arms and legs, perhaps also for the name given to a doll with a wooden head, similar to a turned ball and “balls and skittles”.

The data listed above might lead us to the conclusion that in our country, too, toys were known in the form of dolls and puppets as early as the 17th century, and even more in the 18th century, and that they refer not only to the simplest rag dolls made by children themselves, but also to more artistic products. These were indeed made by master craftsmen who knew how to work a lathe. Obviously, “balls, skittles and puppets” were the most common wooden toys made to be sold at fairs and markets. Judging from the numerous advertisements of tradesmen who dealt in “Nuremberg” wooden toys in Ljubljana alone - advertisements were published throughout the 19th century - they were well-known and sold well.


Pictorial sources

The Master from Okolično, Janez Potočnik

To find domestic illustrations of the toys referred to in the dictionary material was not an easy undertaking, and it proved even harder to find work done by painters who were active in Slovenia. We therefore took the liberty of including works which were actually painted abroad but were later brought to Slovenia. How insignificant children once were in the social hierarchy of the lower as well as middle classes, and how their significance grew in the course of time, is amply illustrated by these pictorial sources.

In the Middle Ages the most common picture of a child was Jesus with his mother Mary. Beside paintings of saints or the Holy Family, the Gothic period also introduces various genre scenes. A painting of a family by the Bohemian Master from Okolično dates from the early 16th century. All members of the family are adorned with ribbons on which their names are written. The figures arranged in the painting look totally concentrated on posing for the spectator. As if he is not part of this solemn scene, an infant John the Baptist is advancing toward the centre of the picture in a baby walker. Strictly taken, this three-wheel device which helps children learn to walk may not be a toy according to our modern understanding, but rather an implement in which children learn to walk in a playful way. This proves that infants from the early 16th century behaved in quite the same way as they do today. The tablet painting is in the National Gallery in Ljubljana.

The aim of a baby walker is to teach a child to walk. It is an aid or plaything for a child to move about, to encourage and teach it. If we look at it from this point of view, there is no reason not to include baby walkers among the objects (including play pens) which help a child to overcome the initial difficulties of moving about in a playful way, or which help a child’s parents or the adults in whose care a helpless infant is and who needs some kind of protection.

Paintings of a later date are mostly portraits of aristocratic scions. The stiff, solemn and almost over-aged children from earlier paintings start to change into more relaxed figures in the Renaissance. Painters often make use of pets and only rarely of toys. But even so, toys were a quite frequent attribute in children’s portraits from the 19th century. In connection with portraits of Slovene children (or children living there), it is of course important to establish which toys were common at the time the painting was made. A portrait of Baron Lazarini as an infant dates from the late 18th century and was painted by Janez Potočnik. The toy horse on which the infant’s hand rests is made of wood and stands on a platform with four wheels. There is no way to determine where the child might have got it from, but the horse’s shape is similar to that of the wooden, turned toy horses which in the late 18th century circulated on the trade routes of Central Europe and were sold at fairs. Because the portrait is that of a young baron of aristocratic birth, the toy was probably not entirely common, or it would not have been preserved for posterity in the painting. Some one hundred years later, similar accessories were used by photographers, and even then it is hard to say whether these toys belonged to the person in the picture or were borrowed for the occasion.





THE FIRST HALF OF THE NINETEENTH CENTURY: CHILDREN ARE HARDLY EVER GIVEN TOYS


Pictorial sources

Pavel Künl, Andrej Herrlein, Jožef Tominc, two anonymous paintings

In the 19th century a growing number of prosperous middle-class people could afford to have portraits of their successors painted. Nevertheless, toys are still scarce in these paintings. The children in them are usually in the company of various pets. Pictures of children’s games from a peasant environment are even rarer. Andrej Herrlein, a German painter who died in Ljubljana in 1817, painted the portrait Girl with Puppet. In her left hand the girl is holding a doll with a wooden head and movable limbs, dressed in the Empire attire of an adult. She stares at the observer with wide open eyes and with her right index finger points at the doll. It is quite obvious that the plaything was something highly significant and precious.

Pavel Künl (1817-1871), a well-known portraitist of Ljubljanians, painted two portraits of infants; one of them is known to be Amalija Kermavner. Both children are holding in their hands artistically-made wicker rattles. These infants are also children of affluent parents, and even the rattles are delightful objects. We may reasonably assume that the rattles were, in fact, accessories provided by the painter himself and that they were the predecessors of the items later used in photographic studios. The rattles are indeed quite similar in both paintings. In Tominc’s paintings the children are usually in the company of pets, and the same can be said of paintings by Langus and Stroy. Among Tominc’s portraits is one of Frančiška Schmitt (1821) with her son Ferdinand, who may be the father of the later Ljubljana toyseller Ferdinand Melchior Schmitt (Šuštar 1996, p. 98). His successors had a toyshop and in 1932 referred to it as a “long-established firm”.

Another painting from the first half of the 19th century is anonymous and shows a group portrait of four children. Very likely they were the children of Janez Zupančič, a writer, historian and man of letters, and (Zalar 1992, p. 118). One of the girls in the picture holds a toy baby in her hand. The puppet’s head is covered by a cap and its body is completely wrapped. This is quite unusual since we know that dolls from the same period usually represent adult persons and that this is emphasised by the clothes they wear. From approximately the same time is the portrait of two aristocratic children, kept in Goriška Museum in Kromberk. The artist is unknown and the picture is dated 1833. A little boy is riding a rising horse and the girl in the painting has a porcelain doll in her hand. The horse is quite ornate and unusually big.


Memories and literature

The insignificance of children in a society of adults

There are not many written sources on children’s games and toys in Slovenia for the period before 1800. But in this respect the Slovenes are no exception, since in other European countries too there are only limited references to toys or children’s games and, where mentioned, they generally relate to members of the higher classes. Information on the use of toys in different classes is in direct proportion to the owner’s status: the higher his status, the more information there is.

It was only in the previous century that new ideas and concepts on the education of children began to appear and spread - ideas which emphasised that playing is a need for children and that children need toys. A handful of pedagogues started to spread ideas about the more liberal education of children in the previous century, but only seldom did these ideas seep through to educational institutions (schools, kindergartens, and the establishment of kindergartens), and ultimately to families of the lower social classes. The position of children had always, and at least in general, been that the years they needed to grow up were considered more a necessary evil than a period meant for carefree games and playing. “It befits parents to treat their children with the utmost severity” quotes G. Makarovič from, among others, Dalmatin, Krelj and Trubar, whose recommendations are very harsh and who praise the educational benefits of using the whip on the young (Makarovič 1995, p. 192). As far as parents were concerned, children were fit to work quite early (Makarovič 1995, p. 84) and this meant that a child’s main problem was actually the lack of time to play. In such an environment there was, of course, little chance for toys to develop.

The attitude of adults towards children has undergone considerable change in the past two centuries, and it is not only toys and games which have changed. The public have accepted the widely changed notions about the needs of children. Nevertheless, only a handful of pedagogues have managed, with great difficulty, to publish their views on education, and only exceptionally have their works actually been read by parents. Among the uneducated masses - the majority of the population - these new ideas spread in much simplified forms and only after a very long time had passed.

We owe the references to toys and games in Slovenia to writers who started publishing their memories in the latter half of the 19th century. Whoever wrote about his own life did not fail to include the carefree time he spent in the company of his fellow children and that of toys. The narratives in books and newspapers may be random, but they are significant enough to illustrate the situation of the period.

What they do confirm, however, is the notion that the toys of children in the countryside were much simpler that those of children of more affluent townspeople. This fact means that peasant children, for whom a toy was hardly ever actually bought, had to rely much more on their own imagination, skills and efforts to create objects and use them as playthings. But the lack of “purchasable” toys never meant a lack of imagination in children, nor did it have any perceptible impact upon their imagination. To illustrate how children of the 19th century played and what they played with, we shall have a look at excerpts from various biographical and autobiographical writings published in newspapers and books.

Frederic Irenaeus Baraga

In the early days of the 20th century the newspaper Novice published an account written much earlier by the cousin of Frederic Irenaeus Baraga, the later bishop, about the memories she had of their childhood together. This is what she writes:

“Molehills were his little gardens. In the morning he always went straight to the window and counted how many new molehills there were and begged his mother to give him enough seeds for this or that number of little gardens. He then went from with molehill to molehill with the seeds. He levelled every molehill with a little sickle, dropped a seed in it and covered it with soil... Another of his favourite games was to tie together five or more foot-stools and tow them about. The women were upset because he used all the linen he could get his hands on to tie the foot-stools together. Even when he was already attending the fifth “Latin “ class and came home for the holidays, he still liked to play with his footstools. On other days he liked to go the meadow called “Brdavs”, where water flows from five sides, and make little water mills with little wooden blocks.”5

Frederick Irenaeus Baraga was born in 1797 and his cousin was three years his senior. This means that her memories certainly go back to the first decade of the 19th century. Even today they still are as agreeable and familiar, as if they were not nearly two hundred years old. Baraga’s family was quite prosperous and the children were obviously allowed to play as much as they liked. Little Baraga used a real tool - a small sickle - as a toy and real foot-stools, and his imagination made them into something quite different. His cousin tells other entertaining stories about how children used to play together in their early years in Dolenjska. The foot-stools the boy used probably meant carts to him and could be used for the same purpose even today. What they mean to a child, of course, changes as the times change. Some fifty years later the first train appeared and boys used to upend foot-stools, crates or carts and drag them about like a train and wagons.

Jernej Andrejka

We learn from the memories of Jernej Andrejka how the children of prosperous peasants played soon after the 1850s. This is how he describes his earliest memories: “As soon as I could stand on my own two feet, my Spartan education started and I was dressed in a shirt made of tow linen; that was my entire outfit for long years to come since it was an old custom that the first trousers and shoes were made for a child only on the occasion when he received Holy Communion for the first time. In this humble outfit I joined my brother and sisters and the children from the village, and we built houses and castles from sand and mud, constructed mills in creeks, fished for crab, searched for bird nests, threw sticks up fruit trees to pick fruits in our own garden as well as in those of others, lured crickets out of their warm earthen holes, teasing them with straws. Another favoured game was to float paper boats on the water. In winter we hauled our sleighs down from the attic and went sleighing dressed in just the usual shirt” (Andrejka 1934, p. 34, 35).

Until they had to start attending school peasant, children mainly managed to satisfy their playing needs in ways which obviously did not require any special toys, at least not of the kind that would have to be bought. A child could easily turn a lot of things into some kind of entertaining toy and even the “sleighs” were often just ordinary bent staves from a broken barrel. Children used as toys objects which had other purposes or which they made themselves. Such toys are still made even today, though it would be easier to copy them than to present an old one. They were meant for playing and their lifetime was short indeed. There is no museum collection which could show their abundance, though this is certainly the silent ambition of many a curator.

Let us return to the story of young Jernej Andrejka. When he was a little over seven years old, he was confirmed by the bishop: “Right after the bishop’s last blessing, we all ran out on to the square in front of the church which was packed with stalls. And before the church bell struck noon, I was in possession of a mouth-organ and was able to announce noon on it myself. My godfather also bought me a nice red scarf worth thirty kreuzer, into which I wrapped my various gifts. Among them were beside the mouth-organ I was most pleased with a trumpet and a horseman on his horse, whose rear end could be blown as a whistle.” (Andrejka 1934, p. 46).

Such were the objects children were given at their confirmation, and it is to these objects that Andrejka refers as the first purchased toys he was given. He was probably also given other smaller presents, bought at fair stalls on earlier occasions, but they cannot have been durable or he would not have failed to mention them. Mouth-organs were a very fashionable gift at the time, at least in the wider environs of Ljubljana for writer Janez Trdina also refers to them (Kumer 1983, p. 88). As a fourteen-year-old lad he spent a lot of his free time in the company of his friends playing “a coin game called “bližanje” or “cvenkanje”. When we had no kreuzers, we played it with buttons, which we cut off trousers and replaced with wooden pegs... It is a very simple game: first a stone or some other object is placed on a flat surface, the players then take ten steps backwards and start throwing kreuzers or buttons as close a possible to the stone. He who comes closest to the stone is the winner” (Andrejka 1934, p. 51). Buttons were precious toys because they were rare and expensive. Playing with buttons was adventurous and risky for every boy; caught playing with buttons, they were chastised by both the chaplain and their parents.

Jakob Alešovec

At about the same time (the mid-19th century), writer Jakob Alešovec spent his childhood in the environs of Ljubljana. His memories are far from pleasant and rather substantiate the darker half of the history of games and children playing in the countryside. Alešovec was the son of a poor village cobbler and therefore has no recollection of bought toys, not even for his confirmation, but only of presents he was given by the chaplain. Jakob was fond of drawing. He exchanged the sheets of drawing paper he was given by the chaplain for dyes at the joiner’s, dug out clay, added chalk and made drawings on the houses in the village. These items were, of course, no toys in the real sense of the word, and his parents and co-villagers certainly did not consider his drawing a useful occupation. Nowadays, things are quite different: drawing and writing accessories are considered to be highly educational toys.

Another toy Jakob played with was a willow whistle. His mother once told him to ask a skilful neighbour to make him a reed whistle, adding “and I’ll give him some bread for it” (Alešovec 1910, p. 20). Later he made willow whistles himself, but they did not bring him much joy because they broke easily and he soon became bored with them. Exchanges similar to the one mentioned above were probably common between a neighbourhood’s skilful individuals and those who wanted them to make things.

Anton Šantel

The memories of Anton Šantel, a mathematician and physicist (1845-1920) who spent his childhood and adolescence on a farm in Tolski Vrh (Štajerska) around the mid-19th century, are another generous source for learning about life in the countryside. He describes his “occupations” as a child with particular affection. “My main job was to pasture the cows and my favourite pastime was to make things from clay.” When there was enough water “I could make ponds, dams, channels and above all gutters, put turning wheels under them and have them drive a pestle.” But as with many other boys before and after him his creative impulses also included carving, boring, sawing and hollowing out wood. However, he did not dare borrow his father’s tools and made more or less functioning whistles and “pine boots” with a pen-knife “the like every boy had one and which cost two kreuzers.” Pen-knives were always available and it was not a great loss if they soon broke or were lost (Šantel A. 1989, p. 539). But the greatest fun of all was when the boys got together and lit their “pipes” around a shepherd’s campfire. “We made the pipe-heads from cabbage cores and the pipe-stems from nut twigs. For tobacco we used cut nut leaves” (Šantel A. 1989, p. 540).

Carving objects from sticks or pieces of wood is an ancient game practised by boys pasturing cattle. They always had some time left for themselves. And the fact that they tried their hand at various skills was more important than the things they actually made. Those who proved to be more skilful indulged in carving more often and, through exchange, managed to get useful things for themselves. In every period we also encounter similar memories and objects made in the same way, and they always depended on the skills of an individual.


Trade and advertising

Nuremberg goods

As we have already mentioned several times, the Slovenes cannot pride themselves on a particular inclination towards the industrial manufacture of toys. It is obvious that cottage industry hardly ever relied on products for children’s games and even more so that no major trade or industrial activity developed in this field. Wooden toys from Ribnica belong to a more recent period and their market was and is largely confined to Slovenia. Since the latter half of the 19th century questions have been raised over and again in newspapers as to why the country imports such large quantities of foreign toys. And every few years we also come across references to another so-called first toy factory.

In the previous century, when the manufacture of toys was a branch of cottage industry and trade in many European countries, Slovenes could not complain that their children were not familiar with these toys. The trade network in the Austrian provinces made sure that customers in Slovenia had quick access to them. How trade proceeded and what kind of toys were sold in the shops can be traced in contemporary newspaper articles and advertisements. Ljubljana, undoubtedly the biggest market, was well supplied with Nuremberg toys.

Nuremberg toys (usually called Nuremberg goods) or - in German - Nürnbergerwaaren (or -waren) were advertised by tradesmen in Ljubljana’s newspapers at least from the end of the 1830s. Nürnberger-waaren were mainly advertised together with Galanterie waren (“fancy or fashion articles”) and knick-knacks. In a definition from 1872 the author mentions under the heading knick-knacks: “Wooden knick-knacks. Mostly small wooden knick-knacks, especially toys, boxes etc., made in Ammergau and Berchtesgaden in Bavaria. Nearly every village in these regions produces its own kind of woodwork items. All these wooden articles are traded under the name “Nurembergwaren” because they are bought up in the villages by merchants from Nuremberg.”. (Kočevar 1872, p. 171). The Slovene adjective “norimberški” for Nuremberg was derived from the Italian name of the town - Norimberga (Cigale 1860).

Tradesman Anton Krisper, who had moved to Ljubljana from Slovenska Bistrica, was licensed to sell Nuremberg goods as early as 1834 (Valenčič 1981, p. 82). At about the same time, in 1840, tradesman Matheus Kraschowitz, who had a shop in the main square “respectfully announces” that “we have received a completely new line of fancy and Nuremberg articles.”6 The production of wooden toys traded as “Nuremberg wooden toys” is documented for the villages of the Thuringian Forest and Ore Mountains. Turned wooden toys were shipped in large quantities and sold all over Europe, including Russia. It does not come as a surprise, then, that their market also extended to the provinces of the Danube monarchy.

The expression “Nuremberg articles” or “norimberg articles” survived in trade and everyday language throughout the 19th century and even up to the first two decades of the 20th century. An official reference to it even dates from 1928, when the business of Ivan Samec, the successor of Vaso Petričič, is mentioned as “wholesale trade in fancy articles, Nuremberg articles and knick-knacks” (Business Directory, 1928). That the expression “Nuremberg toys” was known even after the Second World War is corroborated by the translation of a book by Anatole France, Memories and Stories, in which translator Karel Dobida writes: “...I imagined the universe as a big box full of Nuremberg toys which is closed with a lid every evening, when all these funny little men and tiny women are put away gently and carefully” (France 1950, p. 51).

In the first half of the 19th century, shops and above all specialised shops were still rare in Ljubljana, and so were advertisements in newspapers. But given the fact that advertisements for Nuremberg articles nevertheless appeared that early, it is probably an indication that the toy trade was a full-grown business and that there were sufficient customers for toys. Until around the 1860s a number of tradesmen advertised in newspapers throughout Carniola with vigorous recommendations of articles commonly called Nuremberg articles. The above-mentioned Kraschowitz died in 1858 and left his two shops to his widow and son. The widow continued to sell Nuremberg and fancy articles at the “Golden Post Horn” opposite the city fountain, and her son Johann had a shop with similar articles in “The Post Pigeon” in the main square.7

Toys were also sold in other shops: in 1855 Helena Marolani advertised candy and fancy articles as presents for St. Nicholas’s Day, “to be exhibited for the next three days with special decorations and evening lighting.”8 The period before St Nicholas’s Day definitely indicates that the shop also displayed objects for children to play with.

Paper figures as a mirror of fashion

Before the mid-19th century middle-class ladies were offered “moving fashion figures”, published in the newspaper Der Spiegel der Kunst, Eleganz und Mode, and which could be ordered by mail “These moving figures, which are offered to you exclusively by Spiegel, have the advantage that they can present dresses in the most natural way from all sides. They simultaneously provide a pleasant pastime. Everybody who subscribes to the newspaper will first receive a ready-made and superbly coloured basic figure, and further, in the course of the quarter, a whole range of foldable, delightfully coloured dresses, upper skirts, coats, hats, coifs, hair ornaments, etc., all made after the latest original Viennese fashion.”9 The information that these figures “also provide a pleasant pastime” ranks them among toys for ladies and young women of the higher classes.

This pastime with paper dolls became a fashion quite early: in Germany in the late 17th century, spreading from there to the whole of Western Europe and also to the provinces of the Danube monarchy. In different varieties the paper dolls were popular and quite cheap toys throughout the 19th century (Bachmann, Hansmann 1973, p. 107 ff.) and above all in the 20th century, when they are no longer associated with fashion and are mere toys. For the early period, when they were first offered to subscribers of fashion magazines, no physical evidence has been found in Slovenia, but it is quite certain that they circulated among the local middle-class women.





THE SECOND HALF OF THE NINETEENTH CENTURY: THE TOY TRADE EXPANDS

This period is marked by already quite numerous written sources on toys in Slovenia, certainly more than there are material remains. Abundant references in contemporary literature as well as in newspapers, however, nevertheless confirm that Slovenia was fully incorporated into the existing trade network of the Austro-Hungarian Empire. And children, too, though only those of wealthy parents, had access to the same toys and above all to all the new items, produced by new technologies and manufacturing techniques. The towns were the centres of this trade and distribution.


Dictionaries

Matej Cigale, Maks Pleteršnik, General Slavic Linguistic Atlas

A survey of the major dictionaries from this period indicates that the names given to toys (if we stay with those for “doll”, which we referred to in the previous chapters) have changed and that numerous dialect expressions are listed which, however, were not used in newspaper language. Cigale’s dictionary from 1860 mentions, under the entry Puppe (doll): “punčika, čeča, lila, lilika, donda, puža za igračo”, and under the entry Puppenhandler (doll merchant): “lilar, prodajavec lil, puž, dond za igračo.” This wealth of dialectical expressions is reduced in newspapers to simply punca (see Schreyer’s advertisement in Slovenski narod, 1875). Pleteršnik also has the expression lila in the sense of doll, with lilar meaning “doll-maker”. The entry tatrman lists, among others: “upper end of water pipe, usually with a ornament” and “scarecrow in millet”. Not a trace left of anything resembling a toy.

Let us end with a few quotations from the Material for a General Slavic Linguistic Atlas, collected around 1980. The expressions themselves, of course, go back much further.10 In twenty-five places in Slovenia people were asked about the dialect expression for “doll”. This provided the following results: the most frequent expression used was punčka (Bohinj, Valburga near Smlednik, Babno Polje near Stara Vas (Lož), Ribnica in Dolenjska, Dragatuš in Bela Krajina, Bučka in Dolenjska, Mostec near Dobova, Horjul near Ljubljana). The remaining expressions were distributed as follows: bambola (Sv. Križ near Trieste, Šmartno in Brda, Pomjan in Istria), puža (Luče in the Savinja Valley, Šmarje near Jelše, Kneža in Carinthia, Austria), pupa (Spodnja Ložnica near Slovenska Bistrica, Videm near Ščavnica, Solbica in Resia, Italy), pupka (Komen in the Karst), punca (Cerkno near Idrija), pupca (Hrušica near Ilirska Bistrica), lapepina (Ošnje in the Nadiški Valley), baba (Gomilice in Prekmurje), bava (Zgornji Senik in Porabje, Hungary), ceca (Potoče in the Zilja Valley, Austria), čeča (Šentjakob in Rož/Rosental, Austria). Without entering into a detailed analysis of this data, we can establish that the word most frequently used in all Slovene provinces is punčka.


Pictorial sources

Simon Ogrin

Pictorial sources on toys connected with a portrayed person or a genre scene are still rare. Increasingly numerous in this period are photographic portraits of children in which, as in paintings, various pets are shown as toys.

The National Gallery in Ljubljana has a small pen-and-ink drawing by the painter Simon Ogrin dating from 1876. It shows the painter Raphael while painting, being watched by a group of people. Among them is a child, who has left his wooden horse with attached string and another, obviously also wooden toy, in a corner and has joined the watchers. Simon Ogrin was primarily a painter of frescoes and the drawing was probably intended as the draft for a major painting. The horse in the painting represents a toy the author knew from his own experience and has no connection with the historical pictures of Raphael. This proves that horses on wheels were common enough in this period and known in all environments. It is hard to judge from the drawing what kind of material it was made of, but it was very likely wooden.


Memories and literature

Janko Mlakar

Let us return once more to those sources which best illustrate what children occupied themselves with in the latter half of the previous century. In these autobiographical memories, the references to toys and games are increasingly extensive and numerous. An ample source is provided by the memories of writer Janko Mlakar who, judging from his stories, preserved his sense for playing even as an adult person. Mlakar tells us about the life of children in Ljubljana in the last quarter of the 19th century.

The button-throwing game, so popular in Jernej Andrejka’s days, was replaced some twenty years later by pen-throwing: “After recovering from my illness I took to collecting pens. But pens were not something you would find in the streets so I had to win them in these games - or as we called it - to hit pens. Pen-throwing was not only great fun, it was also a profitable game... We drew a square on the ground and divided it into four equal fields. At an adequate distance from the square we drew a line. He who managed to throw his pen closest to the line, collected the pens of all players and threw them towards the square. Those which fell into one of the fields were his right away and he was also given the chance to first flick the pens which hadfallen outside the square... I was quite good at pen-throwing. I tied the pens into bundles of ten and kept them under the mattress of my bed... I really had a nice collection; almost every single manufacturer of pens was represented” (Mlakar 1975, p. 25).

The game of throwing coins, pebbles, buttons, pens, etc. is very old. It had already been played by the Greeks and Romans, the only difference being the game’s accessories. In Europe similar games were known in the Middle Ages (Grunfeld 1993, p. 158-160). Another similar game is that played with Easter eggs during feast days, a game for young men. In Mlakar’s time there were also marbles, since he reports that “I gave him a beautiful glass marble” which glittered in rainbow colours and which he had a hard time parting from (Mlakar 1975, p. 38). Obviously, in his environment marble games had not quite reached the level of popularity of pen-throwing. Pupils always had pens since they needed them every day at school, and beside stimulating their passion for games the pen-throwing game also encouraged their sense of adventure and danger. The sales of pens of various manufacturers flourished, as evidenced by the quite numerous advertisements in newspapers in which a range of Viennese companies offer their “first-class steel pens”.11

It appears that in the company of children, neighbours and fellow pupils in which Mlakar spent his childhood, boys did not have many toys of their own. They had to content themselves more or less with improvised toys, which at a given time meant to them the thing they required to play. “We highly enjoyed playing firemen or, as we used to say, ‘fajerlešerje’ (Feuerlöscher). We “borrowed” the required fire-fighting equipment from the dairywomen and market women who sold their produce in Town Square and left their carts in Fish Square and in Zavodo.. We “harnessed” ourselves to the carts like horses, threw some little girls and their wooden dolls on them to represent firemen and raced towards the Franciscan Bridge, yelling “Šiška’s burning!” (Mlakar 1975, p. 59).

As if by coincidence Mlakar also mentions girls’ toys - wooden dolls his female contemporaries played with. Boys, of course, hardly ever played with little girls unless they could not do without them. Boys and girls used to play in separate groups and, above all, they played different games. Though we do not learn anything more specific about the wooden dolls, we may assume that Zavodo (the banks of the Ljubljanica prior to the 1895 earthquake) were the playgrounds of children from the poorer classes. “Bourgeois” children were not wanted in their company and if any came along by chance, he or she kept to themselves.

Avgusta Šantel

From the last quarter of the 19th century, we have the painter Avgusta Šantel’s memories of her childhood which she spent in Leoben and Graz (Austria). Her experiences were that of a girl living in a middle-class environment and playing with the-then popular toys. Her story goes as follows: “We had beautiful toys, though not many. Whatever Santa Claus brought us we had to do with for a whole year... The oldest toys I can remember were rectangular wooden prisms some three centimetres thick and of various lengths, from three up to thirty centimetres, arranged in a little wooden chest. Of each length there were at least two identical pieces. With these prisms we liked to build big and small staircases leading from the outside to the edge of the chest and from there back into the chest’s interior, which represented a room or apartment. And up and down these stairs we walked out paper dolls” (Avgusta Šantel, 1966).

This excerpt refers to the highly popular “boxes with building blocks” that were the predecessors of the later Anker blocks. Obviously, her family honoured different feasts : presents were given to children by Santa Claus and not by St Nicholas. “We also had several games which consisted of composing pictures from various irregular pieces. Two such games were from mum’s own nursery, I think, and may even date back to her father’s childhood. One was particularly beautiful and big, representing Our Lady with Jesus, surrounded by wreaths...” (Šantel Avg. 1966). The games referred to are almost certainly picture puzzles. These printed pictures were very different: from the 20th century we mainly know illustrations of various fairy tales by the Grimm Brothers, genre scenes or, in short, educational guidelines for children who were to compose these pictures. Religious scenes were also quite frequent in these pictures, especially in the 19th century.

In middle-class families children also played with toy shops. This is how the author recollects them: “The same grandfather also gave us an exquisitely-made toy shop. It had shelves on three sides, packed with little wooden boxes and packets, and under the shelves were drawers for rice, flour, beans and the like. On the sales counter stood a little scale with brass pans” (Šantel Avg. 1966). Such toys were not hard to imitate. The game of buying and selling is known everywhere where children can make themselves something that looks like a toy.

Of special interest are the author’s memories of her dolls: “Olga was my oldest doll. She was some thirty-five centimetres high and her head was made of smooth porcelain with a white face and black hair which was only painted. Later I got a doll with real human hair that I could comb and plait and make into various hair styles. Her name was Otilia. Later, I was given another doll, Annie, who had a wax head and blond plaits. Then we (Avgusta and her sister-author’s note) for Christmas each received a doll made of papier-mâché. This was something quite new at the time. The two dolls had very lovely faces and nicely curled hair. Mine was blond, had a blue dress and her name was Dana. I was particularly fond of this doll. Once she was left outside the house overnight. It rained during the night and when I got her back she was completely soaked. Her face was horribly pockmarked, completely deformed! I was so sad ! When she had dried, she was beautiful again. At that time I had already started sewing dresses for my dolls...” (Šantel Avg. 1966).

Avgusta Šantel had a very rich collection of dolls and there are not many memories of this kind. There were three little sisters in the family and each of them had her own dolls. It is also noteworthy how she remembers that they actually had different kinds of dolls, made of different materials, especially if we compare them with present-day plain synthetic toys: a doll with a porcelain head and real hair, one with a wax head, and one with a head of papier-mâché. This must have been quite a luxury, but probably not that uncommon among children from families of middle-class civil servants.

The second half of the 19th century saw a rapid succession of new technologies being introduced, but it is obvious that only cheaper manufacture could substantially influence the spread of toys in the market. As long as dolls were made manually, every part of the body separately, they were expensive and precious toys, regardless of the material used. Carved wooden dolls were made in the same period as those made manually of papier-mâché in France from the 16th century onwards. It was only in the 19th century that faster and cheaper ways of making dolls developed: papier-mâché and additions were moulded, painted and sometimes also immersed in wax. Wax too was a very precious material and during both the 17th and 18th centuries wax dolls were accessible only to the children of the rich. They were then still made of solid wax, mixed with various substances and dyes, to imitate the colour of the human skin as closely as possible. In the 19th century the casting of wax in moulds increased production, but the products continued to be very expensive.

It was above all advanced technology which further increased production and consequently also the use of dolls. The production of porcelain dolls in the 19th century saw an incessant range of changes and improvements. Actually, the developments in the production of dolls in the previous century were mainly aimed at cheaper production since there were more and more customers from the new middle-classes. From 1870 onwards celluloid dolls started appearing on the market. They survived until the introduction of vinyl and hard plastics soon after 1950.

Another important invention was the manufacture of rubber products from the mid-19th century onwards, something the manufacturers of toys aptly exploited. Is was not unusual for children to have at their disposal similar toys which differed only in material but which served the same purpose. Avgusta Šantel continues her memories: “We had greatfun with other kinds of dolls. We preferred to play ‘school’. We put building blocks as school benches in a drawer and on them we put tiny dolls we made ourselves. It was me who drew and coloured them. We also made paper dolls which had a different paper dress for every day.” Referring to her brother Artur, who died prematurely, Avgusta Šantel mentions how he loved to play with soldiers until he was captured by the girls’ games of his older sisters (Šantel Avg. 1989).

Cutting out paper dolls was especially popular in the 19th century when there was an abundance of printed, cheap samples. The more skilful children (or parents) were, of course, able to copy this game and drew the characters and garments themselves.

France Bevk and France Koblar

The memories of writer France Bevk and of France Koblar, the literary historian and dramatist, take us back to the environment of peasant children and their way of living. France Bevk, who was a child in the late 19th century, was quite familiar with carving with a pocket knife, and the oxen cut out of branch forks must have been similar to those T. Cevc discovered in Velika Planina. It is worth mentioning here that the author wrote a treaty in which he tried to trace figures of cattle as far back as possible in history. At the time he noticed them for the first time they were mainly intended for children to play with. But references to times further back in history tell another story: “It was said that the shepherds brought their (wooden) oxen to the chapel on Velika Planina and placed the little animals on the altar during offertory to protect their livestock” (Cevc 1979, p. 70).

It appears that the “custom has survived to the present day, when we see it at meetings of pilgrims in churches when they arrange votive sculptures, imitations of real animals, on the altar. Perhaps this is how the oxen from Velika Planina survived. They may have lost their original meaning and have become toys in the hands of children until by the turn of the century they finally lost both their ritual meaning and their meaning as toys”. (Cevc 1979, p. 75). The author considers them to be archetypes and their schematic and stylised forms remind him of prehistoric pictures of bovines. That children have always been attracted to votive sculptures of animals and that - if they can lay their hands on them - they have a hard time parting from them, is confirmed by those affected even today, especially when participating in “votive offerings” on St Stephen’s Day.12

The numerous children of the Bevk family knew many other games and every game for which they freely invented their own toys furthered the development of their imagination. Toys were made at home. Children’s hands turned out “little farms, fields and gardens, houses and stables, all of them surrounded by fences. Pine cones were our cows and larch cones our sheep. With a pocket knife I cut oxen out of branch forks (Bevk 1969, p. 49). This is how peasant children compensated for all the toys which were manufactured and available in shops but not to them. “I used scissors to cut different animals out of paper, several at a time. It would have been hard to say what kind of animals they were; it needed a lot of imagination to see any likeness in them” (Bevk 1969, p. 49). It is not difficult to match Bevk’s descriptions with those of toys sold in the shops of major Slovene towns in the latter half of the 19th century. They consisted of boxes with nicely carved and painted domestic animals, and they were intended for middle-class children, presenting to them the colourful world of a farmyard. Peasant children used their own imagination to copy the animals they knew. Dolls, however, presented a much bigger problem and quite particular kinds of dolls appeared: “I was a real master at making rag dolls. Everybody wanted their own doll, as big as he was himself or herself; they looked like monsters. When mother wanted to put on her everyday cardigan, she first had to take apart one of these monsters” (Bevk 1969, p. 50). These rag dolls were not small or made to hold in one’s lap but large, stuffed figures dressed in mother’s old clothes.

F. Koblar’s anecdote on boys’ toys is quite interesting. He spent his childhood as the son of a family of nail-makers. Long before 1900 the boys from Železniki played soldiers. Koblar writes on this subject: “The latest game certainly was that of young soldiers. Around St Joseph’s Day - the snow had melted away by then - the boys made army caps from paper - high grenadier hats and shakoes - wooden and also iron sabres, even blouses. After lunch on St Joseph’s Day they marched in company to show off; the handsomest “soldier” was called ‘the general” ...” (Koblar 1976, p. 44). Since they were repeated on regular days these boys’ games were close to being children’s calendar customs. For the children of the nail-makers from Železniki there was little time to play, and fixed dates were probably most convenient since the adults then had to allow them some free time and a chance to romp about. And there is no doubt that the accessories for playing - the “toys” - were home-made, with or without the assistance of adults.

From about the same time we have descriptions of similar boys’ games by writer and priest Janko Mlakar. His “soldiers”, however, did not imitate ancient French grenadiers, but were inspired by the heroes of Karl May. They were the games of town boys. “There was no harm in us reading these Indian stories, for nobody even thought of going to America. Reading them was even useful because we learned a lot of German from these Indian stories which were then published exclusively in German. Our ‘Wild West’ was the entire environs of Ljubljana and especially Tivoli forest. We set out to this “wild forest” armed with slingshots and for the lack of hostile Indians, had to shoot at trees” (Mlakar 1975, p. 146).

Just as countryside boys had no knowledge of Karl May’s heroes, town boys in general did not know how to cut pipes from cabbage cores or to find suitable stalks to cut out whistles, and they certainly did not bake potatoes while pasturing cows. The games may have been different, but not so the toys: in both environments there were swords and sabres, slingshots and paper headgear. These games were mirrored in contemporary newspaper advertisements showing toys which were similar and served the same purpose the difference of course being that they were made in workshops or factories and required cash to buy them.


Shops and advertising

Parlour games

Even before the mid-19th century the middle-class population of Ljubljana (as well as the other inhabitants of the town) had access - besides Nuremberg toys and funny fashion figures - to a whole range of parlour games. This kind of entertainment was common in the town’s cafés and in people’s salons (Mai 1957, p. 102). In 1850 the bookseller Johann Giontini advertised parlour games for young and old in the pre-Christmas period: “1. Oracle or view of the future. Amusing game with thirty-two fortune-telling cards. Price 20 kr*, 2. Miracle answer or the art of how to ask every person how old he is, how much money he has got and so on. An amusing game for young and old with seven cards, 12 kr, 3. Magic cards, 20 kr, 4. Hammer and bell, building blocks, 18 kr, 5. ‘Pastime game’, 4 kr, 6. Cards with questions and answers, 10 kr, 7. Lottery, from 1 gld to 1 gld 40 kr.”13

In high society these parlour games were still very popular in the previous century. They were obviously appropriate for feast days since the advertisements for them appeared mainly in December, before St Nicholas’s Day and Christmas. Among all these games which, of course, were all written in German, only one is referred to in Slovene - the “Pastime Game”. And it was obviously accompanied by instructions in Slovene. There were so many parlour games that advertisements were published daily in December without repeating themselves. At Giontini’s one could buy in the same year: “Games for children: Theatre, Peep-show, Shadow game, Camera obscura, Chinese game, Kaleidoscope, Building games (Bauspiele), Figures with stands - soldiers, Christmas crib figures, Theatre figures, all in boxes, from 30 kr to 3 gld**.” Giontini also had colour pencils in boxes, from 1 gld to 10 gld. Listed as children’s games and appropriate St Nicholas’s presents, Giontini five years later advertised “Professor Winternitz’s reading game”. The game consisted of letters and numbers on cardboard and tablets, and promised it would help “children to learn to read and write as well as memorise a good deal of geography and history.”l4

Ljubljana’s main toyshops

Vaso Petričič opened a shop with Nuremberg toys as early as 1862 and ran the business himself until 1912. He was succeeded by I. Samec. Samec’s toyshop was well known to many inhabitants of Ljubljana until the end of the Second World War. As mentioned above, some thirty years prior to Petričič, in 1834, Anton Krisper - of the later famous Krisper’s - had set up business in Ljubljana selling Nuremberg toys. According to the memories of elderly people from Ljubljana, the time when Krisper’s shop, run by his successors, was really famous was to come much later. Judging from contemporary newspapers Krisper was not particularly agile, though he continued to advertise, besides other things, his rich choice of (Nuremberg) toys.

Meanwhile Giontini was already advertising “coloured iron-cuts of beautiful fashion and costume pictures”15 as the cheapest entertainment and as befitting Christmas presents, especially for young girls. These pictures can be ranked among pastime drawings similar to the movable fashion figures introduced in Ljubljana by the above-mentioned German fashion magazine. In general, trade activities start to expand in Ljubljana after 1860 and are reflected in the increasing number of newspaper advertisements. Shops selling Nuremberg toys advertised, as a rule, only in winter - that is, before St Nicholas’s Day and the Christmas and New Year holidays. Beside fancy and Nuremberg articles they sometimes sold medicines and bakery products.

The tradesmen Petričič, Wildner, Krisper, Kraschowitz, V. Pessiak, Karinger and Ferdinand Mellchior Schmitt (Schmitt’s shop was established in December 1868) all published advertisements of Nuremberg and other toys in the 1860s and 1870s. It is worth mentioning here how Karinger named his shop. The tradesman’s son, the painter Anton Karinger, had met the Serbian prince Miloš Obrenovič while studying in Munich. The prince later visited him in Ljubljana and young Karinger painted a portrait of him. The prince donated the portrait to the family and after the prince had visited the shop, Karinger’s father named it “Prince Miloš”. The anecdote about the name of the shop was written by Ivan Lah and later taken up by Milan Valant (Lah 1934; Valant 1980, p. 14).

In 1863 a new tradesman appeared, Andreas Schreyer, who was obviously the most enterprising among them. He opened his shop on November 1. Unfortunately, Schreyer’s enterprising spirit was probably the reason for his later failure. A few days before Christmas 1863 he advertised that he had “a rich choice of fancy articles and toys in the former Schaffer House, ‘The Golden Spade’, in Dunajska Street.” Beside other things he also listed “landscapes made of sheet metal which move and are powered by water, and a great choice of as yet unseen toys priced at 3 to gld apiece.”16 These were the first prices for toys ever published and were certainly very high. There is no doubt that only the richest people could afford them. So-called mechanical toys were very popular at the time in Germany. In listing his articles Andreas Schreyer was one of the first to use the term toys (Spielwaaren). Since all other shops still mainly used the expression Nürnbergerwaaren, we may assume that Schreyer’s principal business line were other kinds of toys. There is, however, no way to confirm this.

In the 1860s customers in Ljubljana were able to buy toys in local shops but also by mail order. Most of the mail-order companies were based in Vienna. The first Viennese “Ten-Kreuzer Shop”, which carried the optimistic name “Progress” and in which all articles cost ten to twenty kreuzer, sold Nuremberg toys and cards among other things - “also available by mail order”.17 Giontini’s bookshop made sure the people of Ljubljana were kept informed of printed toys. He sold picture books for children and, for older children, paper theatres, which were quite new and modern in those times - “a theatre which can disassembled, with figures and background”. He also “promptly” informed the public of the arrival of “new Munich picture sheets, black and coloured”.18 And Giontini delighted his customers probably even more in 1870 when his invitation to visit his Christmas exhibition for the first time also listed quite a wide range of toys accompanied by descriptions. Beside the already advertised “Munich picture sheets, one sheet 7 gld”, he offers the following items: “The Little Joiner; The Little Bookbinder; The Little Stationer - tool chests, from 2 to 4 gld; The Little Printer comes with printing press at 3.5 gld; a theatre which can be disassembled, with decoration and figures, from 80 kr to 8 gld; big shadow games, 8 gld; a rich choice of games for children and adults; modelling sheets with Christmas crib figures, cuts for dolls and shadow pictures”.19 The advertisement indicates that in the second half of the 19th century the concept of toys was quite different from the one we know today. The boxes with telltale names were more intended for learning than for playing. And the prices were quite astronomical.

Fröbel’s toys and long lists of toys

Another tradesman from Ljubljana, A. J. Kraschovitz, had a shop called The Mail Pigeon in Main Square. His newspaper announcements provide detailed lists of Christmas and New Year presents. Among them were the following toys “Building blocks; services made of wood, porcelain, sheet metal; furniture and thousands of boxes. Babies and dolls: guns; water-powered machines; magical boxes; all Fröbel toys - crocheting exercises, sewing exercises, meshwork exercises, writing and drawing exercises, reading exercises etc. as well as games pertaining to them in a hundred different ways.”20

Friedrich Fröbel (1782-1852) was a famous German pedagogue and is considered to be the founder of kindergartens. In 1836 he established the first kindergarten in Blankenburg, at first as an “entertainment”. To assert his educational methods he also tried to introduce special toys. Unfortunately, he saw the Prussian government forbid the establishment of kindergartens before he died. But his ideas survived and also spread to Austrian territory. The first kindergarten in Slovenia, which was actually more of a shelter (that is what it was called) opened its doors in Ljubljana in 1834. The first municipal Slovene kindergarten was also established in Ljubljana, in 1885 (Pavlič 1991, p. 32, 51).

But much more rapidly than pedagogic enthusiasts managed to establish kindergartens, toys made according to Fröbel’s ideas reached the market. Industry and trade engaged in the business and there is no doubt that they carried more weight than educators and humanitarians. In a period marked by the vigorous development of capitalism, the latter had started to take care of the children of workers because they too were increasingly subjected to exploitation. Fröbel’s toys, however, were not sold with the intention of being used in kindergartens. The middle-class population considered them to be something new, and modern, perhaps also interesting and positively educational. Ljubljana probably did not lag behind a great deal compared to other towns. Carrying the author’s name, these new toys continued to be available for some years (as we can gather from their presence in advertisements) and for as long as the interest of the customers lasted. Later on, the next generation of children were already playing with them without knowing that they once carried the name of Friedrich Fröbel.

The expansion of the toy trade and advertising

In the 1870s and 1880s the toy industry expanded and the trade in toys increased. That competition was growing in the Slovene towns is also evident from the increasingly extensive advertisements. The lists with toys were getting longer and more and more exciting. The middle-class market was, of course, a known quantity: bought toys were common only within a limited group of rich middle-class children. Whether and how many of these toys ever reached the countryside is hard to say. But let us not forget that fashionable clothes, worn by middle-class people in the latter half of the 19th century, after a certain period ended up being given to maids and servants of peasant origin. Toys were, however, worn out much faster than clothes, and there was hardly anything left to be given away, even if the intention might have been there.

There is no doubt that the so-called Nuremberg articles were also sold at fairs, though judging from written memories mainly home-made toys, gingerbread and pottery featured at these events. Moreover, in Ljubljana as well as in other major towns, toys made of gingerbread, wood and pottery were sold. The trade in these articles was more or less confined to stalls and was not advertised in newspapers. The toy tradesmen in the towns faced strong competition from merchants based outside the territory of Slovenia, especially in Vienna. Some of these companies had businesses in Vienna as well as branch shops in Ljubljana.

One of them was Eduard Witte, who in his long list advertises the following toys: La Parisienne, accompanied by a cardboard sheet with children’s dresses, hats and appertaining make-up accessories; a set of furniture for dolls, woven from lacquered wire; various tool chests; a metallophone; trumpets; tin soldiers; magic lanterns; dominoes; boxes with household utensils; furniture; soldiers; towns; hunters; movable tin figures; various arms and sables; tiny objects for doll’s houses; from Fröbel’s kindergarten: educational games for children aged four to ten years, puzzles with English coloured and printed pictures and with Fröbel’s new reading game.21

One of his competitors was Peter Blau from Vienna, who sold by mail order “promptly and faithfully”: “For only 5 gld, twenty-seven pieces of the latest toys for boys and girls of every age, namely: 1 big singing doll; 1 mechanical dancing top; 1 clown with clappers - catches flies; 1 Indian, dances on a rope in national costume; 1 set of porcelain service for 6 persons; 1 orang-utan - knows 15 tricks; 1 shooting pistol; 1 big domino; 1 box full of toys; 1 cardboard with all animals; 1 regiment of the British Army in battle dress; 1 mechanical panorama of the world; 1 nightingale which can fly in the room; 1 completely new laughing machine; 1 magical flute with heavenly voices; 12 pieces of beautiful Christmas tree ornaments.”22 This is certainly one of the first advertisements of toys published in the Slovene language. Toys were available to both sexes: to girls especially the “singing dolls” and the porcelain service; to boys the guns and the English regiment of soldiers. The majority of the remaining toys were mechanical, which proves that they were highly fashionable at the time. Blau’s remark that his toys were for children of all ages was quite correct since adults have always shown a special interest in mechanical toys.

Throughout the month of December 1875 Andreas Schreyer who, judging from the newspaper advertisements, had two shops at the time - in Dunajska and in Špitalski Street - fervently advertised quite similar articles. The advertisements were simultaneously published in the German Laibacher Zeitung and in the new Slovenski narod. The advertisement in Slovene read as follows:

On St Nicholas’s and Christmas Day

Let the children be gay!

I offer them toys and every possible game

For Andreas Schreyer is my name.

Dolls, dressed in a shirt or fully clad,

And some even cry for mum and dad.

Wind-up pets, the darling bunnies are a must,

Black metal hearths and kitchens you can trust.

Horses and cows, dogs and donkeys,

Elephants and snakes and funny monkeys.

Cats and tigers, lions and sheep,

Birds and peacocks, cocks which leap,

Horns, fiddles, guitars and drums to play,

Shakoes and sables, guns and soldiers in array,

Trumpets, fifes and flutes, we have them all,

Mouth-organs and accordeons, big and small,

Christmas cribs, theatres and children’s schools,

Railways, locomotives, cars and tools,

Noah’s ark and carts to pull,

Shops with merchandise full,

Beds and cradles, chests and wardrobes,

Pious and funny picture-books, the latest globes,

Flying angels and presents with no end,

To your attention we recommend.22a

Such promises were enough to make every child’s mouth water, but the advertisement published at the same time in German was even more detailed. Advertised are “the latest dolls with porcelain and wax heads, with the latest haircuts, also with long plaits. Magnetic animals, cats which can meow, guns made of brass and wood, sewing and embroidering sets and many other Fröbel toys, wickerwork prams with babies, leather horses for driving around and riding, racing railway wagons, velocipedes, coaches, water-powered toys, etc.”23 All these articles were advertised in verse. The advertisement was fifty-two lines long.

These lists and summaries indicate that there had to be a considerable number of customers in Ljubljana, mainly belonging to the middle-classes, who were familiar with the development of toys in Western Europe. Fröbel’s toys were, in fact, among the first, if not the very first, to feature the author’s name in advertisements. That the shops used the name indicates that they were aware of what was new and modern, and that they knew the general level of awareness of their customers or such advertisements would not have had the appropriate effect. After all, at that time dolls were already made in factories or bigger workshops, and were known by the name of the factory’s owner or the manufacturer’s name. Nevertheless, in Slovenia their names do not appear in advertisements. For quite some item it was considered enough to mention from which country a toy was imported.

The advertisements do not provide us with information on the countries of origin, but we may assume that the majority were imported from Germany or Austria. One announcement in a newspaper nevertheless tells us that there were also “original French toys available, which can be ordered cash on delivery from Vienna.” The list contains: “1 Paris varieté - theatre, very funny and ornamented; 1 magical box in which a Pasha is caught trying to escape from it; 1 St Nicholas, appropriate for St Nicholas’s Day; 1 piano or 1 recently invented metallophone; 1 Chinaman, mechanical, who is always smiling and makes you merry; 1 Japanese kiosk, artistic item, with a moving and singing humming-bird in it; 1 Bajazzo, does the nicest things in a artistic way; 1 forest devil who shows his tongue when told to; 1 doll in a pram, dressed elegantly, moves when the pram is moved about, kicks and yells; 1 Old-Roman horse-drawn cart.”24

There is no reason to doubt the French origin of these toys since other shops list the same mechanical toys. In 18th century France a manufacturer of automatons had become quite famous. His name was Vaucanson and his toys, and those of his imitators and successors, were very popular at the royal court and in general among the higher classes. The automatons of the following century were simpler; they quickly spread among the middle classes and, moreover, were meant for children to play with and not for the amusement of adults. The first boom in the production of toys of this kind occurred in Germany in the late 19th century, when production techniques had changed to such a degree that toys could be produced in large quantities. Automatons were powered in different ways, using pressurised air, water, sand, quicksilver or steam (Curtis 1992, p. 44).

As with other products meant for the entertainment of children and adults, Ljubljana was quite familiar with all the new developments, though the market for this kind of expensive toy was probably very limited. As early as the 1880s Ljubljana tradesmen prepared exhibitions running up to the Christmas holidays. An observer reports on the major toyshops in an extensive article in Laibacher Zeitung: Ferdinand M. Schmitt, L. Pirker, Witte, Wildner and their choice of goods. The article does not mention Schreyer, whose shop had closed down by that time. In mid-1873 he had indeed sold his bankrupt’s assets from the shop in Špital Street and his name no longer appeared in the following after.25 But there were others to take his place because there were increasingly more toys as well as manufacturers and tradesmen.

Sporting goods, domestic manufacturers of metal toys, parlour games

In 1850 a newspaper heading “For skaters” offered season-tickets for the skating rink at the foot of Tivoli castle for 1.30 gld (adults) and 1 gld (children). Skates were sold by shops containing fancy articles, Nuremberg toys and hardware. A reporter writes on a Christmas exhibition in 1883 that “boys will delight in one of the nicest possible presents - a pair of skates. They are offered by Albin Slitscher (in Slovenski narod the name is written Sličer) in Dunajski Street and by N. Hoffmann in the shop “Pri rotovžu”. A pair of skates was not cheap, costing from 1.50 gld 3.50 gld. And, obviously, girls had not been initiated into the sport yet.26

Quite some time had to pass before other sporting goods appeared on the market. A. Krisper, the successor of the first merchant, who was the pioneer of the toy trade in Ljubljana and who died in 1865, did not address his honourable customers that often in advertisements in the 19th century and selling toys was probably not his main line of business. In 1902, however, he published during the days running up to Easter the following advertisement “A. Krisper recommends his genuine English and American rackets, balls, tennis shoes and other footwear for ball games.”27 Judging from this advertisement tennis must have spread to some extent, as well as other ball games, probably football.

In the 1880s advertisements for special playthings - toy kitchen vessels and other kitchen utensils - were joined by shops carrying fancy articles, and especially by craftsmen and metalworkers. Kitchen furniture was mainly sold in shops, was undoubtedly imported, and belonged to those toys which in Germany were used to furnish the famous doll houses which were manufactured as early as the 17th century. In the advertisements of local 19th-century tradesmen we were not able to find any offers of such houses, at least not under that name, but every major list of toys also included various kitchen sets, furniture etc.; in short, all those things required to furnish doll houses. These toy houses were among the most expensive items.

In Germany and Austria doll-house furnishings were single-item products made to order. The production of this kind of toy increased only after 1840, but the manufacture of individual objects was still a very meticulous job. To furnish just one luxurious doll house, several specialised craftsmen were involved: silver-smiths, joiners, tin-smiths, copper-smiths, upholsterers, intarsia-makers, potters, porcelain-makers, etc. (Bayer 1978). That so many different craftsmen were included in making one (complex) toy was, in the previous century, due to the guild regulations, and afterwards to the specialised skills required. Such detailed diversified specialisation, of course, did not occur in manufacture and sales in Slovenia since the market was far too small. We may assume that the children of the aristocracy and wealthy middle classes (wholesale dealers, lawyers, physicians, factory owners) had to rely on shopping abroad, and toys of this type were also among the most prestigious ones.

The needs of domestic children were met by individual pieces of furniture for rooms and kitchens, services, kitchen utensils and the like. In 1880 the following advertisement was published: “For St Nicholas’s Day tinsmith Josef Stadler of Old Square offers you metal toys while stocks last: - kitchen and household utensils, stoves, hearths, arms and merry-go-rounds, tin figures, railways, and various instruments, armoury items at reasonable prices.”28 Towards the end of the 19th century children could already possess quite a wide range of bought toys. Their descriptions sound familiar to everybody who was still in his playing years in the first half of this century. Judging from their information the toys did not differ much. At about the same time a metalworker from 18 Slonova Street advertised his clearance sale: “For the coming feast of Corpus Christi we offer church lights and candlesticks, and also collecting-boxes. For all housekeepers and cooks who want to buy in kitchen utensils, we recommend ourselves. We sell cupboards and also other tinsmith products and toys at fair prices.”29 This craftsman and tradesman, who probably also sold his own products, adds toys at the end, though the time (after Confirmation) was not the best time to sell them.

The same period saw a boom in publishing and books sales. Year after year the newspapers were full of advertisements for books. In the December period we find a variety of lists with titles of children’s books full of practical wisdom. Among them are ABC books and readers, books with stories and tales, and also “picture books with movable figures.”30

The main publishing house and printer was Ign. v. Kleinmayr & Fedor Bamberg (Andrejka 1934, p. 186), but Johann (Janez) Giontini also continued to play a major role. All bookshops supplied the market thoroughly with “parlour games”. Especially popular among adults were various lotteries which were organised in many societies (e.g. in shooting clubs), but also in private salons. Business with lottery prizes flourished, as did sales of various cardboard sheets with different figures to be cut out.

Educational toys

In the early 1880s a large toy factory in Vienna offered its articles divided into four groups: 1. For little girls: nicely dressed dolls; a box with kitchen utensils; a swimming doll in a bath tub; a metal stove; a miniature piano; Fröbel’s educational games; a wonder-bird; a wonderful book; a bank; a wonderful leather purse; an embroidered hand bag; a coffee grinder; a mechanical cobbler; an oriental colour play; a musical balloon; a porcelain coffee service; exercises in embroidery. 2. For bigger girls: a drawing-room with furniture; very nice sewing accessories; work lessons; a porcelain service; a tiny sewing machine; dressed dolls; a set for dolls; a writing map; toys to occupy children; illustrated books with tales; a basket with working accessories; a miniature tableware; a lottery with prizes; a flying bird; an elegantly dressed doll; a sideboard with various objects; funny objects - free; a cardboard box with wonderful ornaments for a Christmas tree. 3. For boys: a velocipede; a mechanical theatre; a wonder nightingale; a box with metal horses; an air gun; a Swiss box with building blocks (Baukasten); a box of infantry soldiers; a box of horsemen; a musical circle; wonderful puzzles; dominoes; a lottery; a harmonica; a metal railway. 4. For older boys: a theatre with figures and ornaments; a magic lantern (fun for young and old) (!); a box with various wonderful devices; luxurious building blocks; a patience game; a nice school bag; a penholder with school accessories; a metal piano (new musical instrument); a world atlas; drawing lessons; a box with colour pencils; a child’s pocket watch with a variety of functions; a board game; a funny head which laughs and cries; a jumping frog on a string; funny items - free; a cardboard box with wonderful ornaments and little candles for a Christmas tree.31

The list of toys for girls and boys divided into categories for each sex tells us by the mere differences in prices, that most of the toys were educational ones - or perhaps things were listed as toys which children nowadays consider to be school accessories, e.g. school bags and penholders. Fröbel’s toys meant for girls were similar to those listed by A. Schreyer and Kraschowitz. The 1870s and 1880s were certainly highly influenced by Fröbel, at first because his toys continued to spread but later in the first Slovene kindergartens. The word Kindergarten was translated into the Slovene vrtec (little garden) immediately after the expression was introduced from the German-speaking countries (in the Anglo-Saxon countries the German word was adopted.)

The reference to a swimming doll in a bath tub has quite a modern ring, but a more detailed description would be required to make it a predecessor of the present-day rubber toys meant for playing in water. However, as early as the late 1880s advertisements were already appearing in Ljubljana newspapers of “various rubber dolls and other toys”. And the shop of F. Bilina & Kasch in 1 Židovska Steza even claimed to have the “largest choice of undressed, unbreakable and washable dolls.”32

Building stones and blocks

Among the objects in the Viennese factory’s list is also a Swiss box with building blocks (Baukasten). It is generally held that playing with stacking or building blocks is of quite ancient origin, but this is not true. From the mid-18th century onwards Ljubljana shops published among their advertisements of toys so-called building stones (boxes with building stones), without any reference to the material they were made of or to their manufacturer. The first credible reference to this kind of toy is the building games (Bauspiele) in J. Giontini’s advertisement from 1850, but it is hard to establish what they were like. Twenty years later, in 1870, Kraschowitz was selling “building stones”. Similar toys may have been included in the numerous “toy chests”, offered as packages by nearly all tradesmen up to the end of the 19th century and beyond.

Games consisting of building blocks or similar items were not appreciated prior to the mid-19th century because they were probably not considered to be sufficiently educational, didactic or, in short, useful. It was only after Friedrich Fröbel, just before the middle of the century, developed his theory that the sense of discipline and creativity of little children could be accelerated and developed through playing with ordinary blocks, and after children started to be treated as children and not little adults, that games originated which did not literally copy the occupations of adults.

It was at that point that building and stapling blocks started their conquest of the world. At first they were made of wood, were unstable and collapsed easily. Later, blocks were made of artificial stone and were, in fact, invented by the Lillienthal brothers, who later became even more famous as pioneer fliers. As their flying experiments cost them a small fortune, they sold their invention to Dr. Richter, the owner of the Anker factory, for a mere one thousand German marks. Within a short period of time around 1878 boxes with building blocks named Anker (or Anchor in English-speaking countries) started their conquest of the world (Dr. Richter’s Anchor Building Blocks, the word anchor no doubt referring to the fact that the blocks could be “anchored”). Richter was a master of advertising and just before the end of the century spent an unprecedented amount of money on advertising - no less than two million marks.

A few years after their appearance in Germany building blocks also reached the market here. The factory mailed them to customers. Presentation on the market was given considerable attention, as can be seen from the fact that there were many advertisements and that they were illustrated with drawings of children building something very similar to a castle. Richter immediately introduced fixed prices and made sure that the production of new boxes of blocks continued-blocks which could be combined with the old ones. “It is generally known that Richter’s anchor building blocks are among children’s favourite games and means to occupy themselves. They are appropriate presents and have won many awards, the most recent one being the gold medal at the Paris World Exhibition. By buying a box with bridges you can now complete your boxes systematically: with old and new boxes of blocks you can build railway bridges with fantastic stone piers. Anchor’s boxes with building blocks are available from 0.75 to 10 crowns; Anchor boxes with bridges from 3 crowns and more. Available in all toyshops. Make sure that the box has the Anchor sign; if not, please return it.”33

When Richter, the owner and pioneer of anchor blocks, died in 1910, production and sales had reached a peak. Later, new competitors joined the market (Matador, Märklin, etc.) and in 1931 the biggest Anker factory in Vienna was closed down. Building blocks as children’s toys had become so popular that they were copied and were also made by other manufacturers. By then they were certainly available in Slovene shops and no longer had to be ordered by mail. The same factory, the “First Austro-Hungarian Imperial and Royal Private Factory of Building Blocks”, also offered so-called “games to learn patience”, among them the indestructible ludo (Mensch ärgere dich nicht). The Anker factory in Rudolfstadt (then East Germany) survived until 1963. The 400 or so different articles produced by the factory during its 85 years of existence have become collectible objects (Bruckmann 1987, p. 199).





THE FIRST HALF OF THE TWENTIETH CENTURY: PARENTS FROM ALL CLASSES BECOME AWARE THAT CHILDREN NEED TOYS


Pictorial sources

Ivan Vavpotič, Saša Šantel, Maksim Gaspari

From the early 20th century pictures of toys were still mainly to be found in portraits of children of the middle classes. The toys which appear in these paintings are not there to emphasise the person’s affluence, as was characteristic of the 19th century, but they are merely attributes which designate a child. The same difference exists in the first decades of the century between paintings and photographs. The person commissioning a painted portrait did not have to worry about expensive accessories to prove his wealth. The toys which appeared in paintings were thus not prestigious objects but functional ones, though we do not know for sure whether they actually belonged to the children in the paintings or whether they were part of the painter’s concept.

Ivan Vavpotič painted many portraits of middle-class people. His Child with Jumping Jack dates from 1905 and Boy in Garden from 1922. The jumping jack in the first painting is dressed in a striped clown’s uniform, has a painted face and may be made either of papier-mâché or wood. In the portrait of the boy, toys are arranged over the entire scene: the boy is holding a hoop in one hand and in the other a stick to drive it. In the background are a bucket and a sailing ship lying on its side and at the other end stands a jumping jack. Clown are toys which, in different forms, appear in the 18th and especially 19th centuries. They were popular as moving automatons (as we are informed by newspaper advertisements-see the chapter on toyshops and advertising), but also as wooden clowns, which were sold as Nuremberg wooden toys in the widest possible variety. The jumping jack in Vavpotič’s painting is a soft toy, like those which were made at home. These characters have disappeared from the arsenal of toys only in the last few decades. A very interesting toy in Vavpotič’s portrait of the boy is the ordinary hoop which was driven by a stick. Quite some time has passed since this toy became obsolete; nobody has played with it since after the Second World War.34 It was the kind of game which stimulated speed and motion. When children got used to their tricycles, scooters and bicycles there was no fun in running behind a hoop. Another portrait of a girl from the same period is Dušan’s Daughter by Saša Šantel (1914). The girl in the painting is holding a doll in her lap. Since the painter was portraying his own daughter there is no doubt that the doll she is holding in her arms is her own toy. It is hard to judge from the painting what the doll is made of.

The toys put in the hands of peasant children by painter Maksim Gaspari are quite similar. The girls are usually holding dolls in their hands. The way these dolls hang over a chair or a toy pram indicates that they were made of rags. Their prams are also simple, home-made products, though as Gaspari was depicting so-called peasant life, it is hard to believe that every girl in the countryside had her own nicely-made doll. Reminiscences from regions in Koroška which we mentioned earlier (see the chapter on peasant toys) prove that this must have been rather the exception, and that it is more likely that the painter was using his knowledge of his own town environment and adapting it to the peasant scenes. Toys representative of the 19th century and the first third of the 20th century are dolls, horses on wheels and prams. And perhaps these were also the most common toys countryside and town children played with. The major difference between the toys of either group was, of course, related to where they were made or where they were bought.

In the last quarter of the 19th century, and especially in the early 20th century, portrait photographs became common. Within a relatively short period photography became so cheap that it was increasingly accessible to the less prosperous. The backgrounds in a photographic studio were as deliberate as if the portrayed person were posing for a painter. The illusion can be perfect in photographs. The person watching the camera can be turned into anything he or she wants to be. In these early photographs we usually see an earnest and benevolent head of the family, an exemplary mother, and children who are their parents’ pride and joy. And they all usually look a bit frightened by the technical novelty on the whole thing. On occasions worth being preserved for posterity, children were set in an imaginary environment of luxury, and toys were added to make the scene perfect. These pictures are, however, misleading since we do not know to whom the toys actually belonged: to the photographer or to the children in the portrait. Nevertheless, they provide us with useful information because the toys in the pictures had to be modern, popular and something the children would be proud to possess.

Toy pails and shovels were town toys and were probably not used by children before the last third of the 19th century. When, in the Biedermeier period, the middle classes expanded and resolutely engaged in embellishing their gardens, the ladies took to artistically-wrought tools to occasionally rummage around in the soil around their decorative plants. It was not a long way from here to the transformation of these tools into toys. In the countryside the children certainly used domestic tools to rummage around in the ground, as did (according to the memories of his cousin) little Baraga who, with his little home-made sickle, dug out holes to put seeds in.35 In the increasingly numerous town parks and sand-pits, pails, shovels and little rakes also became more important toys.


Memories and literature

Lavo Čermelj, France Brenk, Vida Jeraj Hribar

The memories of writers who belonged to the masses of playing children in the early 20th century are now more frequent. Through them we learn about the toys they had access to and also about those they wanted but could not have. They often dwell on things they remember longing for. Especially interesting are the descriptions of toys which were, in a way, replacements for those they could only watch from a distance and which they copied using their imagination.

Lavo Čermelj, the scientist and the writer, writes on boys’ games and toys which, for the lack of “purchasable” toys, were made by the children themselves. He was born in Trieste of a poor Slovene family and in a house which would today be in the downtown area of the city, in Via 20 Settembre. He was old enough to play when the new century began. “The order of the day was the usual children’s games: hiding, bandits, marbles and the like. Because of the lack of coins I developed a passion to play the old coin game with feathers. On our way to school we frequently stopped and my mother often had to come and fetch me, and my right hand was often cracked from the cold and from flicking the pens”. Boys must have been mad about the pen game, and playing it was some kind of hazard to them.

At the same time another world opened up, Lavo, which was again based on the children’s imagination: “At home, me and my brother created a world of our own. The centre of our games were “structures” made after printed coloured models, cut-out and glued together: castles, churches and other buildings as well as soldiers, hunters, domestic and wild animals, glued on to cardboard. Because gum arabic was too expensive, we made glue from water and flour. And every morning, as soon as we woke up, we saw that the mice had gnawed our castles and armies. A special delight was making trains. We made the carrying platforms and flush walls of the locomotives and wagons from little planks, the curved surfaces and chimneys from cardboard, andfor the wheels we used cotton reels. The freight consisted of boxes of various sizes which we cut from thick paper and folded.” (Čermelj 1969, p. 17).

France Brenk spent his childhood in Dravlje, then still a village near Ljubljana, around 1910. “For as long as my memory goes back we children used to play on the green meadow under the pear tree, on boards and in the courtyard, strewn with reddish white gravel from Peska near Podutik. We transported it in the wheel-barrow every father’s apprentice had to make and made little heaps.” (Brenk 1982, p. 8). Again, in the families of craftsmen (in this case joiners), there were not many toys like those to be seen in a town’s shop-window. Their children made good use of the tools of the adults and used them for their own purposes-if they were given some free time to play. In the countryside the problem was never to find things to play with, toys which by their appeariance could be something quite different; the only problem was time. Peasant children were usually made to work earlier then their town contemporaries (children of craftsmen and workers) and they had to steal time to be able to play.

It might be amusing to mention how Ivan Cankar got involved in toys. Vida Jeraj Hribar, a violinist and daughter of the well-known Slovene poet, spent her childhood in Vienna before the Second World War. Among the family’s frequent guests was the writer Ivan Cankar. “I had toys, a little sewing machine and begged Cankar to make me a dress for my doll. It was very easy for him since his father was a tailor. But that was something I did not know then and it was just gorgeous.” (Jeraj Hribar 1992, p. 19).

Peasant toys: reminiscences from Carinthia

Many people, of course, remember their childhood in the early 20th century, and even more the period after the First World War. Their memories are as fresh as if they were from yesterday. This confirms how deeply in one’s memory events from one’s childhood are anchored. Most of the memories mentioned here, and even more so the newspaper advertisements and announcements, have led us through the world of “bought” toys, more or less accessible to children in towns and even then only to those from the higher classes. Children from a peasant or workers’ background could not afford such toys and tried to copy them. A nice example of stories on such home-made toys are the memories of Carinthian Slovenes collected by a group of ethnologists headed by Marija Makarovič. They have been published in Klagenfurt/Celovec since 1993. Many of these narrators or recorders begin their story with their own childhood and often recollect toys and games, or at least the things they used to play with. In this aspect they do not differ in the least from children born a hundred years before them.

“We had no toys. Boys used pips instead of marbles and girls played their own games with them. For the old coin game we used pebbles instead of coins and played it while pasturing the cows... We were so skilful at the game that we were at it all the time, the grass was trodden all over and our hands were cracked. While playing we completely forgot about the cows. On the pasturing grounds the boys made animals out of bark. Mostly they were cows or horses, but when they found a piece of very thick bark they even managed to make an animal with four legs... While pasturing cows the boys also made mills and put them in the water so that they turned around.”36 “Our late granny made us dolls. She took a rag, folded it several times and drew a stocking or some other rag over it. Me and my sister each had our own doll. One we called Neža, the other one Urša.37 The instructions for making a rag doll are as simple as that and there is no reason not to believe them since that was the way it had “always” been done. The presents the children were given were similar to those given to Jernej Andrejka and to children of the same age in the mid-19th century: “When there was a fair, I stood at the fairground and waited for my godfather. He gave me a six-kreuzer coin and I bought some sweets. When I was confirmed I got a hat and a small bag of gingerbread.”38

Toys were precious and rare. Given present-day notions it is almost incredible how mature these children who had no toys were. To them it was quite clear that they would never have access to the wealth of toys exhibited at a fair’s stalls or in town shops. Their only toys were those they could make themselves. “We just played with what we made ourselves; we made oxen out of bark. There were also shepherds who knew how to make cows and oxen out of bark.”39 And elsewhere: “Our dolls were made of rags. Adults made us wooden toys, mostly domestic animals. We children drove pegs in the ground in a circle and put our sheep, horses and oxen in this paddock. My schoolmate knew how to make a horse from bark.”40 Girls made dolls from rags and from “Turkish feathers” - maize leaves. “And we also had a cardboard box for a bed. If you wanted to drag it around, you had to attach a piece of yarn to it.”41 They also played with “glass marbles, a real luxury. When I was fifteen years old it was still my favourite game; later there was no time because I went to work in the presbytery.”42

Reminiscences from various Slovene provinces

Glass balls, buttons, dolls, pebbles, pens - all these items recur in children’s games played by boys and girls from the 19th century onwards. These games were known in the countryside as well as in the towns and the only difference was that different things were used. Pens were used as toys by town children in the late 19th century (see Mlakar and Čermelj), where they needed them at school, but their price was high enough to make them into a real prize in a game of chance. The same happened to buttons in the mid-19th century (see Jernej Andrejka), but buttons were still precious material in the villages of Bela Krajina in the period leading up to the Second World War. “We also played with buttons. We cut them off clothes and were punished when we were caught at it.”43

The scenes of children playing in the countryside in the 20th century do not differ much in the various Slovene provinces. Time to play depended on the farming jobs. Only when everything was done could children take to their toys. The rare “bought” toys actually had no effect on the seasonal cycle of games, since peasant children depended more than town children on the time of the year and the farming jobs. If they were at all given presents in the form of bought toys, it was an exception. Dolls were the toys girls played with in all Slovene provinces, and in the countryside they made them themselves or they were made by skilful adults. “‘We made “Micka’ ourselves from rags but it was a hard time even for rags. In 1934 father came for a visit from Canada and brought with him a doll and a cradle for it. It was a magnificent doll, but unfortunately an accident happened. The parish priest’s horse stepped out of the stable and trod on the doll. I never again had a doll like that.”44

In many places there were skilful and willing adults who, perhaps for their own amusement, but also for payment, made toys. In the early 1930s and before St Nicholas’s Day an article was published in Jutro in which a journalist described Mama Vidic and her dolls: “She is known all over Zagorje, but also in the villages scattered on the hillsides which she has hiked with her wicker basket. Children had made her basket into something from heaven because it contained a whole stock of the most beautiful dolls Mama Vidic had made... The children kneeled in front of her and begged her so kindly that she gave away the colourful dolls and there was no end to the joy of the children. Their mothers weren’t stingy either and would always find a sausage, an egg or a handful of flour for Mama Vidic in the pantry. Come summer, children would start to bring Mama Vidic pieces of cloth and beg her to make dolls. And she made such lovely ones, they matched any doll from a shop-window. Their underclothes were like real ones with shining lace, stockings, and garters. The dresses were like a rainbow set with flowers. Ordinary dolls had heads made of rags covered with colourful scarves, and if someone wanted something better, he had to buy a celluloid head. But that was all.. Mama Vidic also made the most beautiful pillows, caps and even made-to-measure beds.”45 The reference to payment in kind reminds us that nothing much had changed in a hundred years. Alesevec’s mother paid for her son’s cut-out flute with a piece of bread.

In Primorska the life of children in the 1930s was the same as elsewhere. In a book written by D. Jakomin we read: “Girls usually played with pebbles or with dolls they made themselves; they were dolls made of rags and stuffed with hay or straw...Girls also used to search moraines for stones that would have the shape of a doll. When they found one, they drew a face on and sewed the necessary clothes. And then they nurse them the way dolls are nursed.” (Jakomin 1996, p. 93). Home-made dolls were also common in the environs of Gornji Grad before the end of the Second World War: “We children had homemade dolls but only for a short while until they fell apart, and then we made new ones. That dolls would be bought for us was something we did not even dare think. Boys played with things they found around the house, with nails or glass.”46

These memories of a girl who spent her childhood in Raka (Dolenjska) date from 1950s: “I didn’t have any bought toys-my grandfather made me everything I had. I had an ordinary wooden cart and a open-frame cart. Grandfather most of all enjoyed making whistles which he carved out of wood in the form of a bird and we poured water in them.”47 How exceptional it was for peasant children to have toys even in the second half of this century is demonstrated by a story from a Haloze village. Towards the end of the 1960s the family’s father, who was working in Germany, came home for a visit. Though he had daughters, he did not bring them dolls but dominoes. His three children invited their friends and they started to play the game. But not knowing the rules of the game, they played it as if driving a train: they placed the dominoes in a line and pushed them around on the table. These dominoes made them quite important in their home village.48

One game which did not require any toys was roaming about. In his book Birds Without a Nest Fran Milčinski “documents” how much town children enjoyed wandering about. And they had the time for it. “Compared with peasant children the children of workers had a lot of free time because they had much less chores at home than children in the countryside” (Kremenšek 1970, p. 32). Of course, this is true only of the 20th century. Referring to the place and time, researched by Slavko Kremenšek, these children were in fact from a suburb of Ljubljana called Zelena Jama, but the “pastime” he mentions was also familiar to Janko Mlakar, who a few decades earlier lived near the Ljubljanica River in the old part of Ljubljana. The memories of a girl who was born in Metlika but moved to the Ljubljana suburb close to the tobacco factory while she was still an infant are quite pleasant: “At that time fields and farms still stretched out up to Gradaščica (a brook) and here we chased each other and roamed about all day long. We didn’t need any toys. The only toys I can think of were balls.”49

By the 20th century balls had become an exciting and common toy in towns and villages alike. In Primorska, children made wooden balls and played petanque with them in the 1920s and 30s (Jakomin 1996, p. 94). In Bela Krajina children helped themselves to toys as they did to home-made dolls. Girls made their balls from rags as well. These balls, of course, did not last long, but then they were often new. Balls were actually objects which underwent an extraordinary development - almost a change of identity. From toys meant primarily for children (or adults) of the higher classes and, as such, made from better quality materials, they spread to all classes, especially as sporting goods. In the 20th century the use of all kinds of balls became universal.

In certain environments in Slovenia balls were genuine status symbols among boys. They were expensive toys as well as sporting goods. To have a ball as a toy in the 1950s still meant the fulfilment of a dream for many boys in the countryside as well as the towns. In an unmistakable way balls achieved the value of prestigious objects imported from the West. The materials used to make balls were new, less expensive and in general more readily accessible, but nevertheless hard to come by for the inhabitants of most places in Slovenia. But the imagination of children knows no limits: “In the mid-1950s there were already rubber balls from Borovo. But only the bladders-the rest we had to make ourselves. I sewed the outside coat of my ball with hard, rubberised fabric cloth. My father brought home scraps of this material, which was used to make large umbrellas for market peddlers, from the factory where he worked. It was a painstaking job but I somehow managed. When the outside cover was ready, I inserted the bladder, inflated it and then I was “tops” on the playground in Logatec. A ball was the only thing that could give a boy self-confidence, a ball which lasted for some time. All other balls, which were probably also made at home, were of poor quality and got torn quickly.”50

An illustration of what children’s most common playthings were like before the beginning of the Second World War is the list of toys the daughter (born in 1932) of an insurance agent from Radovljica played with and which she refers to in her memories: a rubber ball, diameter 11 cm; a wooden bank in the form of a ball on a base; a trumpet and a celluloid windrose; a swinging painted metal stick; a wooden, decorated and hollow Easter egg; two dolls, one of rubber which squeaked, about 20 cm high, and another made of celluloid which had been bought in Ljubljana on a special occasion; a puppy made of cloth, stuffed with shavings; a rubber squirrel; a metal cock, a whistle; a painted plaster rabbit; the picture-book My Pets, published by Schwentner; a stove, kitchen utensils and an iron, all miniature and made of white-and-blue enamelled sheet metal. Some of these toys were given to her by relatives, mainly her aunts, for major feasts like Easter and St Nicholas’s Day, or for her birthday. All these toys, of course, were not bought at once but in the course of ten years, which means that this was about the period adults were dedicated to children and during which children were entitled to toys and to time to play.51

The memories of a resident of Škofja Loka who was born ten years later are also of interest. Within a period of some ten years he had the following toys: a jumping jack made of rags by a tailor, handed down to him by his older sisters; a tricycle, made by a well-known smith; two scooters, one made by a smith the other manufactured by the Elan factory; a handed-down wheelbarrow; a ball with a bladder (one of the most prominent toys since they were not to be had at that time); pre-war glass marbles; a box with big wooden blocks; a little ship and a toy road-roller; Ludo; a toy gun made by a well-known hunter, who also made them for other boys. The boy was fortunate because, in a period when there was a general shortage of toys, he was handed down the toys of his older sisters and his uncle, who had gone to live on his own while very young. In addition to these toys, which were mainly bought, he was very fond of ordinary cardboard boxes, which (like Baraga did with foot-stools) he dragged around the kitchen tied together with a string. In his childhood he also played a great deal with toys made of cardboard. Children usually drew themselves various figures and cut them out of cardboard.52 For the children born after the Second World War the choice of toys was much more extensive than before. Toys became much more subject to changes in fashion and altered rapidly. If children now were to make lists of all the toys they ever had, the lists would be at least as long as the newspaper advertisements.


Shop and advertising

Prams and skates

In spite of all other toys known by this time, Nuremberg wooden toys still dominated. About 1900 the use of prams increased or became fashionable, though not as toys but as means of transportation for babies. The middle-classes could rely on imports from Austrian factories and wickerwork workshops. Catalogues from this period show a wide range of very different wickerwork products. Quite a number of photographs show that prams for babies were also used in small Slovene towns and market-places, perhaps even in villages. They were, of course, primarily used in the families of civil servants, merchants and teachers, but also among prosperous peasants.

Before the end of the century Obreza the upholsterer of Šelenburg Street in Ljubljana advertised that he had “the richest choice of elegant and solid prams, from 6 gld to 25 gld.”53 These prices must have been quite exorbitant at the time and only the wealthiest people could afford to buy them. We may therefore assume that prams were prestigious articles and status symbols in much the same way toys once used to be. But we should not forget that a pram’s “career” often ended at a place quite different from the one it was bought; when it had done its service to a lady, it was moved - if still useful - to the peasant home of her maid. In the countryside we still find remains of wickerwork prams, some without chassis or with home-made wheels, but which still feature their original artistically-wrought handles. Prams were available in several shops in Ljubljana after 1900.

In Novo Mesto the same toys were advertised as in the capital, for instance for St Nicholas’s Day. “The richest choice of big, charming dolls. Also all kinds of New Year presents...”54 or “A rich choice of all kinds of toys, lovely dolls, toy horses, jumping jacks, railway sets, etc.”55 There must also have been a considerable demand for skates since “skates of every kind and system” were sold in hardware shops and also in shops selling toys and fancy articles.

Before the beginning of the First World War

After the turn of the century there are fewer and fewer full-page advertisements with lists of toys paid for by big toyshops, and the same happened to lists with unusual description of even more unusual toys. In newspapers published in Slovene one sometimes observes that efforts were made to make to the description of a toy match the original German text and to make it as informative as possible. At the time they were published, such descriptions must have excited the interest of contemporary readers (potential buyers) as much as they would present-day readers.

To conclude a period in which toys became full-grown commodities and offered a range of articles that attracted the interest even of people who could afford only to read about them, let us have a look at an advertisement published by the “H. Auer Christian Company in Vienna” four years before the outbreak of the First World War. Again, a major effort was made to translate the German descriptions properly. For boys a total of thirty-three toys is listed, at a price of 9.50 crowns, and among these the price of a “steam machine with safety valve which powers the models” was three crowns. For girls the list contains no less than forty-four toys at the same price. The “Swiss building box with wooden building blocks” continues the line of Fröbel educational toys, and is appropriate for girls and boys. For both sexes there is also a “a wind-up gilded watch”; “cardboard boxes of cattle at pasture”; “boxes with farms”; “dominoes in wooden box”; and “books with colour pictures”. The set for boys contains “Viennese a horse-drawn road sweeper, moves on its own”; “metal flying dragon, movable; “crane, movable with wind machine”. Girls, too, had a selection of mechanical metal toys :“metal bird-cage with eating and moving bird”; and also “funny metal photographic apparatus”, “children’s gramophone which plays” and “motorised aeroplane - Zeppelin, flies on a string”.

Boys could also be treated to a “shooting-gun”, a surprising article since it was the only military toy in the list. Girls might be given a “38-cm-high giant talking doll with sleeping eyes, sits and stands, washable, says papa and mama”. Or: “Big room for dolls, exquisitely decorated”; “complete room furniture for dolls, polished”; and “kitchen set with wooden and metal vessels and metal hearth”. This list from a Viennese merchant shows that the toy industry in Europe was abreast of technical developments and the latest inventions. It is, of course, hard to establish what the sales of these toys in Slovenia amounted to. However, it is certain that customers were at least informed through advertisements. Except for dolls which continued to be among the most durable and certainly most desirable toys, there was an increasing number of moving metal toys. A second wave of moving toys was to follow much later, after the Second World War, when the world market was flooded with cheap wind-up toys from Asia.

In the new state after the First World War

Though they were the principal consumers, children probably were not aware of any special changes related to toys when the First World War ended and Slovenia became part of the new state of Yugoslavia. More information might be provided by the tradesmen who restarted their toy selling businesses. A major difference was that toys were now imported from other countries as well, and not only from Austria and Germany. In Ljubljana Anton Krisper still had a shop opposite City Hall, and Ferdinand Melchior Schmitt had one near the bishop’s residence. They were only two of the major shops offering “Nuremberg toys” which had already been around in the 19th century. In 1912 Ivan Podboj was registered as “tradesman in knick-knacks and toys” at 101 St Peter Street (Lapajne 1912). The stamp “Ivan Podboj, toy manufacturer, Sv. Petra 98” was still in use before the beginning of the Second World War. Sources from 1922 refer to a “Slavko Henč, factory of toys and wooden objects in Zagreb”, who advertised “miniature furniture, enamelled and polished, trams, automobiles, trolleys, prams, skittles and balls.”56

In the same year a new “factory of flying toys and other novelties” called Icarus started its business in Ljubljana. The factory prided itself on “manufacturing all kinds of the newest toys and fancy articles. These toys are completely new on our market and some even abroad.”57 Tradesman Karl Wörsch advertised his products as “Dolls from the First Yugoslav Toy Factory in Maribor”. But business was not all that good, for: “due to suspension of business, clearance sales of all felt and plush toys, dolls and the like, and of a number of rubber, celluloid and mechanical toys, will be held on December 10.”58 The factory was obviously short-lived and shared the fate of many similar workshops and factories which were established and closed down in the period between the two wars.

The directory for the city of Ljubljana lists a “factory of sheet-metal and metal products - Uranus” at Krakovski Nasip in Ljubljana which, among other things, manufactured toys (1928 Directory). In the early 1930s the “Export Firm Luna in Maribor” advertised rocking horses and toy prams and also a rich choice of other toys.59 The advertisement does not state where these toys were made, or where Luna sold them. In this period between the two wars various craftsmen were engaged in making and selling toys: metal-workers, tin-smiths, upholsterers and joiners, who also advertised other toys: metal toys, skates, sleighs, furniture for dolls, prams for babies and toys. The economic conditions did not favour the establishment of big companies and only a handful survived.

Tribuna prams, St Nicholas’s exhibitions, toys in classified advertisements, plush toys, pails and shovels

A company which survived the First World War and made a name for itself in the new state of Yugoslavia was Tribuna in Ljubljana. It was owned by Franc Batjel, who had first been an apprentice in a filer’s workshop in Hren Street but soon left the country for America, to return after the First World War as a sewing machine specialist (Valant 1980, p. 7). This may be the explanation for the foreign name he gave his sewing machine and bicycle shop. The factory and mechanical workshop, which continued to expand, were located in Karlovška Street. In his first advertisement he offers “prams; wooden folding chairs for children, can also be used as tables; various toy prams with or without basket; sewing machines and bicycles.”60 In the same year Batjel started to manufacture and sell “the latest little bicycles for children from five years upwards and the latest scooters.” The descriptions are increasingly extensive, for Batjel also offers “doll’s prams, baby’s (folding) highchairs and baby-walkers. Doll’s prams of various kinds in different sizes.”

That Batjel was so popular with his young customers or admirers was certainly due to the annual St Nicholas’s Day festival he organised in the early 1930s: “For the first time in Ljubljana on the occasion of St Nicholas’s Day! At 5 p.m. on Sunday and Monday puppet theatre performances at Tribuna’s bicycle, pram and doll’s pram factory in 5 Karlovška Street. All shop-windows are decorated with the newest advertisements. Everything will be moving-St Nicholas and Black Peter are sure to be there.”61 The event was repeated the next year. By the end of the 1930s Batjel had opened another shop with the same articles in Maribor. He died in 1940 and after the Second World War Tribuna was nationalised, but the business continued under the same name until the 1990s.

Popular St Nicholas’s Day festivals which promoted their articles were organised by all major shops in Ljubljana up to the end of the Second World War. As an example of a feast for the eyes of children, witnesses recall the exhibition of toys in Krisper’s shop. Everybody who ever saw it still remembers it. In the inter-war period the middle classes in Ljubljana made it a custom to take their children to see the shop exhibitions of toys and St Nicholas’s fair, which was held in Kongresni Square. Taking children to see Krisper’s toys often implied that they were being led up the garden path: many of our sources indeed remember that seeing the toys was the only St Nicholas’s present their parents treated them to.

The St Nicholas fairs, which due to the often poor quality of the exhibited objects caused people to regret the lack of genuine high-quality Slovene toys (though only after the First World War were also interesting. A visitor who describes the 1883 Christmas exhibition in Ljubljana reports in great detail on the shops and their articles, and there is no end to his praise, in spite of the fact that the toys were mainly imported or shipped from other provinces of the empire.62 It was considered a special sign of quality and business excellence if the delay between the use of toys in the places where they were made and in Slovenia was as short as possible. In this respect the Slovene middle classes were free of blemish during the entire 19th century. Their children were well acquainted with everything new on the world market - that is, if their parents were both willing to buy these new things and could afford to do so.

A reporter from the 1936 St Nicholas fair added to his comprehensive description also a general survey of the Slovene toy market: “One thing is undoubtedly worth praising at this seasonal fair, set up in tents on Congress Square: in every domain of toys and fancy articles the products of small domestic craftsmen, tradesmen and possibly also occasional inventors play an increasingly important role because they have realised that domestic, solid and cheap products are well capable of replacing the worthless and overpriced kitsch that is imported from abroad in uncountable quantities every year - without any real need - for the feasts of St Nicholas and Christmas.”63 Though there may have been numerous domestic craftsmen who made toys, they continued to do so in small quantities. The toy market was well supplied mainly by imported products. The economic conditions were not favourable to small businesses and, as a result, many businesses were registered only to be closed down after quite a short period. Only the woodworkers and potters from Ribnica continued the old tradition of domestic toys, but these were marginal toys, sold at village fairs, at the annual fairs on the anniversaries of a church’s consecration, or at stalls in the town markets.64 Keeping in mind that the number of advertisements and announcements referring to toys dropped drastically in the 1930s, we may assume that Slovene middle-class children were then less informed about modern toys. It is noticeable, however that the number of newspaper articles providing advice on education, school, fashion, etc. increased.

Throughout the 1920s toys appeared in the “For Sale” and “Wanted” classified advertisements in Slovene newspapers. The range of used toys usually increased before St Nicholas’s Day when, among others, the following items were listed: boxes with building blocks (still referred to using the German expression “Baukasten”), sporting vehicles, swings, locomotives, steam engines, skates and sleighs, scooters, dolls, prams and toy shops, stoves, a flying aeroplane (diameter 1.20 m), a Märklin puppet theatre, three Märklin boxes, rocking-horses, and a well-preserved railway set with a lot of rails and wagons. The toys offered are almost exclusively for boys. Various kitchen utensils or items of furniture for dolls were also quite rare. The number of ads increased during the economic crisis at the end of the 1920s and the early 1930s. At the same time new manufacturers appeared- craftsmen and people who were not professionals but made toys as a way of putting their skills to good use and earning some (extra) money. There was an increasing number of rocking-horses on offer, (an indication that they were probably very popular at the time). In 19th - century advertisements there are no references to rocking-horses and they were probably not imported in major quantities. It is quite likely that they were still rather expensive toys in the 19th century. In the mid-1930s we find the following offer in a Ljubljana newspaper: “Beautiful, durable rocking-horses (on wheels), various sizes. Also made-to-measure.”65

From approximately the early 20th century the Slovene toy market saw an invasion of plush toys. Prior to that no references or educational articles, which were usually published before St Nicholas’s Day) appeared on these new toys,. These soft toys, (which are so popular with children, were chiefly rag dolls. The choice of such rag dolls was not worth advertising, at least if we judge from the descriptions in shop advertisements. As far as the first (teddy) bears are concerned, things went the same way as with all precious toys: at first they were rare and, because of their high price, accessible only to the chosen few. There is, however, no doubt that these new soft toys - or at least information on them - reached Slovenia quite quickly.

The invention of soft toys with movable (jointed) limbs is claimed by both Germans and Americans, though quite peacefully. The English expression “teddy bear” is attributed to the American president Theodore Roosevelt (1858-1919) who won the approval of the masses though a good deed: while hunting he saved a bear cub from being shot. Enterprising merchant Morris Michtom from New York started to sell brown plush bear cubs with jointed limbs and with shoe buttons for eyes - a feature that became characteristic of them. The bears, called teddy bears, were a huge success and Morris Michtom soon closed his shop to establish the “Ideal Toy & Novelty Company”, one of America’s most successful toy factories (Sparrow 1993). Though there might be some truth in this story, the toy animals made of cloth which Margarete Steiff (1847-1909) started to manufacture prior to the end of the 19th century were probably of major importance for the European toy market. Steiff was a dressmaker who as early as 1880 sold soft rag dolls by mail order. The new type of bear with jointed limbs originated in 1902 and was a huge commercial success at the Leipzig Toy Fair in 1903. A client from America, of all places, ordered no less than three thousand bears. This kind of toy must have been well known in America at the time, if there was a market for such quantities.

When these toys became available on the Slovene market, there were not only bears but also other animals. Indeed, even before 1925 they were already being manufactured by “Lutka, the First Yugoslav Toy Factory in Maribor”, which had to close down and clear all felt and plush toys.66 The Tivar confectionery factory offered furry toys as well as clothes, teddy bears, elephants, dogs and the like.67 Such toys are also mentioned in the advertising catalogues of the well-known Strmecki shop in Celje. One of the first advertisements of a toy which is very common today is from about the same period: “St Nicholas is coming soon to present good children with beautiful aluminium kitchens, toy pails and shovels... all available in a rich choice at Stanko Florjančič’s shop, 33 St Peter’s Street in Ljubljana.”68

Toy pails and shovels had by then been indispensable toys for the youngest children for decades. In the 1930s they were still mainly made of wood and metal, though plastic materials were spreading and becoming cheaper. There were more and more public playgrounds for children due to urbanisation or to the expansion of systematically built-up areas of new towns. Just before the Second World War the newspaper Jutro published an article on the projects of Jeglič the engineer to arrange a children’s playground in the centre of Šempeter in Ljubljana, close to today’s Hrvatski Square: “Ljubljana would already now need some ten public children’s playgrounds in its various districts.” For the playground in Hrvatski Square Jeglič planned a “large sand-pit, a paddling-pool, see-saws and other playthings.”69 Such playgrounds, of course, required quite different playthings from those children had at home. The first and biggest playground was built in Tivoli park. Janko Mlakar has written wonderful descriptions of the games they played in Tivoli.

The beginning and end of Dobrepolje toys

In the period leading up to Christmas 1938 the newspaper Slovenec published a full-page article in which an unknown author enthusiastically informs the public that a training course for makers of toys and dolls had been going in the Dobrepolje Valley for over a year “The idea to make the Dobrepolje Valley into Slovenia’s Nuremberg is very sound and also feasible. Every year we import foreign toys for over five million dinars. The provincial government has supported the initiative of parish priest Mrkun by providing and paying the professional staff. A training course in making wooden toys has been organised and lead by sculptor and qualified technical teacher Fr. Repič. Another course in making dolls and toys of cloth and leather was organised under the professional supervision of technical teacher Rezika Horvatič.” For the course in woodworking an attempt was made to engage young lads, and for the doll-making course young local girls. There were more applications than vacancies. The reporter’s enthusiasm knows no bounds and he even goes as far as predicting that a school will be established in Dobrepolje: “a permanent toy-makers school. This would provide the opportunity for toy-making to develop in the Dobrepolje Valley, to supply the entire Yugoslav market with toys, and to succeed in replacing the unnecessary and largely non-educational foreign toys. That this will be quite possible is proved by the fact that even today toys from Dobrepolje are sent to Skopje in Southern Serbia... A sales network is already partly established and some salesmen are already active selling toys to tradesmen in Slovenia and other parts of the country.” The articles list the toys made on simple woodworkers’ benches: horses, chickens, ducks, cats, camels, puppies, bears, locomotives, wagons, trucks and automobiles.

The manufacture as described by the article’s author must, however, been quite time-consuming and depended exclusively on craftsmanship. Every worker made everything. Similarly, the girls made dolls and stuffed animals piece by piece. At first imported “foreign heads were used with expressions that did not suit the exquisite national costumes.” The factory indeed made puppets in national dresses after models by Albert Sič and in no less than thirty varieties. “The factory has therefore started to manufacture heads of the Slavic type.” In short, what was first intended as the manufacture of dolls had changed into manufacture of dolls in national dresses which were sold all over Yugoslavia as popular tourist souvenirs. “Within a few years the manufacture of toys will naturally move to numerous homesteads on which, especially in winter, the entire family can help with the work... Parallel to this a real domestic cottage industry will develop on the farms, that will make use of modern technical achievements and enrich them with genuine Slovene imagination, ornaments and a wealth of forms.”70

But the manufacture of toys which started so promisingly in 1937 was not born under a lucky star. When the Second World War broke out everything was abandoned: “The wooden toy factory abandoned the production of toys last year. They have started to make wooden shoes, which are much more important in war times.” The words are from parish priest Anton Mrkun, the same person who had put in so much effort into starting things going in the Dobrepolje Valley (Mrkun 1943, p. 60-63).

Information gathered by N. Kuret (Kuret 1959, p. 152, 153) indicates that it was hardly a surprise that the chaos of war made a rapid and final end to the manufacture of toys in the Dobrepolje Valley. The native population had almost no tradition of making wooden objects, except hand-made toothpicks. Among them were individual skilled carvers, but they had no one to follow in their footsteps. The location of the training courses and workshops in Dobrepolje may be assumed to have been a political decision. The woodworking machines had indeed been moved to Dobrepolje from Ribnica in 1937. The inhabitants of the Ribnica Valley, however, were better skilled and more experienced in making wooden turned toys and other worked goods. The people of Ribnica were introduced to the skills by Janko Trošt, a teacher, in the 1930s, and it was Trošt who passed this information on to Kuret. He told Kuret that the author (designer) of the Dobrepolje toys, sculptor Repič, imitated the types of German toys he had seen during this travels in Germany, “and therefore they weren’t really ours, they weren’t genuinely Slovene” (Kuret 1959, p. 153). We might say that for a short time prior to the Second World War “Nuremberg toys” of domestic origin appeared in Slovenia. The wooden painted toys that are sold even today at markets and fairs are products from the Ribnica Valley and have no connection with toys from Dobrepolje.





THE SECOND HALF OF THE TWENTIETH CENTURY: THE DIFFERENCES BETWEEN PEASANT AND TOWN CHILDREN’S TOYS DISAPPEAR


Dictionaries and dialect survey

Because of the abundance of other sources which are instrumental in the study of toys, the references to toys in dictionaries from the second half of the 20th century hardly reveal anything we do not already know. The dialect words for “doll” used by some writers (e.g. “donda, čeča, punička, faček cilka, pupa, micka, even tatrman) mentioned in the first half of the 20th century disappear from modern literature and are increasingly replaced by the word punčka (doll) and lutka (puppet). As the toys themselves had become factory products and therefore similar all over Slovenia, their names are no longer as colourful and ornate as before. By not making any special effort to name toys imported from abroad, tradesmen and customers alike were quite satisfied with the original names. And because there was no need for translations, the result is that the world of toys has adopted many English expressions in recent years.


Toy-manufacturing crafts and industry

The years after the Second World War initiated a period that was far from conducive to private initiative. A handful of private manufacturers of toys registered businesses related to making toys, tried to invent toys, battled against taxes, and often closed down soon afterwards. There is now more oral than written information on the toys that somehow managed to reach the market. In this period the sale of used toys through classified advertisements blossomed once more. Toys became even more precious articles in the towns. As before, they were made by craftsmen who did so in their free time in addition to having a full-time job.

How perplexing the obstacles for private business were is obvious from a letter written by Ana Pengov, who had a toy factory in Kolodvorska Street in Ljubljana. The letter was sent to the Price Control Office and contained an application for the approval of the calculation for making “merry-go-round” toys. The application consisted of two sections with a detailed analysis of the material and work necessary to produce the toy and no less than twelve individual calculations(!), which together made up the total price for nine pieces of the said toy. The office approved the price for the article.71 Applicants for toy-making businesses were also given licenses based on “existing local needs”. Metod Paternost, for instance, applied in 1945 for a licence to “make toys and various fancy articles in the cellar of his house in Predjamska Street in Ljubljana.” He obtained the licence, but had to close down the same year.72

What kind of dolls were made and sold after the Second World War is indicated by the Material for a Dictionary of the Slovene Literary Language in which the entry “doll” refers to information from the 1954 census: “seamstress of rag dolls”. In this period there were also quite frequent classified advertisements offering doll repair services. This proves that older pre-war toys were still used. Those of celluloid or papier-maché tended to break because one or other part fell off. And it required a certain skill to put them back in the right place.

Private craftsmen mainly used discarded materials to make toys - wood, cardboard or paper. This way of working with natural materials still allowed a certain degree of individual invention and creativity. Imports from western markets were disrupted at the time. Instead, toys were largely imported from Eastern Europe and from other parts of Yugoslavia. Slovene manufacturers also tried to sell their articles elsewhere, with little success. In the context of a planned economy, toys were a marginal item, but a toy factory (TIN) was nevertheless established in Novo Mesto. Kuret reports on their products: “The samples from TIN were quite good and had a modern design, but their quality was below that of the pre-war toys from Dobrepolje” (Kuret 1959, p. 154). The craftsmen engaged in making toys came together in the Galis co-operative in the 1950s, and they numbered about 180. However, the cooperative was disbanded in 1957.


Domestic factories with a major role on the Slovene market

In this period metal toys were already being produced in the Mehanotehnika factory in Izola. It is interesting how it was established: the idea to build a factory that would produce toys for the needs of the Yugoslav market was born in 1951 at the second congress of Popular Technology in Ljubljana. The next year the people’s committee of the Municipality of Izola issued a decree on the foundation of a company for the production and sale of metal and plastic products, called Mehanotehnika. The factory’s name was derived from the first toy it produced. It was the Mehanotehnika puzzle - a crude imitation of one of the toys produced by the Meccano factory. At first the toys were metal (sheet-metal), later plastic, and included various electrical parts. Nowadays the factory also produces plush toys.

The Izola factory is certainly a landmark in Slovene toy production. Its production of “technical” toys was quite successful in keeping abreast with world toy fashions. In 1990 the factory’s name was changed to Mehano. Important products of the factory included miniature railways. With their assistance the hobby of friends and collectors of toy miniature railways survived. The factory also produced perfect copies of old American trains for the American market, exclusively for collectors. This is a field in which Slovene collectors will not be able to catch up with those abroad for a long time to come.

A second factory, Ciciban, was also located in the province of Primorska. It developed out of two workshops: Jadran in the village of Mirna (in which before 1945 the local shoemakers were associated), and the later Ciciban Factory (which wanted to make children’s shoes). The shoemaking and leather-working crafts had a tradition of several decades in Mirna near Nova Gorica, and the locals also made a living as itinerant craftsmen repairing and making shoes in the adjacent Italian province of Friuli. A shoemakers’ co-operative had been established as early as 1908. In the 1970s the factory turned to making toys also to some extent a domestic tradition. What followed was the factory’s “golden age”. The reputation of its wooden toys owed a lot to the assistance of well-known local designers, among them Oskar Kogoj, Sergio Gobbo, Krečič and others.

But the trade had its ups and downs, and the wooden educational toys were too expensive to manufacture and sell on the domestic market. Moreover, there were no more restrictions on imports now, and cheaper plastic toys flooded the Slovene toyshops. The final blow for the Ciciban factory came in 1990. After it went bankrupt several independent works were established. What remains of the original factory today produces, imports, assembles, paints and in other ways finishes a baby line. There were also a lot of rubber toys on the Slovene market made by the shoe factory in Borovo (Croatia), prior the Bata factory. Rubber balls became accessible to more or less all children in the 1960s.


Some of the most popular toys of the past decades

In the years following the Second World War it was hard to buy new dolls in Slovenia, but in Italy the production of big, dressed dolls had started. They were very expensive and, because of their size, quite unsuitable to play with. At first they were mainly made from papier-mâché or a similar paste, and later from plastic materials. These dolls became one of the most sought-after objects for home decoration, and therefore a “must” in illegal trade across the Italian-Yugoslav border. The division of Trieste and its environs into Zone A and Zone B had a favourable effect on the clandestine trade routes and, in the course of time, bambole from Trieste and Gorizia were prominently displayed on beds in peasant as well as town homes. Even childless women bought these dolls and exhibited them in their “best” rooms. The memories of these dolls are sometimes quite amazing: “One day my mother brought me a doll from Trieste. It had been given to her by the lady of the house she worked for. But I was allowed to play with it only for a little while. Uncle Anton took it away from me and put it in a shoe box, glazed the front and hung it on the wall. Now I could only watch it and it could not get broken” (Jakomin 1996, p. 45). The same fashion swept throughout the rest of Yugoslavia and information on the custom in Serbia is provided by Vesna Duškovič among others (Duškovič 1987, p. 8,9). Recently, Inga Brezigar has written on the fashion of bed dolls in Primorska (Brezigar 1998, p. 4).

A real blessing for Slovene children (and probably also for Yugoslav ones) was undoubtedly the establishment of the Jugoplastika Factory in Split. An abundance of cheap dolls made of vinyl plastics, automobiles, all kinds of balls and animals, Walt Disney characters and other toys started to flood the Slovene market in the 1960s, reaching a climax in the 1970s. In the same period the market was invaded by plush toys (only a small number of teddy bears strangely enough). Here, too, synthetic plush of all colours prevailed as material.

For a quite unusually long period the Slovene toy market resisted the import of Barbies. Now commonly known, especially since there are so many imitation Barbies carrying different names, these dolls had quite a long history even before they were “born” in America. As early as 1954 a two-dimensional heroine called Lili appeared in a cartoon in the German magazine Bild. One year later she was made “human” for the first time at the Maar toy factory in Bavaria. It is from here that she found her way to the Californian factory Mattel and was given a new name - Barbie. She immediately started her conquest of the world, which is still going on.

In Slovenia Barbies became a status symbol almost at the same time as the above-mentioned Italian “bed dolls”, though in another environment. Before they were available domestically, one had to buy them abroad, and Trieste was the closest destination. How much they were wanted is proved by the fact that people spent several days travelling to and from the south of Yugoslavia to buy Barbies in Trieste. Another effect of the Barbie rage was the introduction of so-called “doll houses” to Slovene children. Though notably inferior to the dolls’ houses of the 18th and 19th centuries, they represented in their own cheap way the splendour of an imaginary adult world. The reality of these objects, which were the same as the actual ones only in miniature, was lost. They could not be used, even if by some miracle they expanded to real dimensions. The magic of the old dolls‘ houses and their furniture stay precisely in the fact that they were exact miniature copies of real furniture. They could easily be used to reconstruct objects and customs, even the number of people who could have lived in such a house. A comparison between the fashion dolls with which the royal courts and aristocratic ladies of the 17th and 18th centuries used to inform themselves of the latest fashion and the plebeian, skinny Barbie who shows off off-the-peg clothes for the general public is quite intriquing.

As long as dolls that had only one dress were sold it was evident that the rest of her garments had to be made at home. These tiny dresses were made by mothers, kind aunts, and later by the girls who owned the toys. For many an elderly lady it is still an unforgettable experience from her childhood how she would visit a seamstress who made dresses for adults but also had enough patches and rags for domestic use. For some time before 1950 it was the custom for girls to sew dresses for their dolls until they were fourteen or sixteen years old, regardless of the size of the dolls.73 It was no longer difficult to gather enough rags - which had the major problem girls in the countryside faced before the Second World War.


The situation on the toy market

In recent years, beside the larger manufacturers of toys like Mehanotehnika and Ciciban, numerous workshops have once more appeared, producing a wide variety of toys, mostly parlour or board games. One of these businesses is Kocka (owned by Jože and Olga Hribar). They usually make five thousand copies of a game because a smaller print run does not pay off. In 1980 they were the first company to start selling Monopoly in Slovenia. The game dates back to the 1930s, to the time of the recession in America, and in 1936 the newspaper Jutro excitedly reported that “Monopoly is a game for workers and millionaires alike and it is spreading like an epidemic.”74 The game was invented by a mechanic from Philadelphia who lost his job during the crisis, but its proletarian origin did not help to promote the game in Slovenia (Yugoslavia) of pre time because its rules were considered to be too “capitalistic”. It became acceptable only some fifty years after its invention. For the individual properties in the game various places in Yugoslavia were used. After 1991 the illustrations and currency had to change once more and become Slovene. Nowadays the game is also sold directly by the American toy concern Hasbro and printed in Slovene.

To have a better idea of what the present-day toy market is like in Slovenia, we shall quote a list of articles currently available in one of Ljubljana’s main toyshops.75 The shop sells toys from around sixty suppliers. Most of the toys are imported. Only a few suppliers actually supply their own products (some of them even make their own toys), but their profits depend mainly on imported toys. The majority of the suppliers are importers. Though in the shop’s bookkeeping toys are arranged according to the shop’s own categories, a survey shows the following range: 1. Dolls of all kinds and manufacturers, mainly plastic ones, lots of baby dolls; 2. Animals and a wide variety of figures made of cloth, mostly painted synthetic plush, of various sizes, from a few centimetres to a metre and more; 3. Lego puzzles and all other current items from the Lego Company; 4. The Barbie line, original dolls from the Mattel factory, imitations from the Asian market; 5. Metal building sets, similar to those from the former Mehanotehnika factory; 6. Plastic building sets, K’nex, Playmobil; 7. Accessories for making models for collectors and for children; 8. Railways, tracks and trains; 9. Wooden educational toys, games for combining various geometric figures; 10. Kaleidoscope; 11. Mobile toys: automobiles, tractors, tricycles, rocking-horses, toboggans, swings, skipping ropes; 12. Remote-control toys; 13. Musical instruments, 14. Board games: Monopoly, Ludo, detective games puzzles, dominoes, chess, cards, Old Maid, Scrabble; 15. Plastic summer collection: toy pails and shovels, items for sand-pits, balls, vessels of all kinds, swimming belts and gloves, flippers; 16. Miniature household appliances, usually battery-powered; 17. Picture-books, school accessories, colour pencils, painting books; 18. Creative games: substances for moulding and modelling, cut-out books, moulds, accessories for embroidery, knitting and sewing, audio and video cassettes, Nintendo, computer games; 20. Knick-knacks or tiny toys of the lowest price range: marbles, balloons, miniature figures of all kinds, balls, yo-yos; etc.; 21. Accessories and toys for babies: beds, prams, backpacks and kangaroos, dummies, rattles, car seats, clothes, cosmetics, baby alarm.

Reading this list, which is of course not complete but nevertheless representative enough of toyshops, one tends to miss wind-up toys. It appears that the present times do not favour this kind of amusement, or perhaps the competition offered by toys powered by electricity is too tough. And the time of simpler varieties of the famous automatons is also past. Toys are no longer given Slovene names but retain their foreign ones, even if they are made in Slovenia. The same range of toys is mostly found in all the better-supplied toyshops in Slovenia. The items we might refer to as “domestic toys” - earthenware whistles, rattles, wooden horses and some Ribnica wooden toys are only found in shops selling domestic folklore items, at markets and at countryside fairs.

The toy market in Slovenia is today flooded with imported toys just as it was 150 years ago. To use an expression from that period, children are nowadays “promptly” informed of the new toys companies put on the market across the world. Toys are merchandise and in the toy market the same laws apply to them as to any other market, (the car market for example). Instead of large humorous advertisements in newspapers, factories now print brochures and lists of toys primarily to stimulate the shops to buy supplies from them. Every shop can today give its customer a pack of richly-illustrated brochures. As already mentioned above, the owner of the Anker factory, was one of the first - towards the end of the 19th century - to think of a wonderful commercial “trick”: the production of building blocks was continued by constantly incorporating new kinds of block with the old ones - customers could thus go on buying forever. This principle of effective trade is today used by nearly every toy factory. The entire production of Lego building blocks is based on the same principle, as are Barbie products. The toy market is one of the most aggressive markets, saturated with information on constantly new products. It wants to influence, children to behave like collectors of kitsch who want to possess both everything and more. Toys have always been consumer goods, but only a handful acquired during lifetime have such a high status that they require special care. Only the next generation brings about the selection of toys, when the parents decide which toys deserve asylum, perhaps in the cellar or the attic, and which will end up in the bin.

In recent decades there have been many more collectors of old toys in Slovenia. But it is hard to collect when there is nothing there. Domestic collectors therefore buy genuinely precious items abroad. Thus the last and only reason for which these items might be informative witnesses to our culture disappears: that they were in Slovenia at the time they were used. But it would be ridiculous to let ourselves be driven to despair. After all, some toys will continue to end up in museums. A museum is the right place for all those ugly dolls, made at home, which have no brand names stamped on the back of their necks, as well as for plush and other soft toys filled with wadding or old rags which do not have “buttons in their ears”, little horses made by skilled neighbours, wooden guns made by neighbourly hunters, oxen and cows made of bark, doll’s prams, and a whole lot more similar things.

In the end I would not wish to sound prophetic. What we would like, however, is to see and experience something new without fearing that toys become something different and loose the charm of our childhood. Let us therefore have a look at the latest forecast from the news agency Reuters: “That children are about to say goodbye to their Barbies, flying models and puzzles and will occupy themselves only with computer games, including those for catching fish, playing chess and other games of virtual reality, is something you can see for yourself at the 95 American Toy Fair, held February 9-16, 1998 in New York... Recently children get excited over computer games like electronic fishing, and over Furbies, who remember and repeat twenty words told to them by a child. Furbies also speak your language. In America the traditional chess game has been enhanced with a voice application which warns the player about bad moves. And a CD-ROM can take Barbie into the world of adventure.”76





CONCLUSIONS

The present text was written during and alongside the elaboration of a catalogue of the collection of toys housed by the Slovene Ethnographic Museum. This required us to explain where the toys had come from and how they became part of the museum’s collection. It also seemed quite interesting to dig a little further back in time and to search for information that would tell us more than we could gather from the objects we have at our disposal. The majority of the categorised toys are not really that old and they have not been in the museum for a long time. Nevertheless, they were the common toys Slovene children played with. For the toys we know, we had to search for their predecessors and, if possible, to find out what children played with in past centuries.

As already mentioned we have very little information that might tell us what toys looked like in more remote periods. On the other hand, we also have to keep in mind that peasant children in some places, and up to the mid-20th century, depended more on what they were able to make for themselves to play with than on things that were bought for them. From the mid-19th century, if not earlier, when it was almost obligatory - at least for the children of wealthy merchants and, in general, those of the towns - to be given “purchasable” toys on various occasions, peasant children had to make do with homemade toys; even then they had fewer toys than children of the same age in towns.

Even though the Slovene church reformers lead by Trubar had very strict views on education, and also on the relationships between peasants and their landlords (all peasants were supposed to do was toil and worship God), we owe one of the first written references to toys in the Slovene language precisely to Trubar and his Catehisem z dvejma izlagama (1575). Later references are also mainly from entries in dictionaries (or material for dictionaries) from the late 17th and early 18th centuries, compiled by Kastelec, Vorenc and Hipolit. They make it possible for us to assert that the Slovenes certainly knew toys such as dolls, balls, and wooden turned toys, for which we have no physical evidence, and allow us to attribute them to domestic makers. But toys were not really widespread, not even among the higher classes and even less among the peasant population. As early as the 18th century, and even more so in the 19th century, various forms of ginger bread were the most common toys peasant children played with. Preserved models refer to objects which were certainly copied from toys made from more durable material which, however, were not accessible to peasant children for obvious reasons (Makarovič 1981, p. 349).

Towards the end of the 18th century our interest is drawn by the rare portraits of children belonging to the high classes. They usually show children with live animals or with even more precious dolls, puppets and horses on wheels. They are conceived as status symbols more than as toys. Our survey of pictorial sources throughout the 19th century and part of the 20th century leads us to the conclusion that the most popular toys were dolls, horses and balls. It would probably be a reasonable to assume that these toys were also the most representative examples. When research into toys in the second half of the 19th century included, in addition to painted portraits, equally informative photographs, which made it possible for the expanding middle classes to substantiate “for eternity” the position they had achieved, the toys that were put into the hands of the children in the pictures were the same: dolls, horses, and balls.

There are relatively numerous written sources from the 19th century which reveal what toys peasant children played with. Memories of an author’s own toys or those of other children confirm that children in the countryside depended much more on their own creative efforts, and that toys were practicaly the same in all Slovene provinces. The use of tools belonging to adults or the reproduction of their forms in children’s products, common everywhere then. The coincidental information on Baraga’s foot-stools tells us that some children’s games are virtually eternal and have not changed even up to today. In reality, however, children, especially those in the countryside, had very little time to play with or without toys. In various manuals on the education of children - they began to be published as late as the late 19th century-parents had the opportunity to be instructed in all kinds of things related to physical growth, stimulating and showing love in the parent-child relationship, religious education and the like, but nothing is said about the need of children to play, and consequently nothing about the toys they might use. The instructions read: “Children have to be sent to bed one hour after supper. Their parents shall not play with them so as not to excite them” (Magister 1910, p. 9).

Here and there we feel in these memories how children longed for “purchasable” toys of the kind wealthy children of the same age had. Thus we learn how toys to which peasant children had no access nevertheless became part of their environment in simpler forms. Two of the most common toys of the latter half of the 19th century were Noah’s Ark and toy boxes toys with figures of domestic animals under the general name of “farm” or “village”. They were given to children of the middle classes for St Nicholas’s Day, Christmas, and on other occasions. Boys who pastured cattle used to cut out “cows and oxen” of bark, and put them into paddocks made of stones or twigs. And so their own representation of a farm, like the one in the toy boxes town children played with (they were actually intended to introduce them to peasant life), was almost the same as those they saw with wealthy children of the same age or simply in shop-windows.

Written sources also lead us to assume that as early as the 19th century peasant children used to play with cut-out figures which they drew themselves or had made for them by an adult. They were probably copied from cardboard pictures of Christmas crib figures and not from fashion figures which were published in fashion magazines. The information available in the memoirs of Slovene writers (France Bevk, Janko Mlakar, Fran Milčinski and others) might give the impression that peasant children were, in a way, privileged. At least for those rare ones who were given time to play, an adult was “appointed” to make toys for them. It might be either a close relative or someone from the village who made toys for payment in cash or in kind. But this is an impression we probably obtain from the personal nature of an author’s memories or to their exceptional nature. The truth is, rather, that peasant children had to work hard and that their time for playing was extremely limited.

In the Biedermeier period, middle-class circles started to recognise the personality of the child-that it develops and that, beside food and clothing, a child also needs love. It was then that one of the first and most famous modern pedagogues appeared on the scene: the Bavarian Friedrich Fröbel. Fröbel is considered to be the founder of kindergartens, which were first established before the mid-19th century. Middle-class people could then afford many things which only a short time earlier were considered to be excessive luxuries; among them were children’s playthings. In the same period the developing industry supplanted small-scale crafts, the number of toyshops grew, and there was an increasingly rich range of toys to choose from.

Tradesmen had also grown in numbers, gradually freed themselves from their isolation in guilds (a development initiated in Slovenia to a large extent by French legislation adopted during the four-year occupation 1809-1813), and started to advertise their wares in newspapers. Instead of hiring peddlers to sell their goods at countryside fairs, they turned to their potential customers in the towns which by then had enough affluent inhabitants. Advertisements in 19th-century newspapers show the evolution consumers had undergone in this period. We have to be aware, though, that the sources do not tell us how common such toys were among users. But we can assume that the population knew them, otherwise the advertisements would not have been so frequent. It is perfectly clear that the tradesmen were addressing informed customers.

The toys offered by tradesmen were generally not made in domestic workshops: they were imported from big, global centres of the toy industry. From the mid-19th century onwards, customers in Ljubljana and other major towns were completely informed of Central and Western European fashions and new developments in toys, which came on the market in major cities, especially in Austria-Hungary but also in cities around Europe. Domestic manufacturers of toys usually sold their wooden and earthenware toys at fairs in the countryside, in towns mostly at stalls in the market in towns.

The colourful descriptions of toys in advertisements bring the objects closer to us, even if they are not there physically. Toys from foreign countries also had descriptions and names in foreign languages, usually German. The original texts were printed in German newspapers, published in Slovenia, and had descriptions and names in foreign languages. In Novice, and especially in Slovenski narod, we find what are probably the oldest Slovene translations. They are actually the first Slovene descriptions of complex automatons, building blocks, various educational devices which look like toys and the like.

The situation did not change much in the first half of the 20th century for peasant children. On the contrary, the information we have indicates that children were still primarily required to work and to help out on the farm. Only if some free time was left were they allowed to play. The toys they made themselves did not differ much from the toys children were making a century or more earlier: mills on creeks, rag or wooden dolls, rag balls, willow whistles, bark oxen and so one. A major change occurred only after the mid-20th century, when the structure of the agrarian society was changed to an extent that it was willing to accept the influences of industrial culture.

During the first decade of its existence the first Yugoslav state provided quite a stimulus to toy-making crafts in Slovenia. How adults became aware that toys are a child’s essential need is revealed by the classified ads which were then appearing in greater numbers. People offered a wide range of used toys for sale. Of course, this was a time of crisis, but it marked a shift in the concepts of children’s education. In the years prior to the Second World War there was no real major toy industry in Slovenia. Its development (or, better, lack of development) was a result of the worldwide recession of the 1930s. Though a number of individual manufacturers of toys appeared at that time, their businesses were short-lived and none of them really took root. When new factories were founded after the Second World War, they could not rely on a long-established tradition.

Nowadays the market is again full of imported items. Paradoxically the choice has become too immense to allow the customer to be choosy. Out of these huge quantities it is hard to select something based on quality. And, of course, the main customers are no longer adults, but children themselves. Only toys for the very youngest are still chosen by adults; children soon start deciding themselves.



1 See Igra in igrača (Games and Toys), Ljubljana 1981.

2 Read more about this collection in: Gorazd Makarovič, Zbirka ljudske umetnosti (The Folk Art Collection), Slovenski etnograf 32, 1980-82 (published in 1983), pp. 87-112.

3 Quoted from Breznik’s note in Pletersnik’s dictionary, Lexicographical Section of the Fran Ramovš Institute of the Slovenian Language, Scientific Research Centre of the Slovene Academy of Sciences and Arts). I thank Professor Janez Keber for his assistance and advice.

4 All quotations from Hipolit are from the Material for a Protestant Dictionary, Fran Ramovš Institute of the Slovenian Language, Scientific Research Centre of the Slovene Academy of Sciences and Arts). My thanks to Dr. M. Merše and Dr. F. Novak for their assistance and advice.

5 Novice, December 4, 1900, p. 487.

6 Laibacher Zeitung, August 15, 1840.

7 Laibacher Zeitung, December 4, 1858.

8 Laibacher Zeitung, December 18, 1855.

9 Laibacher Zeitung, December, 20, 1845.

10 The material is with the Dialectological Section of the Fran Ramovš Institute of the Slovenian Language, Scientific Research Centre, Slovene Academy of Sciences and Arts. I thank Dr. Vera Smole from the Dialectological Institute for making this information avaliable to me.

11 Laibacher Zeitung, July 7, 1888.

12 Field note of T.T., Sora near Medvode, 1996: “When I came home, they took away my toy cow and returned it to the church.”

* kr = kreuzer

** gld = guilder

13 Laibacher Zeitung, December 21, 1850.

14 Laibacher Zeitung, November 28. 1855.

15 Laibacher Zeitung, December 19, 1863.

16 Laibacher Zeitung, November 18, 1863.

17 Laibacher Zeitung, November 17, 1865.

18 Laibacher Zeitung, December 4, 1867.

19 Laibacher Zeitung, December 21, 1870.

20 Laibacher Zeitung, December 19, 1870.

21 Laibacher Zeitung, December 1, 1875.

22 Slovenski narod, November 28, 1875.

22a Slovenski narod, December 5, 1875.

23 Laibacher Zeitung, December 4, 1875.

24 Slovenski narod, December 1, 1878.

25 Laibacher Zeitung, December 15, 1883.

26 Laibacher Zeitung, December 15, 1883.

27 Slovenski narod, March 22, 1902.

28 Laibacher Zeitung, December 2, 1880.

29 Slovenski narod, June 3, 1882.

30 Laibacher Zeitung, December 15, 1885.

31 Laibacher Morgenblatt, December 3, 1881.

32 Laibacher Zeitung, December 12, 1888.

33 Laibacher Zeitung, November 28, 1901.

34 I would like to thank Dr. G. Makarovič for a note which somewhat alters the period. The note reads in full: “In Šiška many of us had hoops or at least old bycicle wheels. And we also had scooters which we called “skire”. The information obviously refers to the last years of the Second World War.

35 Novice, December 4, 1900, p. 487.

36 The way we lived 3, 1995, Marija Vodivnik, born 1910, p. 122.

37 The way we lived 3, 1995, Dora Samonig, born 1924, p. 156.

38 The way we lived 3, 1995, Valentin Orasch, born 1912, p. 136.

39 The way we lived 1, 1993, Marija Mischitz, born 1903, p. 50.

40 The way we lived 1, 1993, Jožefa Habernik, born 1911, p. 119

41 The way we lived 2, 1994, Marija Kontschitsch, born 1926, p. 113.

42 The way we lived 2, 1994, Angela Breitneker, born 1909, p. 32.

43 Field note T. T. 1989, information from Ana Režek, Močile in Bela Krajina.

44 Field note T. T. 1989, information from Marija Štajdohar, Stari Trg on Kolpa.

45 Jutro, December 6, 1931.

46 Field note of Inja Smerdel, 1995, Miklavž near Gornji Grad.

47 Field note T. T. 1996, information from Marjana Krulc, Ljubljana.

48 Field note T. T. 1997, information from Dr. Vera Smole, Ljubljana.

49 Field note T. T. 1995, information from Darinka Fajdiga, Ljubljana.

50 Field note T. T. 1998, information from Ludvik Benigar, Ljubljana.

51 Field note T. T. 1997, information from Marjeta Čampa, Kranj.

52 Field note T. T. 1997, information from Dr. Franci Štukl, Škofja Loka.

53 Slovenski narod, January 11, 1896.

54 Dolenjske novice, December 1, 1903.

55 Dolenjske novice, November 15, 1906.

56 Trgovski list, March 4, 1922.

57 Trgovski list, April 15, 1922.

58 Jutro, December 2, 1925.

59 Slovenec, December 22, 1932.

60 Jutro, January 2, 1923.

61 Jutro, November 30, 1930.

62 Laibacher Zeitung, December 15, 1883.

63 Jutro, December 4, 1936.

64 In the General Business Directory of Greater Ljubljana the list of toyshops is completed with a note stating that toys are also sold at stalls on Krekov Square, together with wooden and fancy articles.

65 Slovenec, November 29, 1936.

66 Jutro, December 23, 1925.

67 Slovenec, December 17, 1936.

68 Slovenec, December 3, 1930.

69 Slovenec, December 3, 1939.

70 Slovenec, December 24, 1938.

71 Historical archives of Ljubljana, MLO (Municipal People’s Committee) Ljubljana, Secretariat No. 2494/1949.

72 Historical archives of Ljubljana, MLO Ljubljana, Secretariat No. 3663/1945.

73 Field note T. T. 1997, information from Mirjam Poljanšek, Ljubljana.

74 Jutro, December 20, 1936.

75 Maxi kocka, Trubarjeva Street, Ljubljana.

76 Delo, February 12, 1998.





VIRI IN LITERATURA / SOURCES AND LITERATURE

ACTIVITY

Guide, The Museum of Childhood, Edinburgh 1986.

ADRESAR

mesta Ljubljane in okolice : 1928, Ljubljana 1928.

ADRESAR

mesta Ljubljane in okolice : 1933, Ljubljana 1933.

ADRESSBUCH

1898, Fischer’s allgemeiner Wohnungs-Anzeiger nebst vollständigen Behöden-, Handels- und Gewerbe : Adressbuch für die Landeshauptstadt Laibach mit ihrem Vororten, (Ljubljana) 1898.

ADRESSBUCH

1900, Ficher’s allgemeiner Wohnungs-Anzeiger nebst vollständigen Behörden-, Handels und Gewerbe Adressbuch für die Landeshauptstadt Laibach mit ihrem Vororten nebst Unter- und Ober Šiška, (Ljubljana) 1898.

ALEŠOVEC, Jakob

Kako sem se jaz likal: povest slovenskega trpina, Ljubljana 1910.

ANŽIČ, Ivica

Otroške igre na Prulah, v: Etnologija danes : prispevki k raziskovanju načina življenja, str. 35-43 (Problemi 18, 1980, št. 197).

ANDREJKA, Jernej

Mladostni spomini : 1850-1878, Ljubljana 1934.

ANDREJKA, Rudolf

Najstarejše ljubljanske industrije, v: Kronika 1, 1934, št. 1, str. 58-59; št. 2, str. 135-137; št. 3, str. 186-188; št. 4, str. 288-290; Kronika 3, 1936, št. 2, str. 135-138; št. 3, str. 179-181.

ANDREJKA, Rudolf

Razvoj ljubljanske industrije med 1859 do 1869, v: Kronika 6, 1939, št. 2, str. 91-96.

ANDREJKA, Rudolf

Zgodovina kramarskih hišic v Prešernovi ulici, v: Kronika 5, 1938, št. 1, str. 17-22; št. 2, str. 65-72; št. 3, str. 129-133; št. 4, str. 203-208.

ARIÉS, Philippe

Otrok in družinsko življenje v starem režimu, Ljubljana 1991.

AUS MÜNCHNER

Kinderstuben : 1750-1930, München 1976.

BACH, Jean

Internationales Handbuch der Puppenmarken : ein Puppen-Bestimmungsbuch, München 1991.

BACHMANN, Manfred, HANSMANN, Claus

Dolls the wide world over : an historical account, London 1973.

BEARING

all! : an exhibition about the wonderful world of Teddy Bears, Edinburgh 1992.

BECKETT, Alison, CAMPIONE, Bunny

Collecting teddy bears & dolls : the facts at your fingertips, London [etc.], 1996.

BESSET, Florian

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BEVK, France

Moja mladost, Ljubljana 1969.

BEZLAJ, France

Etimološki slovar slovenskega jezika : knjiga 3 : P-S, Ljubljana 1995.

BIDERMAJER

u Hrvatskoj : 1815-1848, Zagreb 1997.

BIŠKUPIĆ, Iris

Dječje igračke Hrvatskog Zagorja, Gornja Stubica 1989.

BRENK, France

Črne zgodbe, Ljubljana 1982.

BREZIGAR, Inga

Spomini naše mladosti : etnološki pregled povojnih dogodkov na Goriškem, (Nova Gorica) 1998.

BRUCKMANN Gerhart

Anker-Steinbaukasten, Spielzeug, Spiel und Spielereien, v: Schallaburg ’87, Schallaburg 1987, str. 199-206.

CEVC, Tone

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Puppen : europäische Puppen 1800-1930, München 1979.

CIGALE, Matej

Deutsch-slovenisches Wörterbuch, Ljubljana 1860.

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CONSERVACIÓN

y restauración de jeguetes metálicos del Museo de Ibi, Ibi 1998.

CURTIS, Tony

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Hi, konjiček : igrače na kolesih, Celje 1996.

DELO

(Ljubljana), 1998.

DOLENJSKE

novice (Novo mesto), 1885-1919.

DOLLS

and teddy bears : Miller’s antiques checklist, London 1994.

DUŠKOVIĆ, Vesna

Dečje igračke kao statusni simboli, Beograd 1985.

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Otroške igrače kot statusni simbol, Ljubljana 1987.

DVOŘÁKOVÁ, Hana

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Spomini na tržaška leta, Ljubljana 1969.

EMDE-NAEGELSBACH, Barbara

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FABER, Marion

Spielzeug aus den Niederlanden, Nürnberg 1984.

FABIANI, Maks

Regulacija deželnega stolnega mesta Ljubljane, Ljubljana 1899.

FRANCE, Anatole

Spomini in zgodbe, Ljubljana 1950.

FRANZINI, Paolo Tibaldeo

Magia dei balocchi, Milano 1989.

FRANZINI, Paolo, DELANZO, Luisa

Quel mondo dipinto : la storia del giocattolo e del bambino, Milano 1978.

FRASER, Mary

The Survival of Fittest, Edinburgh 1994.

GANTNER, Theo, HARTMAN, Waltraut

Das Spielzeugbuch, Zurich 1973.

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Understanding Dolls, Suffolk 1995.

GOODFELLOW, G., Caroline

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GRADIVO

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GREY, Margaret in Gerry

Les ours en peluche, Paris 1994.

GRUNFELD, Frederic V.

Igre sveta, Ljubljana 1993.

HERCIK, Emanuel

Volksspielzeug, Praga 1952.

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HRIBARJEV

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HUBER, Rudger

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HUIZINGA, Johann

Homo ludens, Zagreb 1970.

IGRA

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IL GIOCATTOLO

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IM SPIELLAND

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IT’S A SMALL

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JAKOMIN, Dušan

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JERAJ-HRIBAR, Vida

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JUTRO

(Ljubljana), 1920-1945.

KIRBIŠ, Nada, HERMAN, Dušica

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KLANJŠEK, Ada

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KMETIJSKE

in rokodelske novice (Ljubljana), 1843-1902.

KOBLAR, France

Moj obračun, Ljubljana 1976.

KOČEVAR, Ferdo

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KOMENSKY, Jan Amos

Šola v igri : 4. del: kako pregnati lenobo iz šol, Ljubljana 1892.

KOPAČ, Franjo

Spomini na otroška in fantovska leta : 1885-1902, v: Žirovski občasnik 12, 1980, št. 18, str. 24-50.

KOVAČIČ, Kristina

Iz zakladnice otroških iger, v: Jadranski koledar 1987, str. 159-178.

KREMENŠEK, Slavko

Ljubljansko naselje Zelena jama kot etnološki problem, Ljubljana 1970.

KUMER, Zmaga

Ljudska glasbila in godci na Slovenskem, Ljubljana 1983.

KUNST

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KUNT, Ernö

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KURET, Niko

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KURET, Niko

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LAIBACHER

Morgenblatt (Ljubljana), 1881-1882.

LAIBACHER

Tagblatt (Ljubljana), 1868-1880.

LAIBACHER

Wochenblatt (Ljubljana), 1884.

LAIBACHER

Zeitung (Ljubljana), 1778-1918.

LANGLEY SOMMER, Robin,

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LAPAJNE, Štefan (sestavil)

Naslovna knjiga in zaznamek trgovin in obrtov za deželno stolno mesto Ljubljano, Ljubljana 1912.

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Speelgoed en Blikmuseum : hoogtepunten uit de collectie, Amsterdam, cop. 1997.

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Otrok : nasveti v dosego pametne domače vzgoje ob preprostih razmerah, Kamnik 1910.

MAKAROVIČ, Gorazd

Slovenska ljudska umetnost: zgodovina likovne umetnosti na kmetijah, Ljubljana 1981.

MAKAROVIČ, Gorazd

Zbirka ljudske umetnosti, v: Slovenski etnograf 32, 1980-1982 (izšlo 1992), str. 87-112.

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Slovenci in čas : odnos do časa kot okvir in sestavina vsakdanjega življenja, Ljubljana 1995.

MAL, Josip

Stara Ljubljana in njeni ljudje, Ljubljana 1957.

MARJANOVIČ, Ljubica

Otroške igračke, v: Igra in igrače, Ljubljana 1981, str. 15.

MEDVEŠČEK, Pavel

Pastirske igre iz Zárščine, v: Goriški letnik 11, 1984, str. 197-203.

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Collectables Price Guide, Volume 8, 1996-1997.

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Toys & Games Antiques Checklist, London 1995.

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svet: poljudnoznanstvena revija za izvenšolsko vzgojo (Ljubljana), 1951-1958.

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Spomini : 1. del, Celje 1975.

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Spomini in izkustva, Gorica 1971.

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Notre Enfance, Reims 1995.

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Obrti in trgovina velikolaškega okraja, Ljubljana 1943.

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MUSEUM

of Childhood : Edinburgh, Edinburgh 1993.

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autrefois : rites et folklore de la naissance en Ardenne et Luxembourg, Bastogne 1993.

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II giocattolo di legno : Palazzo Scotti: 9 aprile - 30 lugio 1994, Treviso, cop. 1994.

OGLASNIK

za industrijo, trgovino, obrt in splošno gospodarstvo (Ljubljana), 1904-1906.

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in družina (Ljubljana), 1959-1994.

PANČUHOVÁ, Eva

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PLETERŠNIK, Maks

Slovensko-nemški slovar, 1. in 2. del, Ljubljana 1894, 1895.

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World of Toys, London 1975.

PUHAR, Alenka

Prvotno besedilo življenja : oris zgodovine otroštva na Slovenskem v 19. stoletju, Zagreb 1982.

REGENT, Ivan

Spomini, Ljubljana 1967.

REHER, Uwe

Technisches Spielzeug, v: Volkskunst 4, November 1979, str. 214-218.

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SLOVENEC

(Ljubljana), 1873-1945.

SLOVENSKI

narod (Ljubljana), 1868-1945.

SLOVENSKI

trgovski vestnik (Celje), 1910.

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Teddy bears, London 1993.

SPIEL,

Spiele, Kinderspiel: Ausstellung 8. März bis 4. Mai 1986, Nürnberg 1985.

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strokovni adresar velike Ljubljane, Ljubljana 1938.

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Otroštvo med igro in delom, v: Žirovski občasnik, 13-14, (1992/1993), št. 19/20, str. 105-140.

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Holzpuppen aus Groden, v: Volkskunst 4, November 1979, str. 205-213.

STEPIŠNIK, Drago

Telovadba na Slovenskem, Ljubljana 1974.

ŠANTEL, Anton

Moji spomini: 1-17, v: Srce in oko, št. 6 (junij 1989), str. 403-406; št. 7 (julij 1989), str. 472-476; št. 8 (september 1989), str. 536-540; št. 9 (oktober 1989), str. 608-612; št. 10 (november 1989), str. 673-677; št. 11 (december 1989), str. 736-740; št. 12 (januar 1990), str. 58-62; št. 13 (februar 1990), str. 123-128; št. 14 (marec 1990), str. 194-199; št. 15 (april 1990), str. 258-264; št. 16 (maj 1990), str. 329-335; št. 17 (junij 1990), str. 396-402; št. 18 (julij 1990), str. 463-470; št. 19 (september 1990), str 536-540; št. 20 (oktober 1990), str. 603-607; št. 21 (november 1990), str. 670-674; št. 22 (december 1990), str. 735-739.

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Spomini na otroštvo (3), v: T(edenska) T(ribuna), 7. marec 1966.

ŠANTEL, Avgusta st.

Družinska kronika, v: Srce in oko, št. 1 (januar 1989), str. 55-62; št. 2 (februar 1989), str. 123-127.

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Spomini : 1-5, v: Srce in oko, št. 33 (december 1991), str. 803-808; št. 34 (januar 1992), str. 51-56; št. 35 (februar 1992), str. 115-120, št. 36 (marec 1992), str. (179-184), št. 37 (april 1992), str. 241-246.

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smo živeli : življenjepisi koroških Slovencev 1, Celovec-Tinje 1993.

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smo živeli : življenjepisi koroških Slovencev 2, Celovec 1994.

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smo živeli : življenjepisi koroških Slovencev 3, Celovec 1995.

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smo živeli : življenjepisi koroških Slovencev 4, Celovec 1996.

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smo živeli : življenjepisi koroških Slovencev 5, Celovec 1997.

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1000 tin toys, Köln, London 1996.

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Otroške igračke, Ljubljana 1979.

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list (Ljubljana), 1919-1938.

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Moje stoletje : 1. del: 1912-1945, Trst 1991.

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VALENČIČ, Vlado

Starejša ljubljanska industrija, Ljubljana 1973.

VALENČIČ, Vlado

Ljubljanska trgovina od začetka 18. do srede 19. stoletja, Ljubljana 1981.

WILCKENS, Leonie

Spiel, Spiele, Kinderspiel, Nürnberg 1985.

ZALAR, Franc

Podobe ljubljanskih meščanov, Ljubljana 1992.

ŽVANUT, Maja

Od viteza do gospoda, Ljubljana 1994.





KATALOG PREDMETOV


Uvodna pripomba

Predmete, ki jih v obravnavani muzejski zbirki uvrščamo med igrače, so naredile odrasle osebe ali otroci in naj bi bili pretežno namenjeni igranju. Seveda je pojem igrače veliko širši. Tudi uporaba lahko izbere marsikateri predmet za igračo. To je lahko neobdelan predmet, ki je le naključno, v pripravnem času zamikal otroka, da se je z njim poigral. Tak primer so pisani kamenčki ali navadni koščki “glaževine”, ki podobni lesketajočim se steklenim frnikulam, v otroški fantaziji izzovejo enak užitek igranja; ali kos lesa, ki zavit v cunjice, vzbuja ljubezen in navezanost kot prava punčka izpod mojstrovih rok.

V zbirko igrač so torej zajeti predmeti, ki so bili narejeni kot igrače. Izdelali so jih lahko otroci sami, odrasli, ki so vedeli, za katerega otroka jih delajo, ali pa so narejeni tovarniško ter je njihovo število velikansko in se kot kopije pojavljajo v različnih delih sveta.

Za zbirko igrač v Slovenskem etnografskem muzeju velja, da obsega predmete od konca 19. stoletja do današnjih dni. Ker je večina predmetov celo mlajših od petdeset let, bodo znani in domači mnogim bralcem kot “igrače moje mladosti”.

Ko so začeli prihajati v muzej prvi predmeti, za katere je znano, da so služili tudi otroški igri, so jih muzealci le redko kupovali kot igrače. V zbirke so jih uvrščali pod druga področja, tako npr. med glasbila, šege, obrti, ljudsko umetnost, ker so jih pojmovali kot pomembne pričevalce obrti, glasbe, šeg in umetnosti.

Med temi so najštevilnejše lončene igrače, predvsem piščalke različnih oblik, ki so nedvomno otrokom v kmečkem okolju še v prvi polovici 20. stoletja pomenile tako rekoč eno izmed najbolj pogostnih kupljenih igrač. Nekaj podobnega so pisani mali kruhki, ki so otroku predstavljali težko pričakovano in obenem kratkotrajno igračo. Tudi raglje ali klepetala, ki obeležujejo dneve pred Veliko nočjo, so otroci uporabljali za igrače vse leto.

Vsi našteti predmeti, tudi zaradi svoje množine, zahtevajo posebno obravnavo v skupini glasbil ali kot rekviziti različnih šeg. Zato jih v pričujoči katalog nismo vključili.


Krajšave pomenijo: inv. št. = inventarna številka Slovenskega etnografskega muzeja; št. neg. = številka negativa v fototeki Slovenskega etnografskega muzeja; v = višina; š = širina; g = globina; d = dolžina.





1.

Ptiček / les / v - 6,5 cm; d - 4 cm / št. neg. 21577 / inv. št. 29.

Ptiček je iz bukovega lesa, zelo preproste oblike. Izrezljal ga je desetletni Lojze Petek leta 1922 v Selah pri Adlešičih, Bela krajina. Omemba v knjigi: G. Makarovič, Slovenska ljudska umetnost, Ljubljana 1981, str. 353.


2.

Bat / les / d - 15,5 cm; d. bata - 4 cm / št. neg. 21565 / inv. št. 35.

Na palico je nataknjen košček lesa. Na palici je še viden napis “Jože Adlešič”. Igrača sodi v zbirko “pastirskih” igrač, ki so leta 1922 nastale v vasi Sele pri Adlešičih v Beli krajini. Predmet ima tudi inv. štev. 3075, dvojna inventarizacija.


3.

Piskajoči konjiček / les / v - 9 cm; d. podstavka - 5,6 cm / št. neg. 20465, 21555 / inv. št. 62.

Leseni konjiček z jezdecem, ki ima zadaj vsajeno piščalko je postavljen na deščico. Konjiček je pobarvan oranžno, jezdec na njem pa modro in nosi oranžno kapo. Predmet je bil za muzej kupljen leta 1925 na ljubljanskem Miklavževem sejmu.


4.

Konjiček s pavom / les / v - 20 cm; d - 25 cm; š - 8,5 cm / št. neg. 21504 / inv. št. 227.

Konjiček ima zadaj piščalko in je postavljen na leseno deščico, ki ima spredaj in zadaj po dve kolesi. Na enem izmed sprednjih koles je nameščen pav. Pri vožnji igrače se pav vrti. Konj je poslikan z rdečo barvo, naslikano ima zeleno sedlo. Pav je poslikan z modro, zeleno in zlato barvo. Verjetno je bila igrača narejena v Zagorici pri Dobrepolju na Dolenjskem v 30. letih 20. stoletja. Omemba v knjigi: G. Makarovič, Slovenska ljudska umetnost, Ljubljana 1981, str. 353.


5.

Miniaturni model kuhinjskega pribora in telovadnega orodja / les / d - od 6,5 cm do 9 cm; pr - 7 cm / št. neg. 21548 / inv. št. 246.

Na leseni struženi krožnik so privezani predmeti: kuhalnica, žvrklja, goba za pasiranje, telovadni kegelj, telovadna ročka. Ribniška suha roba. Nakup za muzej 1930.


6.

Miniaturno telovadno orodje / les / d - 6,4 cm / št. neg. 21554 / inv. št. 247.

V šop so povezani naslednji predmeti: 2 telovadna keglja, 2 telovadni ročki. Nakup za muzej 1930.


7.

Zibelka z otrokom / les / v - 14,5 cm; d - 17 cm / št. neg. 19735 / inv. št. 787.

Zibelka, v nje leži otrok z rokama, prekrižanima na prsih. Poslikana je z oljnimi barvami. Izdelal jo je Lovrenc Erzar iz Nasovč na Gorenjskem (1835-1906). Omemba v knjigi: G. Makarovič, Slovenska ljudska umetnost, Ljubljana 1981, str. 349.


8.

Vojak / les / v - 19,3 cm / št. neg. 19732 / inv. št. 920.

Vojak ima harmoniko. Les je poslikan z oljnimi barvami. Izdelan je bil v Zagorici pri Dobrepolju v obdobju med obema svetovnima vojnama. Igračo je Slovenskemu etnografskemu muzeju podaril dr. Stanko Vurnik, 1931. Omemba v knjigi: G. Makarovič, Slovenska ljudska umetnost, Ljubljana 1981, str. 352.


9.

Punčka / les, papier mâché, usnje / v - 61,5 cm / št. neg. 21611, dia 4031 / inv. št. 1630 / 8095.

Punčka ima leseno glavo, obdelan in poslikan obraz, pričeska ima narisane kodre, zgornji del čopa je odlomljen. Trup ter deli rok in nog so iz finega kozjega usnja. Roki od komolcev dalje sta leseni, prav tako nogi od kolen do stopal. V komolcih in kolenih so udi premakljivi. Prsti na rokah so izdelani. Čeveljci na nogah naslikani. Obleka je iz črne svile z belim dvojnim čipkastim ovratnikom. Punčka je bila kupljena za muzej 1912. Tip grödentalske lesene punčke, sredina 19. stoletja.


10.

Ptiček / les / v - 3,2 cm; d. podstavka - 6,4 cm / št. neg. 20466, 21566 / inv. št. 3079.

Iz mehkega lesa je izrezljana figura ptiča. Z dvema žebljema je pritrjena na deščico. Porisana je z rdečim in modrim svinčnikom. Na spodnji strani deščice podpis: Ivan Adlešič. Iz zbirke lesenih igrač iz Bele krajine, 1922.


11.

Ptiček / les / v - 3,2 cm; d. podstavka - 6,5 cm / št. neg. 20466, 21567 / inv. št. 3080.

Iz mehkega lesa je izrezljana figura ptiča. Z dvema žebljema je pritrjena na spodnjo deščico. Porisana je z rdečim in modrim svinčnikom. Na spodnji strani deščice je podpis: Ivan Adlešič. Iz zbirke lesenih igrač iz Bele krajine, 1922.


12.

Punčka / les / v - 14,5 cm / št. neg. 20514 / inv. št. 3231.

Figura je izrezljana iz lubja. Provenienca predmeta ni znana.


13.

Živalska figura / les / d - 6 cm / št. neg. 20515 / inv. št. 3233a.

Figura je izrezljana iz lubja. Provenienca predmeta ni znana.


14.

Živalska figura / les / d - 6 cm / št. neg. 20515 / inv. št. 3233b.

Figura je izrezljana iz lubja. Provenienca predmeta ni znana.


15.

Samokolnica / les / v - 16 cm; d - 14,5 cm / št. neg. 21568 / inv. št. 3237.

Lesena samokolnica ima figuri na vsakem koncu prečke. Z dolgo palico samokolnico vodimo po tleh in figuri se vrtita. Verjetno okolica Ribnice, pred 1940.


16.

Piščalka / les / d - 12,5 cm / št. neg. 21569 / inv. št. 3238.

Piščalka ima obliko ptiča. Ptič je pobarvan rumeno, zelene in rdeče črte nakazujejo perje, kljun je rdeč. Provenienca predmeta ni znana.


17.

Mlinček / les / v - 9 cm / št. neg. 21579 / inv. št. 7579.

Mlinček, “malenček orehov”. Igračo sestavljajo 3 deli: paličica, na katero je skozi sredino pritrjen oreh ter okrogel, lesen podstavek, ki je prav tako pritrjen k palici. Na palico, ki gleda iz oreha, je privezana vrvica, ki je speljana skozi oreh. Izdelal Tone Resnik iz Petrušne vasi, 1952.


18.

Miniaturni model gospodinjskega orodja (posode) - škafi / les / v - 3 cm; pr - 4 cm / št. neg. 21517 / inv. št. 8179 a/1, a/2, a/3.

Trije miniaturni modeli škafov so struženi, imajo dva ročaja. Po obodu sta 2 vžgani okrasni črti. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


19.

Miniaturni model gospodinjskega orodja (pripomočki) - rešeta / les, kovinska mreža / pr. 4 rešet - 60 cm; pr. 2 rešet - 7 cm; pr. 1 rešeta - 8 cm; pr. 1 rešeta - 9 cm; pr. 1 rešeta - 10 cm / št. neg. 21518 / inv. št. 8179 b/1, b/2, b/3, b/4, b/5, b/6, b/7, b/8, b/9.

Devet miniaturnih modelov rešet ima dvojni leseni obod, rešeta so iz žične mrežice. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


20.

Miniaturni model gospodinjskega orodja (posode) - glinasti lonci / les / v - 3,5 cm; pr - 2,6 cm / št. neg. 21541 / inv. št. 8179 c/1, c/2, c/3.

Trije miniaturni modeli so primer lesenih struženih loncev. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


21.

Miniaturni model gospodinjskega orodja (posode) - sklede / les / pr - 4,5 cm / št. neg. 21553 / inv. št. 8179 č/1, č/2, č/3.

Trije miniaturni modeli so primer lesenih struženih skled. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


22.

Miniaturni model gospodinjskega orodja (posode) - krožniki / les / pr - 5,5 cm / št. neg. 21551 / inv. št. 8179 d/1, d/2, d/3.

Trije miniaturni modeli so primer lesenih struženih krožnikov. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


23.

Miniaturni model gospodinjskega orodja (posode) - kelihi / les / v - 4,5 cm; pr - 2,5 cm/št. neg. 21552 / inv. št. 8179 e/1, e/2, e/3.

Trije miniaturni modeli so primer lesenih struženih kozarcev - kelihov. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


24.

Miniaturni model gospodinjskega orodja (pripomočki) - pletene košare / les / pr - 6 cm / št. neg. 21530 / inv. št. 8179 f/1, f/2, f/3.

Tri pletene košare so iz olupljenih šib. Imajo nedoločljiv barvni vzorec, ki je sestavljen iz več barv: rdeče, modre, zelene. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


25.

Miniaturni model gospodinjskega orodja (pripomočki) - valjarji / les / d - 8,4 cm / št. neg. 21539 / inv. št. 8179 g/1, g/2, g/3.

Trije miniaturni modeli so primer lesenih struženih valjarjev. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


26.

Miniaturni model gospodinjskega orodja (pripomočki) - kladiva za meso / les / d - 8 cm / št. neg. 21561 / inv. št. 8179 h/1, h/2, h/3.

Trije miniaturni modeli so primer lesenih struženih kladiv za meso. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


27.

Miniaturni model gospodinjskega orodja (pripomočki) - velnice / les / d - 6 cm / št. neg. 21549 / inv. št. 8179 i/1, i/2, i/3.

Trije miniaturni modeli so primer lesenih rezljanih velnic. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


28.

Miniaturni model gospodinjskega orodja (pripomočki) - gobice za pasiranje / les / d - 4,3 cm / št. neg. 21547 / inv. št. 8179 j/1, j/2, j/3.

Trije miniaturni modeli so primer lesenih struženih gobic za pasiranje. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


29.

Miniaturni model gospodinjskega orodja (pripomočki) - “šprudle” / les / d - 7,5 cm / št. neg. 21546 / inv. št. 8179 k/1, k/2, k/3.

Trije miniaturni modeli so primer lesenih struženih žvrkelj, “šprudel”. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


30.

Miniaturni model gospodinjskega orodja (pripomočki) - zvezdaste “šprudle” / les / d - 9 cm / št. neg. 21544 / inv. št. 8179 1/1, 1/2, 1/3.

Trije miniaturni modeli so primer lesenih zvezdastih žvrkelj, “šprudel”, struženih. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


31.

Miniaturni model gospodinjskega orodja (pripomočki) - gobice za šivanje nogavic / les / d - 4,6 cm / št. neg. 21562 / inv. št. 8179 m/1, m/2, m/3.

Trije miniaturni modeli so primer lesenih struženih gobic za šivanje nogavic. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


32.

Miniaturni model gospodinjskega orodja (pribor) - žlice / les / d - 8,7 cm / št. neg. 21563 / inv. št. 8179 n/1, n/2, n/3.

Trije miniaturni modeli so primer lesenih rezljanih žlic. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


33.

Miniaturni model gospodinjskega orodja (pribor) - kuhalnice / les / d - 9 cm / št. neg. 21550 / inv. št. 8179 o/1, o/2, o/3.

Trije miniaturni modeli so primer lesenih rezljanih kuhalnic. Ribniška suha roba. Leta 1958 je bila razstav igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


34.

Miniaturni model gospodinjskega orodja (pribor) - kuhalnice / les / d - 7,5 cm / št. neg. 21559 / inv. št. 8179 p/1, p/2, p/3.

Trije miniaturni modeli so primer lesenih rezljanih lopatastih kuhalnic. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


35.

Miniaturni model gospodinjskega orodja (pribor) - jedilni noži / les / d - 8 cm / št. neg. 21556 / inv. št. 8179 r/1, r/2, r/3.

Trije miniaturni modeli so primer lesenih rezljanih nožev. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


36.

Miniaturni model gospodinjskega orodja (pribor) - vilice / les / d - 9,5 cm / št. neg. 21557 / inv. št. 8179 s/1, s/2, s/3.

Trije miniaturni modeli so primer lesenih rezljanih vilic. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


37.

Miniaturni model gospodinjskega orodja (pribor) - dvojne vilice / les / d - 8 cm / št. neg. 21558 / inv. št. 8179 š/1, š/2, š/3.

Trije miniaturni modeli so primer dvorogelnih lesenih vilic. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


38.

Miniaturni model gospodarskega orodja - sekire / les / d - 8,7 cm / št. neg. 21600 / inv. št. 8179 t/1, t/2, t/3.

Trije miniaturni modeli so primer lesenih rezljanih sekir. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


39.

Miniaturni model gospodarskega orodja - motike / les / d - 8,7 cm / št. neg. 21540 / inv. št. 8179 u/1, u/2, u/3.

Trije miniaturni modeli so primer lesenih rezljanih motik. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


40.

Miniaturni model gospodarskega orodja - lopate / les / d - 8,9 cm / št. neg. 21545 / inv. št. 8179 v/1, v/2, v/3.

Trije miniaturni modeli so primer lesenih rezljanih lopat. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


41.

Miniaturni model gospodarskega orodja - krampi / les / d - 8,7 cm / št. neg. 21564 / inv. št. 8179 x/1, x/2, x/3.

Trije miniaturni modeli so primer lesenih, strojno rezljanih krampov. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 81279 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


42.

Miniaturni model gospodarskega orodja - kladiva / les / d - 8,5 cm / št. neg. 21538 / inv. št. 8179 z/1, z/2, z/3.

Trije miniaturni modeli so primer lesenih rezljanih kladiv. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


43.

Miniaturni model gospodarskega orodja - žage / les / d - 9,2 cm / št. neg. 21560 / inv. št. 8179 ž/1, ž/2, ž/3.

Trije miniaturni modeli so primer lesenih rezljanih ročnih žag. Ribniška suha roba. Leta 1958 je bila razstava igrač v Etnografskem muzeju v Beogradu. Skupina igrač pod številko 8179 a-ž je predstavljala slovenske igrače. Kupljene so bile tudi za Slovenski etnografski muzej v obrtni zadrugi Sodražica, 1958.


44.

Sestavljanka, imenovana “tidltačka” ali “škratov kalen” / les / d. deščice - 9 cm; š - 1,5 cm / št. neg. 20511, 21570 / inv. št. 8382.

Sestavljanko tvori 6 enako dolgih kosov lesa, vsak izmed njih je v sredini različno izrezljan. Z njimi je treba sestaviti lik. Najdišče ni znano, verjetno je Vipavsko, kjer je leta 1958 delovala etnološka muzejska ekipa.


45.

Konjiček z vojakom / les / v - 24 cm; d - 24 cm; š - 7,5 cm / št. neg. 20467 / inv. št. 9230.

Na dveh konkavno obrnjenih, vzporedno zakrivljenih, med seboj s štirimi prečnicami povezanih deščicah stoji konjiček. Pobarvan je z belimi in sivimi lisami, griva in rep sta iz žime, jermen okoli glave se nadaljuje v uzdo, ki je v jahalčevih rokah. Na rjavo obarvanem sedlu sedi vojak. Na glavi ima rdečo kapo s črnim ščitnikom. Oblečen je v moder jopič z bronziranimi gumbi. Hlače ima rdeče, škornje črne. Gugalni deščici s prečnicama sta rdeči. Igračko je naredil neki mlinar iz Radomelj pri Kamniku v obdobju med obema svetovnima vojnama. Omemba v knjigi: G. Makarovič, Slovenska ljudska umetnost, Ljubljana 1981, str. 351


46.

Igra s kegljem, “rusko kegljišče” / les, kovina / v - 78 cm; š - 63 cm / št. neg. 21529 / inv. št. 9834.

Na vodoravno desko so pritrjene tri stružene palice. Na zgornjo vodoravno palico je pritrjena vrvica, na kateri je obešena lesena krogla, z njo se izpodbija kegelj. Postavljen je na desko in privezan z vrvico. K deski je pritrjen še leseni navpični klin, na katerega je nasajena pločevinasta lopatica, od katere se pri igri odbija krogla. Kupljeno v Ljubljani, 1965.


47.

Kravica s teličkom / les / v - 13 cm; d - 17 cm; š - 6 cm / št. neg. 21580 / inv. št. 10461.

Kravica in teliček sta pritrjena na podstavku, ki ima 4 kolesca, pobarvana zeleno, rdeče, črno, rumenkasto, rjavo. Igrača je iz konca 19. ali začetka 20. stoletja, iz okolice Mengša pri Ljubljani. Verjetno je bil predmet prvotno izdelan kot votiv. Po ustnih podatkih je znano, da se je marsikatera votivna plastika uporabljala tudi kot otroška igrača. Omemba v knjigi: G. Makarovič, Slovenska ljudska umetnost, Ljubljana, 1981, str. 350.


48.

Zibelka / les / v - 12 cm; d - 25 cm / št. neg. 21578 / inv. št. 11537.

Zibelka je narejena iz mehkega lesa. Vse stranice ima poslikane. Provenienca predmeta ni znana.


49.

Vrtavka / les / v - 7,5 cm; pr - 7 cm / št. neg. 20491 / inv. št. 14438.

Lesena stružena krogla, imenovana tudi “volk”, v velikosti jabolka, ima na obodu kvadratni izrez, spodaj nastavek v obliki gumba, zgoraj je pokrov s podaljškom za vrtenje. Krogla se vrti na izboklini gumba. Les je bukov, nebarvan, okrog krogle teče rdeč pas. Je iz Šentvida pri Stični, kjer so se otroci še do konca druge svetovne vojne igrali s to igračo. Za muzej pridobljena 1976.


50.

Domine / les in slonova kost / pušica: v - 9,5 cm; d - 33 cm; š - 7 cm; domina: v - 3,2 cm; d - 7,5 cm, š - 1,5 cm / št. neg. 20477 / inv. št. 14769.

V leseni pušici z lesenim pokrovom je 45 domin. Domine so obložene s slonovo kostjo. Domnevno so bile v rabi v gostilni Krapež v Ljubljani, kasneje - med obema vojnama - so služile otrokom za igranje.


51.

Voziček / les / v - 12 cm; d - 32 cm / št. neg. 20505 / inv. št. 14932.

Voziček je lojtrnik z ojesom, ima štiri polna kolesa. Stranske lojtre so rdeče pobarvane, sprednja in zadnja deščica sta svetlomodri. Igrača je bila kupljena v začetku 80. let 20. stoletja na ljubljanski tržnici, narejena je bila v okolici Ribnice na Dolenjskem.


52.

Ptiček na kolesih, “metuljček” / les / rep: d - 15 cm; palica: d - 66 cm / št. neg. 20474 / inv. št. 14933.

Ptičkove perutničke so spete z usnjenim trakom in povezane z žico na kolesa. Perutnice in rep so pobarvani in ornamentirani. Med kolesa je spodaj vtaknjena palica, z njo se ptiček s kolesi potiska po tleh. Predmet je bil kupljen na ljubljanski tržnici v začetku 80. let 20. stoletja, narejen je bil v okolici Ribnice na Dolenjskem.


53.

Piščalka / les / d - 18,5 cm / št. neg. 20492 / inv. št. 14934.

Lesena piščalka ima izvrtane luknje in vžgane ornamente, osnovna barva je rumena. Predmet je bil v 80. letih 20. stoletja kupljen na ljubljanski tržnici, narejen je bil v okolici Ribnice na Dolenjskem.


54.

Konjiček na kolesih / les / v - 18,5 cm; d - 19 cm / št. neg. 20507 / inv. št. 14935.

Konjiček je izrezljan iz lesa, glava in kopita so pobarvani belo, trup je črn. Kot grivo in rep ima prilepljeno dlako (ovca in zajec). Sedlo je pobarvano rdeče. Konjiček je postavljen na rdečo deščico s štirimi kolesi. Predmet je bil kupljen v 80. letih 20. stoletja na ljubljanski tržnici, narejen je bil v okolici Ribnice na Dolenjskem.


55.

Voziček s konjema / les / voz: d - 31 cm / št. neg. 20506, 20562 / inv. št. 14936.

Konja vlečeta voz. Sta obrisno izžagana in porisana, voz je izdelan kot lojtrnik. Kolesa so polna. Lojtre in del voza so pobarvani rdeče in rumeno. Izdelava je zelo preprosta. Voziček je bil kupljen v 80. letih 20. stoletja na ljubljanski tržnici, izdelan je bil v okolici Ribnice na Dolenjskem.


56.

Samokolnica / les / d - 80 cm / št. neg. 21382 / inv. št. 14937.

Rdeče pobarvana samokolnica je imenovana tudi “šajtrga” ali “karjola”. Predmet je bil kupljen v 80. letih 20. stoletja na ljubljanski tržnici, izdelan je bil v okolici Ribnice na Dolenjskem.


57.

Zibelka / les, tekstil / v - 25 cm; d - 46 cm; š - 22 cm / št. neg. 20510 / inv. št. 14938.

Leseni zgornja in spodnja stranica sta iz vezane plošče, povezani s štirimi palicami. Prek njih je potegnjeno pisano blago, kar oblikuje zibelko. Predmet je bil kupljen v 80. letih 20. stoletja na ljubljanski tržnici.


58.

Voziček / vitre in les / v - 52 cm; d - 38 cm / št. neg. 21383 / inv. št. 14939.

Voziček ima košaro s streho, vse je pleteno iz viter. Spodaj ima leseno dno. Podstavek je lesen in na štirih kolesih. Košara ima še pleten ročaj. Predmet je bil kupljen v 80. letih 20. stoletja na ljubljanski tržnici.


59.

Dojenček / celuloid / v - 20,5 cm / št. neg. 19759 / inv. št. 14940.

Dojenček je iz celuloida v barvi inkarnata. Obrvi in zgornje trepalnice so naslikane, oči vstavljene in premakljive. Kratka pričeska ima spodaj svitek. Na glavi je večkrat počen, predstavlja industrijski izdelek, kupljen v Italiji sredi 20. stoletja.


60.

Punčka / papier mâché / v - 44 cm / št. neg. 20531 / inv. št. 14941.

Punčka ima kratke rjave lase, modre naslikane oči, roki in nogi sta nepremakljivi. Sredina 20. stoletja.


61.

Punčka / tekstil / v - 38 cm / št. neg. 18983 / inv. št. 14942.

Punčka je izdelana iz polsti in je t.im. Lenci Puppe, ali vsaj njena kopija. Obleka ni prvotna. Oči in ustnice ima naslikane, lasje so svetli, pristriženi. Kupljena je bila leta 1925 v Nemčiji. Slovenskemu etnografskemu muzeju je igračo podarila Vera Šantić, Ljubljana, 1979.


62.

Dojenček / papier mâché / v - 31 cm / št. neg. 19731 / inv. št. 14943.

Dojenček je izdelan iz materiala, podobnega papier mâchéju. Roki in nogi sta v komolcih in kolenih premakljivi. Je v barvi inkarnata, lasje so temnorjavi, kratki. Oči so premakljive, s trepalnicami. Na hrbtu je odtis “Made in Italy”. Mehanizem za jokanje je pokvarjen. Sredina 20. stoletja.


63.

Punčka / les, blago / v - 62 cm / št. neg. 20469 / inv. št. 14944.

Punčka iz cunj, imenovana “Janezek”, ima leseno glavo z lasmi. Izdelani so iz šopov žime, kot krtača. Oči so vložene in premakljive. Telo in udi so iz cunj. Oblečen je v kvačkan telovnik. Izdelan je bil na Bledu leta 1940. Slovenskemu etnografskemu muzeju ga je podarila Marjeta Bačar, Bled, 1979.


64.

Voziček / les / v - 45 cm; d - 67 cm; š - 30 cm / št. neg. 21384 / inv. št. 14945.

Voziček je zeleno pobarvan in ima preprosto izdelan podstavek na štirih kolesih. Voziček na podstavku je barvan zunaj in znotraj. Kolesa so rdeča. Ob vsaki strani je pritrjen kovinski krogec, kombiniran z rdečim. Manjka ročaj. Izdelan je bil na Bledu leta 1940 in je bil namenjen lutki “Janezku” (inv. št. 14944). Slovenskemu etnografskemu muzeju ga je podarila Marjeta Bačar, Bled, 1979.


65.

Punčka / celuloid / v - 52 cm / št. neg. 20535 / inv. št. 14946.

Punčka je izdelana iz celuloida. Vrat ima premakljiv, na glavi je luknja, manjkajo oči in ena dlan. Je v barvi inkarnata, pričeska je kratka in oblikovana v svitek. Kupljena je bila nekaj let pred drugo svetovno vojno v Ljubljani. Slovenskemu etnografskemu muzeju jo je podarila Pika Vrhunc, Ljubljana, 1979.


66.

Punčka / celuloid / v - 34 cm / št. neg. 20523 / inv. št. 14947.

Punčka je iz celuloida. Glavica ima luknjo in je že tudi zlepljena. Na zatilju ima znak želve in številko 35. Oči so steklene in nepremakljive. Pričeska je kratka in v obliki svitka. Kupljena je bila nekaj let pred drugo svetovno vojno v Ljubljani. Slovenskemu etnografskemu muzeju jo je podaril Mitja Lamut, Ljubljana, 1979.


67.

Glavica lutke (fantek) / les / v - 8 cm / št. neg. 21385 / inv. št. 14948.

Glavica ročne lutke je stružena. Ušesa in nos so prilepljeni, oči in usta narisani, vrat votel. Lutko je izdelal v 70. letih 20. stoletja za svoje otroke Anton Pavlovčič iz Izole, podaril jo je Slovenskemu etnografskemu muzeju 1979.


68.

Glavica lutke (punčka) / les / v - 8 cm / št. neg. 21386 / inv. št. 14949.

Glavica ročne lutke je stružena. Ušesa in nos so prilepljeni, oči in usta narisani, vrat ima votel. Lasje so prilepljeni. Lutko je za svoje otroke v 70. letih 20. stoletja izdelal Anton Pavlovčič iz Izole. Podaril jo je Slovenskemu etnografskemu muzeju 1979.


69.

Gradilni kamenčki / umetni kamen / v - 23 cm; d - 35 cm / št. neg. 21588 / inv. št. 14950.

V škatli so kamenčki iz umetnega kamna, sivi, rdeči in zeleni. Na škatli je originalni naslov: “Gradjevni kamenčići, proizvodnja dječjih igraćaka, Stanislav Šilc - Podsused”. Vsega je 18 kosov. V rabi so bili med obema vojnama. Slovenskemu etnografskemu muzeju je igračo podaril Mitja Lamut, 1979.


70.

Steklene kroglice / papir, steklo / v - 14 cm; d - 27 cm / št. neg. 20503 / inv. št. 14951.

V kartonski škatli so steklene kroglice: bele, zelene, rdeče, črne, rumene. Nekompletne, kompletirane s plastičnimi. Na stekleno ploščo z jamicami so polagali pisane kroglice. Knjižica z vzorci ima 8 listov: “Vorlagen für Glasskugel - Mosaik”. Na škatli naslov: “Glass Kugel Mosaik”. Začetek 20. stoletja. Slovenskemu etnografskemu muzeju je igračo podarila Marija Ravnikar, 1979.


71.

Medvedek / sintetični material, polnilo / v - 47 cm / št. neg. 19748, dia 4029 / inv. št. 14952.

Medvedek je izdelan iz pliša in napolnjen z lesno volno. Za oči sta uporabljena dva steklena gumba. Kupljen je bil v Ljubljani okoli leta 1930. Igračo je Slovenskemu etnografskemu muzeju podarila Pika Vrhunc, 1979.


72.

Medvedek / sintetični material, polnilo / v - 52 cm / št. neg. 19758 / inv. št. 14953.

Medvedek je izdelan iz pliša svetle barve. Ena roka mu manjka. Polnjen je z oblanjem. Najden je bil v smetnjaku v Ljubljani, 1978.


73.

Družabna igra “Salta” / karton / škatla: d - 43 cm; š - 23 cm / št. neg. 20521, 21609 / inv. št. 14954.

Družabna igra “Salta” je sestavljena iz kartonske podlage v obliki šahovnice in 30 ploščic: 15 rdečih in 15 zelenih. Zraven spadata še dve paličici, 1 rdeča in 1 zelena. Škatla ima na pokrovu portret bradatega moža in napis “SALTA”. Igra je bila kupljena pred letom 1910 v Ljubljani. Igračo je Slovenskemu etnografskemu muzeju podarila Vera Šantić, Ljubljana, 1979.


74.

Punčka / celuloid / v - 69 cm / št. neg. 21587 / inv. št. 14955.

Punčka je iz celuloida. Ena roka in noga manjkata. Ima premakljive oči, zadaj manjka pol glave. Obleka je originalna, rdeče barve s potiskanimi čipkami. V trebuhu ima vgrajen mehanizem, ki se oglasi “mama”, če punčko premaknemo. Punčka sodi med t. im. tržaške “bambole”, ki so se po letu 1945 razširile po slovenskih domovih. Najdena je bila v smetnjaku v Ljubljani, 1979.


75.

Dojenček / porcelan / v - 10 cm / št. neg. 18739 / inv. št. 14956.

Dojenček ima poslikan obrazek in laske. Roki in nogi ima pritrjeni na trup z elastiko. Ročno narejena originalna obleka je bela, predpasnik je rdeč z modrimi trakovi. Dojenček je bil kupljen leta 1915 v Novem mestu. Igračo je Slovenskemu etnografskemu muzeju podarila Marija Rozman, Ljubljana, 1979.


76.

Sestavljanka / les, karton / škatla - 12,5 x 12,5 cm / št. neg. 20527, 20582 / inv. št. 14957.

V škatli so spravljeni leseni pobarvani rombi, romboidi in trikotniki. Barve so rdeča (4), modra (3), zelena (4), rumena (4), črna (1), bela (2). Poleg sodi še karton z barvnimi vzorci, po katerih se slika sestavlja. Manjka nekaj ploščic. Sestavljanka je bila kupljena okoli leta 1950 v Ljubljani. Slovenskemu etnografskemu muzeju jo je podaril Matija Lamut, Ljubljana, 1979.


77.

Izrezanka “Mojca Pokrajculja” / karton / različne; hišica: v - 18 cm; d - 14 cm / št. neg. 21387/inv. št. 14958.

Figurice so izrezane iz potiskane lepenke. Osebe, stvari in živali izhajajo iz slovenske ljudske pravljice o Mojci Pokrajculji. Vsega je 10 figur. Vsaka figurica ima še papirnat podstavek. Figure predstavljajo: zajca, medveda, smreki (2), srnjaka, lisico, volka, Mojco Pokrajculjo, lonček z medom, lonec-hišico. Igrača je bila kupljena v Ljubljani v 50. letih 20. stoletja. Slovenskemu etnografskemu muzeju jo je podaril Mitja Lamut, Ljubljana, 1979.


78.

Družabna igra “Človek, ne jezi se” / karton, les / d - 32 cm; š - 32 cm / št. neg. 20526 / inv. št. 14959.

Na kartonu so natisnjene poti za 4 živali, na 4 vogalih so natisnjeni: zajec, maček, pes in lisica. Poleg so še 4 enake živali in kocka. Vsega je 14 figuric, karton in kocka. Kupljena je bila okrog leta 1950. Igračo je Slovenskemu etnografskemu muzeju podaril Mitja Lamut, Ljubljana, 1979.


79.

Punčka / porcelan, papier mâché / v - 78 cm / št. neg. 21610, dia 4033 / inv. št. 14960.

Punčka z glavico iz porcelana ima zadaj na glavi znak “AM 14 DEP. MADE IN GERMANY”. Lasje so svetli, ne več prvotni, obleka je vijoličaste barve z belo čipko, tudi ni prvotna. Oči so vstavljene in premakljive, prav tako roki in nogi v sklepih, telo in udi so iz papier mâchéja. Izdelek tovarne Armand Marseille, Koppelsdorf, Porzellanfabrik, 1885 - 1930, Nemčija. Po letu 1900. Nakup za Slovenski etnografski muzej, 1979, prodajalec M. M. iz Ljubljane.


80.

Gradilna sestavljanka / les / v - 20 cm; d - 15,5 / št. neg. 20480 / inv. št. 14961.

Igračo sestavlja 12 teles v obliki kota ali črke U, ki se poljubno sestavljajo. Barve so rumena, rdeča, zelena, oranžna ter nebarvani kosi. Vsega je 12 elementov. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Ciciban, Miren pri Novi Gorici, 1980. Op.: Na sliki je le 6 teles.


81.

Gradilna sestavljanka / les / voziček: v - 18 cm; d - 15,5 cm / št. neg. 20487 / inv. št. 14962.

V zabojčku na 4 kolesih so spravljeni predmeti različnih barv in oblik: 2 valja (nebarvana), 2 kvadra (nebarvana), 2 kocki (nebarvani), 2 valja (rdeča), 2 kvadra (rdeča), 2 kocki (zeleni), 2 ploščici (zeleni), 2 ploščici (rumeni), 2 ploščici (rdeči), torej 4 različne oblike in 4 različne barve. Vsega je 22 kosov in voziček. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Ciciban, Miren pri Novi Gorici, 1980.


82.

Sestavljanka treh likov / les, karton / škatla - 15 x 15 cm / št. neg. 20502 / inv. št. 14963.

V škatli je več vrst lesenih ploščic, različnih barv in oblik: 2 romba, 1 trikotnik, 1 kvadrat, kar se ponavlja v rumeni, rdeči, modri in zeleni barvi. Vsega je 16 elementov. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Ciciban, Miren pri Novi Gorici, 1980.


83.

Tolkalo / les / držalo: d - 14 cm; ploščica: d - 19 cm / št. neg. 20486, 20558, 20559 / inv. št. 14964.

Pravokotno na držalo je pritrjena ploščica, na katero udarja kroglica, ki je pritrjena sredi držala. To ustvarja močan hrup. Oblikoval ga je Oskar Kogoj. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Ciciban, Miren pri Novi Gorici, 1980.


84.

Sestavljanka “Pitagorjevi trikotniki” / les, karton / škatla - 14,5 x 14,5 cm / št. neg. 20518, 20583 / inv. št. 14965.

Sestavljanka je narejena iz trikotnih ploščic različnih velikosti: so večje rdeče in 3 nebarvane, 2 sta manjši rdeči in 2 nebarvani. Vsega je 10 trikotnikov. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Ciciban, Miren pri Novi Gorici, 1980.


85.

Krogla s klinčkom / les / klinček: d - 10 cm; krogla: pr - 9 cm / št. neg. 20478 / inv. št. 14966.

Lesena krogla ima luknje, skozi katere je treba pretikati lesen klinček z vrvico. Igrača je oranžne barve. Slovenskemu etnografskemu muzeju jo je podarila tovarna Ciciban, Miren pri Novi Gorici, 1980.


86.

Vlak / les / vagon: d - 9 cm / št. neg. 20566 / inv. št. 14967.

Vlak je sestavljen iz lokomotive in treh vagonov, lokomotiva je podobna vagonom, le da ima še dimnik. Vagoni so povezani z usnjenim trakcem, niso pobarvani. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Ciciban, Miren pri Novi Gorici, 1980.


87.

Sestavljanka “Ciciban” / les / različne mere, valj: d - 7,5 cm; paličica: d - 17,5 cm in 7,5 cm; kvader: d - 7,5 cm; krogla: pr - 3 cm / št. neg. 20509, 21531 / inv. št. 14968.

Sestavljanko tvori večje število različnih teles: valjev, paličic, preluknjanih kvadrov, kroglic - 3 zeleni valji, 5 oranžnih kvadrov, 1 zelena kroglica, 21 večjih in 18 manjših nebarvanih paličic. Vsega je 48 elementov. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Ciciban, Miren pri Novi Gorici, 1980.


88.

Držalo s kroglico / les / držalo: d - 22 cm / št. neg. 20485, 20560 / inv. št. 14969.

Igrača je izdelana v obliki otroške ropotuljice, na enem kraju ima tri luknje, skozi katere se pretika kroglica na vrvici. Les je pobarvan oranžno. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Ciciban, Miren pri Novi Gorici, 1980.


89.

Sestavljanka / les / d cca - 7,5 cm / št. neg. 20488 / inv. št. 14970.

Predmeti predstavljajo različne živali in ljudi v zelo poenostavljenih oblikah. Imajo ostre robove in se lahko sestavljajo. Barv je več: 3 zelene, 5 rdečih, 3 modre, 3 oranžne, 4 rumene, 17 nebarvanih. Vsega je 35 elementov. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Ciciban, Miren pri Novi Gorici, 1980.


90.

Vlak / les / vagon: d - 13,5 cm / št. neg. 20565 / inv. št. 14971.

Vlak je sestavljen iz lokomotive in 2 tovornih vagonov. Poleg je še 6 kock, ki naj bi predstavljale tovor. Lokomotiva je v rdeči, modri in naravni barvi lesa, vagona imata rdeča kolesa, kocke so: 2 rdeči, 2 rumeni, 2 zeleni. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Ciciban, Miren pri Novi Gorici, 1980.


91.

Sestavljanka / les / valji: d - od 7,5 cm do 14,5 cm / št. neg. 20561 / inv. št. 14972.

Igračo sestavlja več različnih elementov: 1 votel valj z luknjicami (nebarvan), 1 rumen valj s kroglo in luknjicami, 2 zelena valja z luknjicami, 3 paličice s kroglicami (rdeča, zelena, modra), 7 zelenih kroglic, 1 rdeča, 1 modra, 2 krajši paličici, 1 kroglica na vrvici. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Ciciban, Miren pri Novi Gorici, 1980.


92.

Zajček / sintetični material, polnilo / v - 50 cm / št. neg. 19756 / inv. št. 14973.

Figurica je iz pliša, v dveh barvah: sivo-vijoličasti po hrbtu in udih, trebušček, gobček in notranja stran ušes so rumenkasti. Ima plastične oči in smrček. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnika, Izola, 1980.


93.

Medvedek / sintetični material, polnilo / v - 52 cm / št. neg. 19784 / inv. št. 14974.

Figura je iz pliša, nagačena, sive barve. Podplati, šape in gobček so bele barve. Za oči in smrček ima gumbe, okrog vratu je modra pentlja. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnika, Izola, 1980.


94.

Sestavljanka “Mali graditelj” / sintetični material / kocka - 4 x 4 cm / št. neg. 20493 / inv. št. 14976.

Igračo sestavljajo različni liki v raznih barvah: kvadrati, pravokotniki, polkrožni liki, krogi: 19 rdečih, 13 svetlo rumenih, 5 modrih, 8 temnorumenih, 10 rumenih, 20 zelenih. Vsi so iz plastike. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnika, Izola, 1980.


95.

Kocke “Bimo” / sintetični material / liki - od 2 cm do 4 cm / št. neg. 20482, 20459, 20540 / inv. št. 14977.

Igračo sestavljajo različni liki v raznih barvah: kvadrati, pravokotniki, trikotniki, krogi in vezni členi. Veznih členov je 163 rdečih in 82 rumenih. Ostalih oblik je 37 v rdeči barvi. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnika, Izola, 1980.


96.

Kocke “Bimo” / sintetični material / liki - od 2 cm do 4 cm / št. neg. 20460, 20540 / inv. št. 14978.

Igračo sestavljajo različni liki v raznih barvah: kvadrati, pravokotniki, trikotniki, krogi (60 rumenih in 50 rdečih), veznih členov je 104 (rdečih in rumenih), paličic je 5 zavitkov. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnika, Izola, 1980.


97.

Kocke “Bimo” / sintetični material / liki - od 2 cm do 4 cm / št. neg. 20461, 20540 / inv. št. 14979.

Igračo sestavljajo različni liki v raznih barvah: kvadrati, pravokotniki, trikotniki, krogi (92 rumenih in 72 rdečih). Veznih členov je 123; rumenih in rdečih, paličic so 4 zavitki. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnika, Izola, 1980.


98.

Ladja-trajekt / sintetični material / d - 54 cm / št. neg. 21388 / inv. št. 14980.

Na trajektu je spodnja paluba prazna in pripravljena za avtomobilčke. Model je narejen v 4 barvah: moder zgornji del, bela sredina, siva paluba za avtomobile in rdeči del, ki je v vodi. Model poganja elektromotorček, ki je vodljiv preko električne komande. Vir energije predstavljata dve bateriji. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnika, Izola, 1980.


99.

Telefon / sintetični material / običajna velikost tel. aparata / št. neg. 21604 / inv. št. 14981.

Dva telefonska aparata s slušalkama sta povezana z nekaj metrov dolgo žico. V vsak aparat je treba vstaviti baterije. Aparata sta modre barve, številčnica je na rumeni podlagi, v obliki tipk. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnika, Izola, 1980.


100.

Sestavljanka “Pika Slika” / sintetični material / plošča: v - 25,5 cm; d - 35 cm / št. neg. 20481 / inv. št. 14982.

V plastično ploščo z luknjicami se zatikajo plastični žebljički različnih barv: modre, rumene, zelene, rdeče, in tako nastajajo različni vzorci in slike. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnika, Izola, 1980.


101.

Šivalni stroj / sintetični material / v - 20 cm; d - 21,5; š - 12 cm / št. neg. 20479 / inv. št. 14983.

Šivalni stroj poganja elektromotorček, vir energije predstavljajo baterije, lahko pa se vrti tudi ročno. Ima še pedal na žici, ki ga priključimo na stroj. Ogrodje je iz plastike, v 3 barvah: beli, modri, rdeči. Tiskano navodilo priloženo. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnike, Izola, 1980.


102.

Kocke “Mali graditelj” / sintetični material / kocka - 4 x 4 cm / št. neg. 20494 / inv. št. 14984.

Igračo sestavljajo različna telesa v raznih barvah: kocke, pravokotne prizme, polkrožno zaključena telesa in vezni členi, katerih je: 6 rumenih, 11 modrih, 5 oranžnih, 4 zelenih, 5 rdečih in 7 rumenih teles. Po priloženem navodilu je igrača primerna za otroke od 2 - 6 let. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnika, Izola, 1980.


103.

Kocke “Mali graditelj” / sintetični material / kocka - 4 x 4 cm / št. neg. 20495 / inv. št. 14985.

Igračo sestavljajo različna telesa v raznih barvah: kocke, pravokotne prizme, polkrožno zaključena telesa in vezni členi, katerih je: 4 rumeni, 6 modrih, 5 oranžnih, 1 zelen, 3 rdeči in 9 rumenih. Po navodilu je igrača primerna za otroke od 2 - 6 let. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnika, Izola, 1980.


104.

Gasilski avto / sintetični material / d - 31 cm; š - 13 cm / št. neg. 21389 / inv. št. 14986.

Gasilski avto z elektromotorčkom, katerega vir energije so baterije, je daljinsko voden. Dodatki: lopata, kramp, trikotniki, itd., vsega je 21 kosov. Je rdeče barve, pokrit s sivo streho. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnika, Izola, 1980.


105.

Avto / sintetični material / d - 30 cm; š - 12 cm / št. neg. 21390 / inv. št. 14987.

Avto z elektromotorčkom je daljinsko voden. Vir energije so baterije. Je rdeče barve z nalepljenim napisom “Jägermeister 21, BMW Alpina”. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnika, Izola, 1980.


106.

Sestavljanka “Elektropionir” / kovina, sintetični material / škatla: v - 25 cm; d - 42,2 cm / št. neg. 20545 / inv. št. 14988.

Igrača je komplet namenjen tehnični vzgoji, s podnaslovom “160 zanimivih poskusov s področja elektrike in magnetizma za praktično delo doma in v šolah.” Navodilo je tiskano v slovenščini in srbohrvaščini. Vsega je 39 elementov, pakiranih v škatli. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnika, Izola, 1980.


107.

Sestavljanka / kovina / škatla: v - 25 cm; d - 35 cm / št. neg. 20496 / inv. št. 14989.

Igračo sestavljajo različni kovinski elementi. Z njimi se lahko sestavi bager in podobne predmete. Kot piše na škatli, predstavljata komplet 2 in 4. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnika, Izola, 1980.


108.

Avto “Luna-bager s prikolico” / sintetični material / bager: d - 27 cm; š - 17 cm; prikolica: d - 28 cm; š - 18 cm / št. neg. 20483 / inv. št. 14990.

Vozilo je narejeno iz rumene plastike z rdečimi gumbi in rdečimi kolesi. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnika, Izola, 1980.


109.

Avto / sintetični material, kovina / v - 20 cm; d - 24,5 cm; š - 13 cm / št. neg. 20564, dia 4027 / inv. št. 14991.

Igrača predstavlja model osebnega avtomobila iz leta 1901. Avto je odprt, na tablicah spredaj in zadaj je letnica 1901. Na sedežu je gumijasta figura brkatega gospoda. V podvozju avtomobila je prostor za 2 bateriji za pogon z elektromotorčkom. Izdelek je japonski, 60. leta 20. stoletja.


110.

Avto / sintetični material, kovina / d - 28 cm; š - 11 cm / št. neg. 20484 / inv. št. 14992.

Igrača predstavlja osebni avto znamke Packard. Pogon z elektromotorčkom je na baterije, je daljinsko voden. Barva je zelena, tip kabriolet. Izdelan je bil v tovarni Schuco, Nemčija, 60. leta 20. stoletja.


111.

Voziček / les in druga gradiva / v - 50 cm; d - 56 cm; š - 30 cm / št. neg. 21391 / inv. št. 14993.

Igrača je pomanjšana oblika globokega vozička za dojenčke. Les je sivo-zeleno barvan, okenca na obeh straneh so zaprta s celuloidno ploščo, streha je iz sivega gumiranega platna. Ima štiri gumijasta kolesa in kovinski ročaj. Izdelek tovarne Tribuna, Ljubljana, pozna 50. leta 20. stoletja.


112.

Voziček / les / v - 12 cm; d - 20 cm / št. neg. 21606, dia 4036 / inv. št. 15406.

Pomanjšan ročni voziček ali “garce” je lesen. Sestavljen je le z lesenimi mozniki, brez kovinskih žebljev. Je na dveh kolesih. Provenienca predmeta ni znana.


113.

Hranilnik / sintetični material / v - 13 cm / št. neg. 21392 / inv. št. 15489.

Otroški hranilnik ima obliko ježka. Je reklamna igrača Jugobanke, Ljubljana. Ježek je izdelan iz plastične mase, rumene barve, ima črne očke, črn nosek, črno pentljo in 3 črne gumbe. Zgoraj na glavi ima režo za denar in je iz 70. let 20. stoletja.


114.

Mucka / les / v - 20 cm; d - 19 cm / št. neg. 20508 / inv. št. 15490.

Lesena figura na kolesih je iz 14 kosov, sestavljenih v obliki mucke. Spredaj ima zanko in vrvico, da se jo lahko vleče po tleh. Barve so: modra, rumena in naravna barva lesa. Slovenskemu etnografskemu muzeju jo je podarila Mateja Kuhar, Ljubljana, 1983.


115.

Punčka / celuloid / v - 22,5 cm / št. neg. 19760 / inv. št. 15530.

Celuloidna punčka ima premakljivi nogi in roki, glavico s svetlejšimi lasmi, pričesko s svitkom na zatilju. Glava se drži trupa, zadaj na tilniku je odtis želve v romboidu, spodaj je odtisnjena številka 23 1/2. Oblečena je v spodnje hlačke, zgoraj ima obleka z rokavi in predpasnik. Punčka ima še: pidžamo iz dveh kosov, krilo in pikasto bluzo. Je iz obdobja med obema vojnama.


116.

Medvedek / tekstil, lesna volna / v - 53 cm / št. neg. 19783 / inv. št. 15531.

Medvedek je izdelan iz rumenega pliša, s premakljivimi nogami, rokami in glavo. Ima stekleni očesci, črno pošit smrček in gobček. Napolnjen je z lesno volno. Po izjavi prodajalca je bil kupljen v trgovini pri Krisperju v Ljubljani leta 1936.


117.

Žirafa / sintetični material / v - 46 cm / št. neg. 19782 / inv. št. 15532.

Žirafa je izdelana iz pikastega drap-rjavega pliša. Na glavi so rožički, po vratu kratka griva iz rjavega debelejšega traku, enak je rep. Na nogah ima kopita iz črnega PVC materiala. Očesca so steklena. V rabi: 60. leta 20. stoletja.


118.

Mucka / tekstil / v - 23 cm / št. neg. 18984 / inv. št. 15533.

Mucka je izdelana iz sivo rjavega pliša. Glava in noge so iz enega kosa, nanj so prišita ušesa in dolg debel rep. Polnjena je s cunjami. Mucka ima kot oči oblečena gumba, okrog vratu je rdeča pentlja. Je domače izdelave, 30. leta 20. stoletja, Jesenice. Slovenskemu etnografskemu muzeju je igračo podarila Alenka Simikič, Ljubljana.


119.

Mucka / tekstil / v - 12,5 cm; d - 32 cm / št. neg. 18985 / inv. št. 15534.

Mucka je izdelana iz rjavega in rdečega tapetniškega blaga, glavica in trup sta sešita v enem kosu, prišita so ušesca in repek. Ima precej kratke nogice. Polnjena je s cunjami, oči sta dva oblečena gumbka. Je domače izdelave, 30. leta 20. stoletja, Jesenice. Slovenskemu etnografskemu muzeju je igračo podarila Alenka Simikič, Ljubljana.


120.

Punčka / papier mâché / v - 44 cm / št. neg. 19780 / inv. št. 15535.

Punčka ima na trup nataknjene glavo, obe roki in nogi. V glavi ima vstavljene premakljive steklene oči s trepalnicami, svetlorumene lase - iz bombaža, na trupu ima zadaj v pasu okroglo ploščico z luknjicami - punčka zajoka, če jo nagnemo. V rabi: 50. leta 20. stoletja.


121.

Punčka / papier mâché / v - 48 cm / št. neg. 19768 / inv. št. 15536.

Punčka ima na trup nataknjene glavo, roki in nogi. Premakljive steklene oči so vstavljene, trepalnice spodaj narisane. Lasulja je iz rjavih pravih las. Na trebuhu ima ploščico z luknjicami za zvok, vendar je mehanizem pokvarjen. Oblečena je v rjavo kockasto, ročno narejeno oblekico. V rabi: med obema vojnama.


122.

Punčka / celuloid / v - 10 cm / št. neg. 19740 / inv. št. 15537.

Torzo, brez rok in nog. V rabi: med obema vojnama.


123.

Punčka / guma, tekstil / v - 29 cm / št. neg. 21574 / inv. št. 15579.

Punčka z glavico iz gume ima trup iz blaga, prav tako roki in nogi. Prstke na rokah ima šivane, na nogah nakazane bele čeveljce iz blaga. Oblečena je v spodnje hlačke in modro obleko z rdečim predpasnikom. Na hrbtu ima napis “Triglav film 1562”. Darilo Triglav filma Ljubljana.


124.

Kmet s kozo / les / podstavek: d - 24 cm; figura: v - 15 cm / št. neg. 19791, dia 4023 / inv. št. 15580.

Figuri kmeta in koze na vrvici sta izrezljani in pobarvani. Postavljeni sta na lesen, rumeno pobarvan podstavek. Izdelek Janka Trošta, 1940, kot prototip. Slovenskemu etnografskemu muzeju je igračo podaril dr. Niko Kuret, Ljubljana, 1983.


125.

Lovec s psom / les / podstavek: d - 24 cm; figura: v - 18 cm / št. neg. 19790, dia 4022 / inv. št. 15581.

Izrezljani in pobarvani sta figuri lovca in psa na vrvici, ki skače pred njim. Postavljeni sta na lesen, rumeno pobarvan podstavek. Izdelek Janka Trošta, 1940, kot prototip. Slovenskemu etnografskemu muzeju je igračo podaril dr. Niko Kuret, Ljubljana, 1983.


126.

Jezdec na konju / les / v - 13 cm; d - 11 cm / št. neg. 21756 / inv. št. 15582.

Izrezljani in pobarvani sta figuri mladega fanta in sivo pobarvanega konja. Konj ima na nogah pritrjena rdeča koleščka za vožnjo po tleh. Izdelek Janka Trošta, 1940, kot prototip. Slovenskemu etnografskemu muzeju je igračo podaril dr. Niko Kuret, Ljubljana, 1983.


127.

Mesar s prašičem / les / podstavek: d - 24 cm; figura: v - 14,5 cm / št. neg. dia 4021 / inv. št. 15583.

Izrezljani in pobarvani sta figuri debelega mesarja in prašička, privezanega za zadnjo nogo. Mesar ga vodi za seboj. Figuri sta pritrjeni na rumen lesen podstavek, ki ima spredaj in zadaj po dve kolesi. Izdelek Janka Trošta, 1940, kot prototip. Slovenskemu etnografskemu muzeju je igračo podaril dr. Niko Kuret, Ljubljana, 1983.


128.

Slon / les / v - 14,5 cm; d - 15 cm / št. neg. 21575 / inv. št. 15584.

Izrezljana in črno pobarvana je figura slona na rdečih kolesih. Repek je iz vrvice. Izdelek Janka Trošta, 1940, kot prototip. Slovenskemu etnografskemu muzeju je igračo podaril dr. Niko Kuret, Ljubljana, 1983.


129.

Vojak na konju / les / okvir: d - 15 cm; figura: v - 16 cm / št. neg. dia 4025 / inv. št. 15585.

Izrezljana in pobarvana je figura vojaka na belem konju. Konj je pritrjen na štiri polna rdeča kolesa, ki so povezana z lesenim okvirjem. Izdelek Janka Trošta, 1940, kot prototip. Slovenskemu etnografskemu muzeju je igračo podaril dr. Niko Kuret, Ljubljana, 1983.


130.

Vojak na konju / les / v - 16 cm; d - 10 cm; / št. neg. 19751, dia 4020 / inv. št. 15586.

Izrezljana in pobarvana je figura vojaka na belem konju. Konj je pritrjen na štiri polna rdeča kolesa. Izdelek Janka Trošta, 1940, kot prototip. Slovenskemu etnografskemu muzeju je igračo podaril dr. Niko Kuret, Ljubljana, 1983.


131.

Ropotuljica / pločevina, celuloid / ročaj: d - 11 cm; bunka: pr - 7 cm / št. neg. 20490 / inv. št. 15670.

Ropotuljica ima celuloidni ročaj in pločevinasto bunko. V bunki so kamenčki, ki ropotajo, če jih zatresemo. Ročaj je na nasprotnem koncu bunke, je pogrizen in nosi sledove otroških zobkov. Ropotuljica je bila kupljena leta 1908 v Novem mestu. Slovenskemu etnografskemu muzeju jo je podarila Marija Rozman, Ljubljana.


132.

Glavica / pločevina / v - 10 cm / št. neg. 19738 / inv. št. 15806.

Glavica punčke je iz pobarvane pločevine, votla in ima otroški obrazek s skodranimi laski. Na prsih je odtis “MINERVA”, na hrbtu napis “Germany”. Nastavek so pritrdili (prišili) na telo skozi luknjice spodaj. Predmet je bil kupljen na velesejmu v Leipzigu, med obema vojnama.


133.

Glavica / pločevina / v - 8 cm / št. neg. 19738 / inv. št. 15807.

Glavica punčke je iz pobarvane pločevine, votla in ima otroški obrazek s skodranimi laski. Na prsih je odtis “MINERVA”, na hrbtu napis “Germany”. Nastavek so pritrdili (prišili) na telo skozi luknjice spodaj. Predmet je bil kupljen na velesejmu v Leipzigu, med obema vojnama.


134.

Glavica / pločevina / v - 6 cm / št. neg. 19738 / inv. št. 15808.

Glavica punčke je iz pobarvane pločevine, votla in ima otroški obrazek s skodranimi laski. Na prsih je odtis MINERVA, na hrbtu napis Germany. Nastavek so pritrdili (prišili) na telo skozi luknjice spodaj. Predmet je bil kupljen na velesejmu v Leipzigu, med obema vojnama.


135.

Sestavljanka, “Puzzle” / lepenka / škatla: v - 27 cm; d - 37 cm / št. neg. 20497, 21393 / inv. št. 15819.

Sestavljanko je izdala založba “Otto Maier Verlag, Ravensburg”. Slika v 1000 kosih je reproducirana na pokrovu škatle. Slovenskemu etnografskemu muzeju je igračo podarila dr. Lydia Bayer, Spielzeugmuseum Nürnberg, 1985.


136.

Slonček / sintetični material / d - 27 cm; v - 15 cm / št. neg. 20462, 21394 / inv. št. 15820.

Figura je postavljena na štiri kolesa, je iz plastike rdeče barve, kolesa so črna z rumeno pesto. Slon ima poškodovana ušesa. Izdelek tovarne Jugoplastika, Split. 70. leta 20. stoletja.


137.

Električni vlak / kovina in sintetični material / vagon: d - 20 cm / št. neg. 20458 / inv. št. 15821.

Komplet električne železnice je v originalni škatli. Ima lokomotivo in 3 vagone, komplet tirov (vsega je 16 delov) ter ploščo z zapornicami. Slovenskemu etnografskemu muzeju je igračo podarila tovarna Mehanotehnika, Izola, 1980.


138.

Domine / les / d - 4 cm; š - 2 cm / št. neg. 20468 / inv. št. 16001.

Doma narejene lesene domine so iz nebarvanega lesa, luknjice so izžgane. Niso kompletne (41 kosov). So iz Žirov v Poljanski dolini. V rabi: 30. leta 20. stoletja.


139.

Punčka / papier mâché, blago / v - 40 cm / št. neg. 20470 / inv. št. 16422.

Telo in udi so iz blaga, glava je iz papier mâchéja. Obrazek je obarvan, na glavi so še pravi lasje. Glava je prišita na telo. Prsti na rokah in nogah so šivani. V rabi: po 1925 v Ljubljani.


140.

Žagarja / les, lepenka, celuloid / podlaga: d - 30 cm; vetrnica: v - 25 cm; figura: v - 16 cm / št. neg. 21503, 21613, dia 4024 / inv. št. 16838.

Dve figurici (bradata možaka s kapicama s cofoma in pipama v ustih držita žago in žagata) sta postavljeni na leseno ploščo. Ob straneh te plošče stojita dve smreki. Smreki in možaka z žago so izrezani iz plastificirane lepenke. Na eno smreko je pritrjena vetrnica, ki je povezana še z žago. Če se vetrnica z vetrom premika, se premika tudi žaga in oba možica. Figure so pobarvane. Igračka je bila narejena po letu 1950. Slovenskemu etnografskemu muzeju jo je podaril ing. Marjan Loboda, Begunje pri Cerknici.


141.

Teniški lopar / les, povoščena nit / d - 69 cm / št. neg. 20537 / inv. št. 16839.

Lopar ima leseno ogrodje in ročaj, mreža je iz povoščenih nitk. Znamke je “SLAZENGERS LTD, štev. 13 1/2”. Mreža je strgana. V rabi: 30. leta 20. stoletja.


142.

Teniški lopar / les, povoščena nit / d - 69 cm / št. neg. 20570, 20571 / inv. št. 16840.

Lopar ima leseno ogrodje in ročaj, mreža je iz povoščenih nitk. Znamke je “SLAZENGERS LTD, štev. 13 1/2”. Mreža je strgana. Vstavljen je v pravokoten lesen okvir, ki je namenjen ravnanju loparja. V rabi: 30. leta 20. stoletja.


143.

Punčka / papier mâché / v - 79 cm / št. neg. 19763 / inv. št. 16890.

Punčka je izdelana iz papier-mâchéja, odpira in zapira oči, mehanizem za zvok je pokvarjen. Na glavi ima veliko lasuljo iz svetlih umetnih las. Nog in rok ne pregiba. Je tip tržaških “bambol”, 50. leta 20. stoletja. Slovenskemu etnografskemu muzeju je igračo podarila Milena Petje, Ljubljana.


144.

Punčka / papier mâché, tekstil / v - 50 cm / št. neg. 20472, 20554 / inv. št. 16907.

Punčka je izdelana z glavico iz papier mâchéja, telo z rokami in nogami je iz cunj. Glavica je serijski tovarniški izdelek, lasje so modelirani v kratko pričesko, ima barvana lička in rjave oči. Trup je sešit iz bele kontenine, roki in nogi sta iz svile v barvi inkarnata. Punčka je oblečena v obleko iz črtastega blaga in črn žametast telovnik. Na vratu je prilepljen listek: “ONBREEKBAAR” (nelomljivo). V rabi: med obema vojnama.


145.

Medvedek / sintetični material / v - 38 cm / št. neg. 19757 / inv. št. 16908.

Medved je iz umetnega pliša. Glavica je premakljiva, prav tako roki in nogi. Šapice s plišem so drugačne barve. Verjetno je izdelek tovarne Mehanotehnika, Izola, 70. leta 20. stoletja.


146.

Psiček / sintetični material / v - 30 cm / št. neg. 19744 / inv. št. 16910.

Psiček iz umetnega pliša je posnetek mopsa v sedečem položaju. Zadek in del glave sta v temnem plišu, ostali deli v svetlem. Glava je vstavljena in pritrjena na trup iz enega kosa. Kuža ima rep iz temnega pliša. Po trupu ima zašite krpice, eno uho je dodano. V rabi: 30. leta 20. stoletja.


147.

Punčka / sintetični material / v - 28,5 cm / št. neg. 19778, 20575, 20576 / inv. št. 16911.

Punčka je iz plastike tipa Barbie. Uvožena je iz Hongkonga. Podobna je odrasli osebi, z dolgimi nogami in rokami, upogljivimi v kolenih in komolcih. Ima svetle umetne laske. Punčka ima tudi nekaj oblekic. V rabi: 80. leta 20. stoletja.


148.

Dojenček / sintetični material / v - 8,5 cm / št. neg. 19794 / inv. št. 16912.

Punčka je iz plastike tipa dojenček. Premakljivi ima roki in nogi, na glavi so svetli umetni lasje. Oblečena je v prvotno obleko. Na originalni škatli je napis “Little Friends, El Greco (1977 Hallmark Cands Inc.)” V rabi: 80. leta 20. stoletja.


149.

Dojenček / sintetični material / v - 7,5 cm / št. neg. 19793 / inv. št. 16913.

Punčka je iz plastike tipa dojenček. Premakljivi ima roki in nogi, na glavi so svetli umetni lasje. Oblečena je v prvotno obleko. Na originalni škatli je napis: “Little Friends, El Greco (1977 Hallmark Cands Inc.)”. V rabi: 80. leta 20. stoletja.


150.

Kotalke / kovina, les, usnje / d - 26 cm / št. neg. 20567, 20568, 20569 / inv. št. 16914.

Kotalke imajo kovinski spodnji del, na katerega se namesti čevelj, spodnji del se lahko prilagodi dolžini čevlja. Imajo štiri lesena kolesca, ob peti je potegnjen usnjen trak, ki se pritrdi ob nogo. Kotalke so uvožene, firme “SWALLOW, Made in Belgium”. V rabi: v vasi Sora pri Ljubljani, 60. leta 20. stoletja.


151.

Šolska pušica / les / d - 23,5 cm; v - 5,3 cm; g - 3,8 cm / št. neg. 20475 / inv. št. 16976.

Pripomoček za otroke-šolarje je narejen iz lesa, je podolgovat, v dveh ravneh in s pokrovom. Spodaj ima tri razdelke, zgoraj pa enega manjšega in enega večjega. Leseni desni pokrov ima vrezan ornament. Je precej zamazana s črnilom in črnim tušem, sicer pa dobro ohranjena. Čeravno šolski pripomoček, je bila pušica kasneje v rabi kot igrača. 50. leta 20. stoletja.


152.

Hranilnik / pločevina / v - 12 cm / št. neg. 20553 / inv. št. 17013.

Hranilnik ima obliko škatle s polkrožnim zaključkom. Je iz pločevine in potiskan kot hiša. Zgoraj kot streha z rdečimi ploščami, na ožjih stranskih stranicah pa so naslikana okna, gorenjska, z gavtri in gorenjskimi visečimi nageljni ter lesena vrata. Na sprednji strani po lesenih stopnicah nosi kmet v gorenjski narodni noši vrečo moke na skedenj, mimo prihajajo tri postave: prvi deček je v hrvaški narodni noši, drugi v srbski, tretja je deklica v kratki beli oblekici s sandali na nogah. Vsi trije nosijo košnice v naročju. Na tej strani je ozka reža za denar, na drugi so vratca s ključavnico in zgoraj odprtina za žebelj, ker se hranilnik lahko obesi na steno. V rabi: med obema vojnama.


153.

Voziček / les / v - 35 cm; d - 42,5 cm; š - 34 cm / št. neg. 21395 / inv. št. 17027.

Nastavek, fragment vozička je izdelan iz lesenih letev, podoben je lojtrniku. Na pravokotno spodnjo desko je pritrjenih na dveh daljših straneh po pet krajših letev. Zgornje letve so povezane z lesenim okvirom. Voziček je pobarvan z rumeno barvo. Izdelan je bil za domačega otroka, Paradišče pri Kapeli. 50. leta 20. stoletja.


154.

Kuža / sintetični material, polnilo / d - 17 cm / št. neg. 19765 / inv. št. 17180.

Kuža iz blaga je stilizirani sedeči jazbečar. Ima naslikane oči in gobček. Izdelan je iz blaga, belega z rdečimi srčki. Dolga ušesa so iz enakega blaga, na glavi je prišit čop rožnatih nitk. Polnjen je s sintetiko. Spravljen je v vrečko in na njej je napis: “Sem Timi, kuža plah, a s tabo me ni strah”. Izdelek podjetja Unika iz Pivke. Prodaja v letih 1991 - 1992.


155.

Kuža / sintetični material, polnilo / d - 30 cm / št. neg. 19764 / inv. št. 17181.

Kuža iz blaga je stilizirani sedeči jazbečar. Ima naslikane oči in gobček, na glavi je prišit čop iz nitk. Kuža je narejen iz belega potiskanega blaga z motivi zasneženega gozda in božičnih drevesc ter polnjen s sintetiko. Spravljen je v vrečko in na njej je napis: “Sem Timi, kuža plah, a s tabo me ni strah”. Izdelek podjetja Unika iz Pivke. Prodaja v letih 1991-1992.


156.

Perilnik, “riflar” / les, pločevina / v - 20 cm; š - 14 cm / št. neg. 20476, 20556, 20557 / inv. št. 17182.

Otroški perilnik je lesen okvir z dvema daljšima in dvema krajšima stranicama, v katerega je vstavljen pravokoten kos valovite pločevine. Predmet je pomanjšana oblika perilnika za odrasle. V rabi: na Gorenjskem, med obema vojnama.


157.

Svinčeni vojak / svinec / v - 8 cm / št. neg. 20504 / inv. št. 17183.

Skupina svinčenih pobarvanih vojakov ima zgornji del uniforme moder, hlače rdeče, črne čevlje in rjavo orožje. Eden izmed njih je konjenik. Vsi so na zelenih podstavkih. So ploščati in pritrjeni na lepenko v škatli. V škatli je 8 figuric. Izdelani so bili v Ljubljani v 80. letih 20. stoletja, po starih modelih.


158.

Kuža / tkanina / v - 10 cm; d - 16 cm / št. neg. 20473 / inv. št. 17434.

Kuža ima stekleni očesci in viseča ušesa. Spodnji del gobčka je iz belega pliša. Vsaka noga ima spodnji del prav tako v belem plišu, kot nekakšne škorenjce. Repek je kratek. Na eni strani ima na hrbtu odprtino, ki se zapira z dvema gumboma. Glava je napolnjena s polnilom (lesna volna?) in zašita, v telo pa je nagačen papir. Originalna barva pliša je bila zelenkasta. Kupljen je bil v Zagrebu. V rabi: v Ljubljani, med obema vojnama.


159.

Punčka / celuloid / v - 54 cm / št. neg. 20534 / inv. št. 17527.

Punčka iz celuloida ima svetlejše lase ter standardno pričesko s svitkom na zatilju. Roki se premikata le v ramenskih sklepih, nogi v kolčnih. Postava je otroška, s trebuščkom. Na hrbtu, tik pod vratom, je odtis želve in št. “55 1/2”. Nohti na rokah in nogah so rdeče pobarvani, očitno je to kasnejša “obdelava”. Enako temne so rdeče ustnice. Ima vstavljene oči, ki jih ne premika. V rabi: v Ljubljani, med obema vojnama.


160.

Punčka / celuloid / v - 10 cm / št. neg. 20572 / inv. št. 17528.

Celuloidna punčka je miniaturna. Glavica je premakljiva, prav tako roki in nogi. Oči so vstavljene in premakljive. Ima običajno pričesko s svitkom in otroško trebušasto postavo. Poškodovan je nosek. Pod vratom na hrbtu je odtis zaščitne znamke: odtis drevesa in črke “M = Q”. V rabi: med obema vojnama.


161.

Punčka / celuloid / v - 10 cm / št. neg. 19795 / inv. št. 17530.

Punčka je miniaturna. Glavica ni premakljiva. Roki in nogi ima premakljivi, lase pobarvane temnorjavo, brez svitka. Oči so vstavljene in premakljive. Na hrbtu je odtis zaščitne znamke: v trikotniku “ARI”, spodaj je odtis napisa “GERMANY 1922”. Oblečena je v cunjice.


162.

Punčka / celuloid / v - 7 cm / št. neg. 20573 / inv. št. 17531.

Punčka je miniaturna. Glavica ni premakljiva. Oči ima vstavljene in premakljive, prav tako roki in nogi. Laski so kratki, dojenčkasti. Na hrbtu zgoraj je odtis “K” (v krogu) “360”. Oblečena je v cunjasto krilce. V rabi: med obema vojnama.


163.

Punčka / celuloid / v - 7 cm / št. neg. 21582 / inv. št. 17532.

Punčka je miniaturna. Glava ni premakljiva. Oči so vstavljene in premakljive, prav tako roki in nogi. Laski so kratki, dojenčkasti. Na hrbtu zgoraj je odtis “K” (v krogu) “360”. Oblečena je v cunjasto krilce. V rabi: med obema vojnama.


164.

Punčka / celuloid / v - 7 cm / št. neg. 20574 / inv. št. 17533.

Punčka je miniaturna. Glava in oči niso premakljivi. Laski so kratki, dojenčkasti. Oblečena je v rdečo cunjasto oblekico. V rabi: med obema vojnama.


165.

Medvedek / tkanina, polnilo / v - 50 cm / št. neg. 20552 / inv. št. 17534.

Medvedek iz rjavega pliša je napolnjen s slamo. Na masivno telo je pritrjena glava, ki se lahko vrti. Ravni vrtljivi roki in nogi sta pritrjeni na telo. Na šapah spodaj je del blaga v svetlorjavi barvi, enako na podplatih. Medvedek ima za oči steklena gumbka, smrček je prišit z rdečo nitko. Na glavi ima tudi prišito pentljo, predstavljal naj bi medvedko. Oblečen je v oblekico, ki je najbrž nekoč pripadala dojenčku. Kupljen je bil tik pred letom 1940, Zalog pri Ljubljani.


166.

Punčka / volna, vata / v - 13 cm / št. neg. 21603 / inv. št. 17535.

Punčka, pletena iz različnih barv volne je v enem kosu. Napolnjena je z vato. Oči, nos in usta ima prišite, prav tako gumbe na jopici in tudi valjaste lase. Punčka je bila namenjena igranju ali pa za obesek v avtu. Izdelana je bila v Ljubljani v 80. letih 20. stoletja.


167.

Sestavljanka “Faraon” / lepenka / škatla: d - 29 cm; š - 20 cm / št. neg. 20516 / inv. št. 17537.

Igrača je iz potiskanih papirnatih trikotnikov, ki sestavljajo enakostranične piramide. Vsaka stran ima drugačno barvo: rumeno, oranžno, modro, svetlo modro. Vsega je 47 piramid. Priložena so tiskana navodila za igranje. Na škatli je napis: Oblikovanje Andreja Peklar, avtor: Borko Tepina. Igra za otroke in odrasle. Avtor je igro podaril Slovenskemu etnografskemu muzeju leta 1992, ko je bila tudi izdelana.


168.

Sestavljanka “Babel” / lepenka / škatla: d - 15 cm; š - 10 cm / št. neg. 20499 / inv. št. 17538.

Igrača je sestavljena iz papirnatih kvadratov, ki so potiskani z različnimi barvami. Priložena so tiskana navodila za igranje. Na pokrovu škatle je naslov in tekst: BABEL - izgubljeni zaklad in izgubljeno blago. Oblikovanje Andreja Peklar, avtor: Borko Tepina. Avtor je igro podaril Slovenskemu etnografskemu muzeju leta 1992, ko je bila tudi izdelana.


169.

Sestavljanka “Mozaik - Babel 1” / lepenka / škatla: d - 16 cm; š - 10,5 cm / št. neg. 20365, 20517/inv. št. 17539.

Igrača je sestavljena iz papirnatih kvadratov, ki so potiskani v različnih barvah in na različne načine. Kvadratkov je 14+14+14+15. Na škatli je na eni strani naslov: MOZAIK - BABEL - 1, na drugi strani je 11 primerov te igre. Priložena so tiskana navodila za igranje. Avtor Borko Tepina je igro podaril Slovenskemu etnografskemu muzeju leta 1992, ko je bila tudi izdelana.


170.

Sestavljanka “Mozaik-Babel 2” / lepenka / škatla: d - 16 cm; š -10,5 cm / št. neg. 20501 / inv. št. 17540.

Sestavljanka ima papirnate kvadrate, ki so potiskani v različnih barvah in na različne načine. Kvadratkov je 14+14+14+14. Na škatli je na eni strani naslov: MOZAIK - BABEL - 2, na drugi strani je 11 primerov te igre. Avtor Borko Tepina je igro podaril Slovenskemu etnografskemu muzej leta 1992, ko je bila tudi izdelana.


171.

Sestavljanka “Mozaik-Babel 3” / lepenka / škatla: d - 16 cm; š - 10,5 cm / št. neg. 20498 / inv. št. 17541.

Igrača je sestavljena iz papirnatih kvadratov, ki so potiskani v različnih barvah in na različne načine. Kvadratkov je 14+14+14+14. Na škatli je na eni strani naslov: MOZAIK - BABEL - 3, na drugi strani je 11 primerov te igre. Priloženo je tiskano navodilo za igranje. Avtor Borko Tepina je igro podaril Slovenskemu etnografskemu muzeju leta 1992, ko je bila tudi izdelana.


172.

Sestavljanka “Elektro vseved” / sintetični material / škatla: v - 24 cm; d - 19 cm / št. neg. 20538 / inv. št. 17542.

V plastični škatli je montirana rdeča lučka. Poleg je prostor za baterije in električne žične povezave. Priloženih je 6 kartonov. Na teh kartonih je po 15 slik in 15 podatkov o teh slikah. Če sta slika in podatek pravilno vključena, se prižge rdeča lučka. Besedila so v slovenščini in srbohrvaščini. Igrica je izdelek DORO-PLASTIKA-IZOLA. Na kartonu je še podatek: Za otroke od 8 - 14 let. Igrica je bila v rabi v začetku 80. let 20. stoletja v Ljubljani.


173.

Miniaturni model gospodinjskega orodja (s pripomočki) - več predmetov / les / d - od 2 cm do 9 cm / št. neg. 21596 / inv. št. 17544.

V škatli s pokrovom je 19 predmetov: 2 loparja, 1 vejnica, 3 sekire, 1 žaga, 2 lopati, 1 sekač za meso, 1 burkle, 1 kladivo, 2 noža, 2 sekiri z nazobčanim robom, 1 motika, 1 srp, 1 posodica. Igračo je okoli 1900 za domačo hčer izdelala služkinja Johana Žontar, ki je služila pri družini v Trnovem v Ljubljani. Slovenskemu etnografskemu muzeju je igračo podarila Nuša Lobnikar 1991.


174.

Album “I love Snoopy” / papir / v - 32 cm; d - 24 cm / št. neg. 20529 / inv. št. 17546.

Album z naslovom “I love Snoopy”, ima obliko večjega zvezka. Na listih so različna tiskana sporočila in s tekočimi številkami označeni prostorčki za lepljenje sličic. Album ni izpolnjen, priloženo je še nekaj praznih vrečic. Tiskanje v Gornjem Milanovcu, Srbija. Namen te igre je bil, da so otroci kupovali žvečilne gumije (ali tudi druge predmete, npr. male čokolade) v zaprtih vrečicah, priložena pa je bila tudi ena izmed sličic s tekočo številko. Običajno je tovarna obljubila za izpolnjen album nekakšno nagrado. Otroci so kupovali vrečice s sličicami in žvečilnimi gumiji po trafikah in kioskih. V 80. letih so slovenski trg zalagale v glavnem založbe z juga Jugoslavije, po licencah Disneyevega koncerna.


175.

Sestavljanka, “Puzzle” / papir, lepenka / v - 24 cm; d - 35 cm / št. neg. 20528 / inv. št. 17547.

Iz papirnatih koščkov izrezanih v različnih oblikah se lahko sestavlja slike po predlogah. Ta sestavljanka ima dve predlogi: “Obuti maček” in “Sneguljčica in sedem palčkov”. Avtor slike je podpisan: “B. VÖLTZKE”. Na pokrovu papirnate škatle je slika Obutega mačka in naslov: “2 Märchen, PUZZLES”, oznaka “SPIKA”. Uvožena je bila iz DDR, kupljena in v rabi pa v zgodnjih 80. letih v Ljubljani.


176.

Gugalni konjiček / les, sintetični material / v - 75 cm; d - 87 cm / št. neg. 21396 / inv. št. 17626.

Leseni poslikani konjiček je bil namenjen guganju. Osrednji del konjička je tmp z glavo v širini 20 cm. Na obeh straneh sta pritrjeni po dve nogi. Sprednji in zadnji nogi sta pritrjeni na zeleno polkrožno deščico. Konjiček, tak kot je danes, se ne premika, ker manjkata spodnji upognjeni deski. Po eni strani glave ima kot grivo urezane enakomerne žlebičke. Na hrbtu je pritrjen sedež iz rdečega polivinila. Provenienca predmeta ni znana. V rabi: 50. leta 20. stoletja.


177.

Gugalni stol - konjiček / les / v - 59 cm; d - 102 cm / št. neg. 21397 / inv. št. 17627.

Leseni, zelo stilizirani konjiček ima dve upognjeni ozki deski, ki nosita spredaj prečno desko, v sredi je lesen sedež z ožjim naslonjalom, zadaj pa spet ozka prečna deska. Spredaj na prečni deski sta postavljena stilizirana glava in konjski vrat. Pobarvano je belo, narisane so uzde in oči. Domnevno je konjiček iz delavnice Marije Novak, Sp. Kašelj. V rabi: 50. leta 20. stoletja.


178.

Mož, ki obrača kolo / les / v - 17 cm; d - 47 cm / št. neg. 21505, dia 4018 / inv. št. 17914.

Izrezljana in pobarvana figura moškega, ki stoji na podstavku in z obema rokama drži dolgo palico, na kateri je pritrjeno veliko rdeče polno kolo. Podstavek, na katerem stoji možak, je izvotljen in vanj je vstavljena dolga lesena palica. Kadar palico porivamo naprej, se kolo premika in z njim tudi možakovi roki. Pokrit je s kockasto čepico in nosi dolg predpasnik. Izdelal ga je Janko Trošt leta 1940, predstavlja prototip. Slovenskemu etnografskemu muzeju ga je podaril dr. Niko Kuret leta 1980.


179.

Turek / les / konj: v - 18 cm; d - 24 cm; figura: v - 20 cm; d - 24 cm / št. neg. dia 4019 / inv. št. 17915.

Izrezljana in pobarvana figura moškega, ki je oblečen v široke rdeče hlače in pokrit s turbanom, očitno predstavlja Turka. Telo je zlepljeno iz treh lesenih ploščic, vanje je na zgornjem koncu vstavljena glava, s spodnjim je možak posajen na konja. Konj je vpet v elipsast obod, ki ima spodaj dve veliki polni kolesi. Kadar konjička poganjamo, se kolesi vrtita. Izdelal ga je Janko Trošt 1940, Slovenskemu etnografskemu muzeju pa podaril dr. Niko Kuret leta 1980.


180.

Dojenček / sintetični material / v - 50 cm / št. neg. 20533 / inv. št. 17916.

Glavica ima reliefno oblikovane laske in vložene oči, ki se odpirajo in zapirajo ko dojenčka dvigamo in prelagamo. V ustih ima luknjico za dudo, duda manjka. Glavica je vstavljena v telo, prav tako obe skrčeni roki in nogi. Kupljen v 80. letih 20. stoletja v Avstriji in je bil v rabi v Ljubljani.


181.

Punčka / sintetični material / v - 33 cm / št. neg. 19745 / inv. št. 17917.

Glavica je pokrita s svetlimi skodranimi lasmi. Ima vložene oči z dolgimi trepalnicami, ki jih odpira in zapira. Po ličkih ima nekaj pegic. Glavico, obe roki in nogi ima vloženi v telo. Roki sta postavljeni v razprostrtem položaju, nogi pa ravni. Oboje lahko premika. Na nogah ima črne čeveljčke s črnimi nogavicami, vse iz plastike. Je izdelek tovarne Jugoplastika, Split, 80. leta 20. stoletja. V rabi je bila v Ljubljani. Igračo je Slovenskemu etnografskemu muzeju podarila Agata Tomažič, Ljubljana.


182.

Punčka / sintetični material / v - 36 cm / št. neg. 18986 / inv. št. 17919.

Glavica je pokrita s svetlo rjavimi lasmi, ki so na tilniku zvezani s pentljo v t.im. konjski rep. Ima vložene oči s temnimi dolgimi trepalnicami. Glavico ima pritrjeno na trup, in sejo lahko premika na vse strani. Prav tako ima pritrjeni obe roki in nogi. Roki sta rahlo usločeni v komolcih, sicer sta ob telesu. Nogi sta iztegnjeni. Oblečena je v rožnato in belo karirasto oblekico in spodnje hlačke. Provenienca predmeta ni znana.


183.

Medvedek / tekstil / v - 42 cm / št. neg. 19747 / inv. št. 17920.

Medvedek je iz bombažnega pliša. Polnjen je z lesno volno. Glava s steklenimi očesci in rdečim smrčkom iz sukanca je vsajena v telo tako, da se lahko vrti levo in desno. Premakljive sta tudi ravni nogi in roki. Obe roki imata šapici iz pliša svetlejše barve, enako tudi podplata. Provenienca predmeta ni znana. V rabi: 40. leta 20. stoletja.


184.

Punčka / keramika, tekstil / v - 40 cm / št. neg. 20525 / inv. št. 17967.

Punčka ima keramično glavico. Glavica je izdelana z naramnim delom. Spredaj in zadaj ima po tri luknje, kjer sojo lahko prišili na telo. Na zadnji strani je odtis izdelovalca: “KONJEDIC”. Obrazek je ročno poslikan. Na glavici je še ostanek lepila, s katerim je bila prilepljena lasulja (ali čepica). Telo, roki in nogi so izdelani iz tkanine, telo iz bele, roki in nogi pa v barvi inkarnata. Punčka je oblečena v obleko rdeče barve s črnimi krajci. Na nogah so čevlji nakazani v črni barvi tkanine. Glavica je izdelek lončarja Viktorja Konjedica, 40. leta 20. stoletja.


185.

Dojenček / sintetični material / v - 10 cm / št. neg. 19792 / inv. št. 17968.

Glava in udi so pritrjeni na trup. V glavico so vložene premakljive očke. Na hrbtu je odtis znamke in spodaj napis: “Made in Italy”. Dojenček ima oblečene hlačke in nekakšno jopico, kvačkano, nedvomno narejeno doma. V rabi: sredina 20. stoletja.


186.

Dojenček / sintetični material, tkanina / v - 21 cm / št. neg. 19766 / inv. št. 17969.

Glava dojenčka je iz sintetičnega materiala. Trup in udi so iz tkanine, napolnjene s polnilom. Roki in nogi sta pripeti ob telo tako, da se lahko premikata. V rabi: 50. leta 20. stoletja.


187.

Punčka / celuloid / v - 29 cm / št. neg. 19774 / inv. št. 17970.

Glava in telo sta iz enega kosa, roki in nogi sta nanj pritrjeni. Glava je delno poškodovana, telo še bolj. Na hrbtu ima odtis “18”. Punčka ima oblečeno pleteno obleko, nedvomno je delo otroških rok. Provenienca predmeta ni znana. V rabi: med obema vojnama.


188.

Punčka “fantek” / papier mâché, tekstil / v - 21 cm / št. neg. 19761 / inv. št. 17971.

Glava je iz papier mâchéja. Na telo iz blaga (s slamnatim polnilom) sta prišiti roki in nogi, tudi iz blaga. Glavica ima ramenski nastavek, ostalo je vidno amatersko delo, igračka je narejena doma. Oblečena je v fantka. Zelo je poškodovana glavica. Provenienca predmeta ni znana. V rabi: sredina 20. stoletja.


189.

Punčka / papier mâché, tekstil / v - 21 cm / št. neg. 19762 / inv. št. 17972.

Glava je iz papier mâchéja. Na telo iz blaga sta prišiti roki in nogi, tudi iz blaga, s slamnatim polnilom. Glavica ima ramenski nastavek, ostalo je vidno amatersko delo, igračka je narejena doma. Oblečena je v ženska oblačila bele barve. Je pendant figuri fantka pod kat. štev. 17971. Provenienca predmeta ni znana. V rabi: sredina 20. stoletja.


190.

Konjiček / sintetični material / v - 21 cm; d - 20 cm / št. neg. 19746 / inv. št. 17973.

Konjiček je iz sintetičnega rjavega pliša. Griva in rep sta iz bele volne. Dodatki so iz belega polivinila, ima stilizirano sedlo in kopita. Provenienca predmeta ni znana. V rabi: 2. polovica 20. stoletja.


191.

Zajček / kovina, sintetični material / v - 15 cm / št. neg. 19786 / inv. št. 17974.

Zajček je iz plišastega, sintetičnega blaga, umazano bele barve, očke ima vstavljene, smrček je iz črne plastike, rdeči jeziček je iz blaga. Zajček sedi na zadnjih nogah in se opira na repek. Nogi sta ravni in zelo dolgi, sprednje tačke drži v zraku. Ogrodje je kovinsko, zajček se lahko navija, mehanizem vključi ključ, ki ga ni več. Mehanična igrača je azijske izdelave. V rabi: verjetno 60. in 70. leta 20. stoletja.


192.

Kuža / sintetični material / v - 11,5 cm / št. neg. 19789 / inv. št. 17975.

Kuža je izdelan iz umetnega krzna. Glavica je dvobarvna: umazano bela in rjava, trup in noge z repom so svetlorjavi. Očke in smrček so iz črne plastike, jeziček iz rdeče polsti. Kuža ima polnilo. V rabi: 70. leta 20. stoletja.


193.

Kuža / sintetični material / v - 10 cm / št. neg. 19742 / inv. št. 17976.

Kuža je izdelan iz umetnega krzna. Glavica je dvobarvna (bela in rjava), trup in noge z repom so temnorjavi. Očke so iz črne plastike, smrček manjka, ostanek rdečega jezička je iz polsti. Kuža ima polnilo in ogrodja. V rabi: 60. in 70. leta 20. stoletja.


194.

Kuža / kovina, tekstil / v - 16 cm / št. neg. 19743 / inv. št. 17977.

Kuža je izdelan iz umetnega krzna. Ušesa in rep so rjavi, ostalo je svetlejše barve, nekoč morda belo. Za oči ima dva steklena gumbka, smrček je črna plastika. Okrog vratu ima jekleno vrvico, na drugem kraju vrvice s stiskom spirale povzročimo, da kuža odpre gobček in poskoči. Na podplatih vseh štirih nog ima koleščke. Mehanična igračka je azijske izdelave. V rabi: 60. in 70. leta 20. stoletja.


195.

Medvedek / sintetični material / v - 6,5 cm / št. neg. 19753 / inv. št. 17978.

Medvedek je iz plastične mase, podobne gumiju. Vidni so ostanki polihromacije, telovnik je črn z rdečo pentljo pod vratom. Je izdelek tovarne Jugoplastika, Split, tip Disneyevih junakov. V rabi: 60. in 70. leta 20. stoletja.


196.

Punčka / tekstil, volna / v - 35 cm / št. neg. 21586 / inv. št. 17979.

Glava, telo in udi “punčke iz cunj” so narejeni vsak posebej iz belega platna in ročno prišiti na telo. Polnilo je vata. Obraz je “poštikan” z raznobarvno nitko: oči, obrvi, nos, usta in lička. Lase na čelu predstavlja prišit čop rumenih volnenih niti. Punčka je oblečena v belo dolgo obleko, na glavi ima večbarvno pisano ruto, isti vzorec je tudi na predpasniku. Punčko je izdelala Marija Petek leta 1995, kot posnetek igrače, ki so jih delali v Tržiču okrog leta 1925.


197.

Stolček / les / v - 6,5 cm / št. neg. 19755 / inv. št. 17980.

Stolček je brez naslonjala, lesen, kuhinjski, t.im. “štokerl”. Je zeleno pobarvan in je bil nedvomno del otroškega kuhinjskega pohištva. V rabi: med obema vojnama.


198.

Stolček / les / v - 6,5 cm / št. neg. 19755 / inv. št. 17981.

Stolček je brez naslonjala, lesen, kuhinjski, t.im. “štokerl”. Je zeleno pobarvan in je bil nedvomno del otroškega kuhinjskega pohištva. V rabi: med obema vojnama.


199.

Lonec / pločevina, emajl / v - 4,8 cm / št. neg. 19754 / inv. št. 17982.

Emajlirani lonec z ročajem je posnetek kuhinjskega lonca v miniaturni izvedbi. Na zgornjem robu in na dnu je precej okrušen. Je rumene barve. Lonec je bil nedvomno del večje otroške gospodinjske garniture. V rabi: med obema vojnama.


200.

Ponev / pločevina, emajl / d - 2,3 cm / št. neg. 19754 / inv. št. 17983.

Emajlirana ponev z dolgim ročajem z luknjo predstavlja posnetek kuhinjske ponve v miniaturni izvedbi. Precej je okrušena, je modre barve. Ponev je bila nedvomno del otroške kuhinjske garniture. V rabi: med obema vojnama.


201.

Krožnik / pločevina, emajl / pr - 8 cm / št. neg. 19754 / inv. št. 17984.

Emajlirani krožnik je posnetek krožnika v miniaturni izvedbi, je modre barve. Krožnik je bil nedvomno del otroške kuhinjske garniture. V rabi: med obema vojnama.


202.

Krožnik / pločevina, emajl / pr - 8 cm / št. neg. 19754 / inv. št. 17985.

Emajlirani krožnik je posnetek krožnika v miniaturni izvedbi, je zelene barve. Krožnik je bil nevomno del otroške kuhinjske garniture. V rabi: med obema vojnama.


203.

Vojak / papier mâché / v - 12,5 cm / št. neg. 20555, dia 4026 / inv. št. 17987.

Figura vojaka v uniformi je izdelana iz papier mâchéja. Pobarvana je z oljno barvo. Vojak stoji v razkoraku, z obema rokama ob nogah. Pokritje s črno čako z zlatimi znaki spredaj. Jopič je rjav, z zlatimi gumbi, prepasan, hlače so rdeče, nosi črne škornje. Provenienca predmeta ni znana.


204.

Kuža / sintetični material, polnilo / d - 26 cm / št. neg. 19785 / inv. št. 17988.

Kuža je izdelan iz umetnega krzna, je bel s črnima lisama na trupu in rumenima ušesoma. Kuža sedi. Telo ima polnjeno s slamnatim polnilom. Okrog vratu ima rdeč usnjen pas s kraguljčkom. Ima všita steklena očesca, smrček je črn, šivan je s sukancem. V rabi: 60. leta 20. stoletja.


205.

Mucka / tekstil, polnilo / v - 17 cm / št. neg. 21583 / inv. št. 17989.

Zgornji del mucinega telesa z repkom, nogicami in glavo je iz karirastega blaga, sivočrnega, zgoraj na glavi je všitek pikastega blaga, enak je tudi gornji del ušes. Po trebuščku in notranjih delih tačk je všitek blaga v drap barvi s črnimi pikicami. Muca je bila polnjena zelo trdo, a se je polnilo zrahljalo, tako da ne stoji več trdno. Za oči ima črna gumba. Je doma narejena igračka. Provenienca predmeta in čas nista znana.


206.

Osliček / sintetični material, polnilo / v - 18 cm / št. neg. 19787 / inv. št. 17990.

Osliček je izdelan iz umetnega pliša svetlosive barve. Stilizirano sedlo je iz modrega, kopita iz črnega polivinila. Osliček ima dolga ušesa, ostanki grive na glavi so iz volnene niti. Manjkajo oči in smrček. Gobček ima prevezan z rdečim polivinilnim trakom. Je iz druge polovice 20. stoletja.


207.

Medvedek / tekstil, polnilo / v - 51 cm / št. neg. 21601 / inv. št. 17991.

Medvedek je izdelan iz bombažnega pliša svetlorumene barve. Glavo, sprednje in zadnje tace ima pritrjene na telo, vse se lahko obrača. Ima stekleni očesci, smrček je prišit. Polnilo je verjetno slama. Provenienca predmeta ni znana. V rabi: verjetno v letih pred 1940.


208.

Punčka / sintetični material / v - 60 cm / št. neg. 19781 / inv. št. 17992.

Glavico, roki in nogi ima vstavljene v telo. V trebuhu ima mehanizem za glas, ki pa je pokvarjen. Po glavi ima svetle lase. Ima vstavljene modre steklene oči, z dolgimi trepalnicami, premakljive. Punčka je oblečena v originalno obleko, krilo sega do nadkolen. Čez belo majico in bele spodnje hlačke ima oblečeno zeleno krilo s prišitim predpasnikom. Vse je obrobljeno s čipkami in tilastimi volanci. Punčka spada v tip okrasnih igrač, ki so jih polagali na postelje. Je brez čeveljcev. Punčka je nedvomno italijanski izdelek, pri nas v modi kmalu po drugi svetovni vojni. Lastnica jo je imela v Ločah pri Poljčanah. Slovenskemu etnografskemu muzeju jo je podaril dr. Boris Kuhar, 1982.


209.

Skiro / les / v - 60 cm; d - 55 cm / št. neg. 19772 / inv. št. 17993.

Otroško vozilo na treh kolesih je iz dveh kosov, zložljivo, imenovano tudi “skira”. Sprednji del z ročajem ima spodaj eno kolesce z gumijastim obročem. Pravokotno na ta del je postavljena deska za nogo, na drugem kraju ima dve kolesci z gumijastim obročem. Napis na sprednji deščici: “A-B-C Baby, VERO”, je italijanski izdelek. V rabi: 50. leta 20. stoletja.


210.

Avto / kovina / d - 110 cm; š - 48 cm / št. neg. 21400 / inv. št. 18003.

Kabriolet brez strehe, ki ima en sam sedež, spredaj je volan. Poganja se s pedali: otrok sedi na sedežu in z nogami pritiska na pedali. Spredaj pred volanom manjka komandna plošča. Kolesa imajo gumijaste obroče. Karoserija je kovinska, zelene barve. Nekaj delov je tudi plastičnih. Izdelek je bil uvožen iz Sovjetske zveze. V rabi: 60. leta 20. stoletja.


211.

Gugalni konjiček / papier mâché / v - 60 cm; d - 60 cm / št. neg. 21398 / inv. št. 18004.

Konj je narejen iz papier mâchéja in pobarvan. Stoji na dveh lesenih prečkah, ki sta vloženi na dve upognjeni leseni deski, po katerih se jahač lahko guga. Konjiček ima narisano sedlo, uzde pa ima usnjene. Je na novo pobarvan rjavo z rdečim sedlom, po pripovedovanju prodajalca po sledeh stare poslikave. V rabi: v Ljubljani, sredina 20. stoletja.


212.

Slon / sintetični material, polnilo / v - 40 cm; d - 54 cm / št. neg. 19777 / inv. št. 18061.

Slonček je iz umetnega krzna v rožnati barvi. Ima dolg rilec, velika ušesa in rep, vse je iste barve in materiala. Okla sta iz drugačnega blaga, bele barve. Slon ima polnilo. Najden je bil v smetnjaku v Ljubljani, 1995. Izdelek je iz Mehanotehnike, Izola.


213.

Kuža / sintetični material, polnilo / v - 60 cm / št. neg. 19779 / inv. št. 18062.

Kuža je iz umetnega krzna. Del glave, sprednji taci, trup in del zadnjih tac so beli. Ostalo, del glave z enim celim visečim ušesom, rep in spodnji deli zadnjih tac je rjavo. Kuža ima posebej pritrjene tace na telo, te so gibljive. Na glavi ima velike oči, črn smrček in rdeč jeziček. Kuža ima polnilo. Je izdelek Mehanotehnike, Izola. Tip Disneyevih junakov. Kuža je bil najden v smetnjaku v Ljubljani, 1995.


214.

Hranilnik, “prašiček-šparovček” / keramika / v - 14,5 cm / št. neg. 18987 / inv. št. 18063.

Hranilnik ima obliko keramičnega prašička. Zgoraj ima zarezo za kovance. Stoji na trati z rožicami in štiriperesnimi deteljicami. Okrog vratu ima rdečo pentljo s štiriperesno deteljico. Ima črne pike po trupu in črn repek. Provenienca predmeta ni znana. V rabi: 50. leta 20. stoletja.


215.

Dojenček / sintetični material / v - 19,5 cm / št. neg. 19767 / inv. št. 18064.

Dojenček je iz gumi podobne plastične mase. Glavica, roki in nogi so premakljivi. Očke ima pobarvane modro. Nakazani so kratki laski. V rabi: 60. leta 20. stoletja.


216.

Petelinček / les / podlaga: d - 36,3 cm; petelin: v - 14 cm / št. neg. 21577 / inv. št. 18065.

Petelinček zoblje. Na podloženi deski je skozi kovinsko paličico pritrjena figura petelina. Če stisnemo obe stranski deščici, se premakne in s tem dvigne deščico nasproti. Manjka posodica na drugem koncu deščice. Petelin je pobarvan, pretežno v rdeči barvi. Provenienca predmeta ni znana. Petelinček ni serijske izdelave.


217.

Računalo / les, žica / v - 23 cm; d - 18 cm / št. neg. 19752 / inv. št. 18066.

Stoječe računalo ima lesen okvir rdeče barve, ki je spodaj širši, nanj je napetih 10 kovinskih žic. Na vsaki žici je nanizanih po 10 lesenih kroglic, 5 rumenih, 5 rdečih ali 5 rjavih in 5 zelenih. Kroglice se lahko premikajo po žici. Provenienca predmeta ni znana.


218.

Računalo / les, žica / v - 19 cm; d - 15 cm / št. neg. 18988 / inv. št. 18067.

Stoječe računalo ima lesen okvir. Nanj je vpetih 10 kovinskih žic. Na vsaki žici je nanizanih po 10 lesenih kroglic, ki so premakljive. Barvi kroglic sta rdeča in rumena, po ena več na vsaki žici. 9 rumenih - 1 rdeča, 8 rumenih - 2 rdeči itd. Okvir je na eni strani poslikan s stiliziranimi rožami, spodaj je srček. Za podstavek služita dve prečno pritrjeni deščici. Provenienca predmeta ni znana.


219.

Top / les / d - 45 cm; kolo: pr - 15 cm / št. neg. 18989 / inv. št. 18068.

Leseni top je na kolesih. Kolesi sta polni, s 6 luknjicami na straneh. Nasajeni sta na prečno gred, na kateri je pritrjen na višjem, podloženem delu, top. Z daljšo deščico, ki je v isti smeri kot top, se lahko napravo vozi. Top je imel tudi elastično vrvico, s katero so streljali. Zdaj je strgana. Provenienca predmeta ni znana. Nedvomno je neserijski izdelek.


220.

Avto / les / v - 11 cm; d - 27,5 cm / št. neg. 18991 / inv. št. 18069.

Avtomobilček je tip topolina. Ob straneh ima po eno okno, spredaj in zadaj po eno odprtino. Je votel. Ima 4 majhna premakljiva kolesa, spredaj je kovinska zanka za vrvico, s katero se avtomobilček lahko vleče po tleh. Temeljna barva je rumena, rdeče in črne črte so ravne, valovite, neizrazite. Zelo podoben je lesenim igračam iz Hrvatskega Zagorja. Provenienca predmeta in čas nista znana.


221.

Hranilnik / les / v - 10 cm; d - 10,5 cm; š - 6,5 cm / št. neg. 18990 / inv. št. 18070.

Leseni hranilnik ima obliko nadstropne gorenjske hiše. Hiša je poslikana, ima dvokapno streho in okoli treh strani teče gank. Na zadnji strani strehe je reža za kovance. Spodaj, na tleh, je izrezana lesena deščica, ki sejo lahko premika - tam so vzemali denar. Provenienca predmeta ni znana. V rabi: med obema vojnama.


222.

Palček / kovina / v - 28,5 cm / št. neg. 21585 / inv. št. 18071.

Palček se guga na podstavku. Sedi in kadi iz velike rumene pipe. Pokrit je z dolgo rdečo čepico z belimi pikami. Pod sedalom ima kovinski delček, katerega se lahko pritrdi na podstavek. Na črnem škornju ima težko utež, s katero lovi ravnotežje na podstavku. Podstavek je prav tako iz pločevine. Naredil ga je ključavničar iz okolice Sevnice za svojo hčer, 1960.


223.

Voziček - lojtrnik / les / v - 12 cm; d - 31 cm / št. neg. 19770 / inv. št. 18072.

Lojtrnik, leseni voziček na štirih kolesih ima spredaj leseni preluknjani deščici. Tam je bila pritrjena palica, s katero se je lahko vozil po tleh. Na vsaki strani ima voziček v lestvi (“lojtri”) 6 klinov, spodaj je polno leseno dno - na sprednji in zadnji strani je pritrjena prečna deščica. “Lojtre” so pobarvane rdeče, spodnja in zadnja deščica pa modro. Na spodnji strani dna je s svinčnikom napisano ime “MONIKA”. Predmet je ribniška suha roba, narejen je bil okrog 1960.


224.

Voziček / les / v - 20,3 cm; d - 45 cm; palica: d - 67 cm / št. neg. 19771 / inv. št. 18073.

Leseni voziček je na 4 polnih kolesih, os zadnjih koles je nepremična, sprednja pa se da z dolgo palico voditi in obračati po tleh. Ob strani ima po dve palici, spodaj in zadaj polni deščici. Je zelo lepo izdelan in nepobarvan. Ni serijski izdelek. Provenienca in čas predmeta sta neznana.


225.

“Marjanca” / les, sintetični material, papir / d - 61 cm; š - 31 cm / št. neg. 19776 / inv. št. 18074.

Ploščata deska je na eni strani polkrožno zaključena. Zamejena je s približno 2,5 cm visokim plastičnim robom. Na podlagi, ki predstavlja barvno risbo gozda in različnih gozdnih prebivalcev – živali, so pritrjene kovinske ovire (žebljički, kovinske ploščice, pregrade itd.). Luknjice, v katere mora pasti kroglica, imajo različne vrednosti. Številke so napisane ob živalih - ob luknjicah, od 10 (zajček in dihur) do 500 (tiger). Igrača je bila uvožena iz Sovjetske zveze. Odtis na zadnji strani: “Minsk 1974”.


226.

“Marjanca” / les / d - 65 cm; š - 28 cm / št. neg. 19773 / inv. št. 18075.

Ploščata deska je na eni strani ravno, na drugi polkrožno zaključena. Pobarvana je zeleno in rdeče. Zamejena je s 4 cm visoko leseno ograjico. Na desni strani je narejen pokrit lesen tunel, skozi katerega je speljan navoj, ki s potegom z ročajem sproži kroglico na igralno površino. Na tej površini je 6 poglobljenih vdolbin, ki so najrazličneje omejene in opremljene z žebljički. Vsaka luknjica - vdolbina ima svojo vrednost, ki je vtisnjena v les, od 5-500. Na spodnjem koncu deske je 5 omejenih prostorčkov -5-10-15-10-5. Provenienca predmeta ni znana, narejena je bila verjetno med obema vojnama, morda tudi za gostilniške prostore.


227.

“Marjanca” / les / d - 56 cm; š - 27,5 cm / št. neg. 19775 / inv. št. 18076.

Ploščata deska je na eni strani ravno, na drugi polkrožno zaključena. Obdana je s 4 cm visoko leseno ograjo. Na desni strani je narejen delno pokrit tunelček, skozi katerega je v dolžini 11 cm napeljan navoj z ročajem. Po ograjeni stezi steče kroglica na igralno površino. Ta je urejeno posajena z žebljički, ki tvorijo ovire za 6 poglobljenih vdolbin. Nekako v sredini plošče je pokrov zvonca. Vsaka luknja ima svojo vrednost, od 5 do 300, kar je napisano na površini. Provenienca predmeta ni znana. Narejena je bila verjetno med obema vojnama, morda tudi za gostilniške prostore.


228.

Medvedek / tekstil, polnilo / v - 31,5 cm / št. neg. 19788 / inv. št. 18078.

Medvedek je narejen iz plišastega blaga rumene barve. Ima premakljivi roki, nogi in glavo. Podplati na notranji strani šap so iz nekosmatenega blaga. Na rokah in nogah so kremplji iz črnega debelega sukanca, prav tako smrček. Manjkajo očke. Polnilo. Provenienca predmeta ni znana. V rabi: sredina 20. stoletja.


229.

Hranilnik / pločevina / v - 17 cm; d - 15 cm / št. neg. 19737 / inv. št. 18083.

Na visoki škatli, rahlo elipsaste oblike, stoji fant, ki v desni roki drži sekiro, levo pa ima položeno na tnalo. V tnalu je reža za kovance. S ključkom, ki ga zdaj ni več, se je lahko sprožila sekira, ki je potisnila kovanec skozi režo v škatlo. Škatla je potiskana zeleno, z rožicami, travo ter zajci in ježi. Fant ima pikasto kapico, karirasto srajco in rjave kratke hlače. Uvožen je iz Poljske, 70. leta 20. stoletja.


230.

Motorist / pločevina / d - 18 cm / št. neg. 19736, dia 4028 / inv. št. 18087.

Kovinska potiskana figura motorista sedi na motorju. Sprednje kolo je vrtljivo, zadnje le naslikano. Dve pomožni manjši kolesci se lahko navijeta s pomočjo ključa. Motorist se premika z vzmetjo. Na bencinskem rezervarju ima oznako “MS-702”, pod tem je napis “Made in China 602”. V rabi: 70. leta 20. stoletja.


231.

Punčka / sintetični material / v - 28 cm / št. neg. 20536 / inv. št. 18088.

Punčkino telo je vlito v enem kosu, vanj se lahko vtaknejo glava, roki in nogi. Obraz je stiliziran, otroški, na glavi ima vsajene kupčke las, imitacijo pravih. Oči so poslikane, modre, trepalnice in obrvi so črne. Punčka ima originalno obleko s potiskanim vzorcem, je kratka in brez rokavov. Manjka ji en bel čeveljček. Je izdelek tovarne Jugoplastika, Split, 80. leta 20. stoletja. Igračo je Slovenskemu etnografskemu muzeju podarila Tanja Benigar, Ljubljana.


232.

Racman / sintetični material / v - 35 cm / št. neg. 20530 / inv. št. 18089.

Racman je iz Disneyeve serije, imenovan Donald Duck. Stoji na širokih plavutih s plavalno kožico, z rokami v rokavicah in mornarsko čepico na glavi. Barve so: modra kapica, moder jopič, rumeno perje na glavi, rumene noge, belo perje na zadku. Na mornarskem ovratniku ima odtis zaščitne znamke “C WALT DISNEY PROD 1963 ART 110”. Je izdelek tovarne Jugoplastika, Split, 80. leta 20. stoletja. Igračo je Slovenskemu etnografskemu muzeju podarila Tanja Benigar, Ljubljana.


233.

Muha / lepenka, vrvica, gumica / d - 14 cm / št. neg. 20489 / inv. št. 18090.

Muha je izrezana iz potiskanega kartona. Na spodnji strani ima prilepljeno deščico. Na enem koncu ima privezano vrvico. Na leseni deščici je napeta gumica. Vrvico je treba hitro vrteti naokrog, kar povzroči brneč zvok. Igračo je izdeloval po letu 1950 I. Premelč iz Ljubljane.


234.

Pobarvanka “Velika pobarvanka Barbie” / papir, potiskan / v - 30 cm; d - 21 cm / št. neg. 20532 / inv. št. 18091.

Zvezek je sestavljen iz 28 nepaginiranih strani risb, ki prikazujejo Barbie in njene prijatelje. Na platnici (iz mehkejše lepenke) je barvna fotografija Barbie. Pobarvanka je bila prvič izdelana v Ameriki 1993. Slovenska izdaja pri Egmont d.o.o. Ljubljana je iz leta 1996.


235.

Helikopter / sintetični material / figura: v - 6,5 cm / št. neg. 20513 / inv. št. 18092.

Helikopter in pilot sta sestavljena iz barvnih lego kock. Igračka “LEGO SYSTEM”, ki je bila uvožena z Danske, ima nalepko “Dobra igrača” (v slovenščini). Priloženo je tudi navodilo za sestavljanje. V rabi: 80. leta 20. stoletja. Igračo je Slovenskemu etnografskemu muzeju podaril Matic Grgič, Ljubljana.


236.

Sestavljanka “Turtle-ninja” / sintetični material / v - 12 cm / št. neg. 20512 / inv. št. 18093.

Figurica je imenovana Michelangelo, predstavlja del skupine štirih figur. Ponazarja smučarja, ki drvi na smučeh. V rokah ima kovinski palici. Glava je želvasta, telo človeško. Pisano je oblečen, na hrbtu ima odtis: “C 1992 MIRAGE STUDIOS PLAYMATES TOYS 542 TURTLE GAMES 1992”. Igračo je Slovenskemu etnografskemu muzeju podaril Matic Grgič, Ljubljana.


237.

Gradilne kocke / les, papir / d - 26,5 cm; š - 20,4 cm / št. neg. 20580, 20581 / inv. št. 18094.

Kocke so lesene, poslikane z belo in rdečo barvo. Nekatere kocke so tudi drugače pobarvane, z okni, uro, itd. in so različnih velikosti. Kocke so deli stavb. Vsega je okrog 88 kosov. Verjetno jih nekaj tudi manjka. Poleg je 7 posamičnih listov, vsak list ima na eni strani po 2 ali 4 barvane risbice hišic, ki se jih lahko iz kock sestavi. V isti škatli je bil še del zvezka z 8 listi, prav tako načrti hišic, ki pa ne sodijo zraven. Na pokrovu je nalepljena slika z eno izmed možnih postavitev ter napis: München - Kindl - Baukasten, D.R.G.M. V rabi: 20. leta 20. stoletja.


238.

Konjiček na kolesih / les, sintetični material, tekstil / v - 62 cm; d - 43 cm / št. neg. 21399 / inv. št. 18096.

Konjiček stoji na podstavku. Glava je izdelana iz rožnate plastične mase, vlite v kalup. Trup in nogi so izdelani iz lesa. Oblečen je v blago. Nekaj delov je lesenih. Neoblečena so 4 lesena kopita, črno pobarvana. Blago, s katerim je bil konjiček oblečen, je bilo kosmateno, vendar je zdaj obrabljeno in kaže kosmatine delno le še na nogah. Tudi griva je že močno načeta, ohranjeni pa so trakovi okrog glave in prednjih nog. Konjiček je z nogami pritrjen na leseno desko, ki ima 4 kolesa. Z vrvico se to desko, skupaj s konjičkom, lahko vleče po tleh. Provenienca predmeta ni znana, verjetno je serijske izdelave. 60. leta 20. stoletja.


239.

Keglji / les / kegelj: v - 13,5 cm; palica: d - 20,5 cm; deska: pr - 10,5 cm / št. neg. 21581 / inv. št. 18097.

Sredi okroglega lesenega podstavka je postavljena lesena palica s kovinskim obročem zgoraj. Ob robu lesenega podstavka je postavljenih 9 lesenih kegljev. 2 leseni krogli sta pritrjeni na okrogli palici v sredini, pod kovinskim obročem. Vsak kegelj ima 2 rdeči črti. Provenienca predmeta ni znana. V rabi: 50. leta 20. stoletja.


240.

Družabna igra “Po Jugoslaviji” / karton / d - 46 cm; š - 36 cm / št. neg. 21597 / inv. št. 18099.

Na kartonu je v barvah natisnjen obris Jugoslavije. Ob meji vodi pot, označena s pobarvanimi krogci kot postajami. Večja mesta (Ljubljana, Zagreb, Beograd, Skopje, Sarajevo, Cetinje, Mostar, Dubrovnik, Split, Plitvice in Pula - kar je vsekakor dokaj nenavaden izbor!) imajo v krogu svojo sliko. V desnem kotu kartona je 16 pobarvanih krogcev, po 4 rdeči, rumeni, modri in črni. Toliko je tudi avtomobilčkov, s katerimi 4 tekmovalci tekmujejo. K igri spadajo še navodila na posameznih listkih, kot npr.: Naprej v Split - Napred u Split, vse je dvojezično, v slovenščini in srbohrvaščini. Igra po sistemu Človek ne jezi se ima dodatni didaktični namen: spoznavati domovino. V rabi: 70. leta 20. stoletja.


241.

Kocke / papir, les / škatla: d - 14 cm; š - 10,5 cm; kocka - 3,5 x 3,5 cm / št. neg. 21584 / inv. št. 18101.

V škatli je 6 kock. Vsaka kocka ima 6 ploskev in na vsaki ploskvi je natisnjen del druge podobe. Tako se sestavljajo podobe, iz 6 kock je 6 možnosti, 6 različnih podob. Vse podobe so “s kmečkega dvorišča” in prikazujejo različne domače živali. Kocke so lesene, oblečene v papir z barvnim tiskom. So v leseni škatli, ki je oblepljena s papirjem. V rabi: 30. leta 20. stoletja.


242.

Loparja za badminton / les, sintetični material / d - 65 cm / št. neg. 21513 / inv. št. 18102.

Loparja sta iz lesa in plastične mrežice. Ovita sta z umetnim usnjem. Na vsakem je napis “ARTIS”, sta izdelek tovarne Elan, Begunje, v 70. letih 20. stoletja. Igračo je Slovenskemu etnografskemu muzeju podaril Igor Omahen, Ljubljana.


243.

Voziček / kovina, sintetični material / v - 61 cm; š - 29 cm; / št. neg. 21455 / inv. št. 18103.

Športni voziček za punčke - lutke je zložljiv. Kovinsko ogrodje je postavljeno na štiri koleščka. Med ogrodje je napeto blago v vijolični barvi. Zgoraj je zložljiva strehica. Ogrodje je belo. V rabi: 90. leta 20. stoletja. Uvoženo.


244.

Avto / sintetični material / v - 41 cm; d - 46 cm; š - 22 cm / št. neg. 21401 / inv. št. 18104.

Barvno ohišje (karoserija) avtomobila je rumeno, naslonjalo in volan sta rdeča, kolesa in sedež zelena. Vozilo je delano za otroško velikost, tako da otrok lahko na njem sedi in se vozi. Na spodnji strani je odtis napisa: “CE. - JOUETS FAVRE - 39260 MOIRANS - EN - MONTAGNE FRANCE (MODELE DEPOSÉ)”. V rabi: 90. leta 20. stoletja.


245.

Družabna igra “Flieg mein Hütchen” / papir, sintetični material / d - 24 cm; š - 33 cm / št. neg. 21592 / inv. št. 18105.

Igra je v škatli z napisom “Flieg mein Hütchen” in vsebuje: 1 karton z izrezanimi krogi v sredini in na obeh krajih ob robu, 2 plastična stožca modre barve in 2 loparja svetlorjave barve. Na kartonu so ob vsaki odprtini številke. Na škatli je risba deklice in napis v nemščini, ob robu še v 6 drugih jezikih, na eni strani je napis “Made in GDR”. Igrača je uvožena iz Vzhodne Nemčije. V rabi: 60. leta 20. stoletja.


246.

Tombola / papir, sintetični material / krogec: pr - 2 cm / št. neg. 21591 / inv. št. 18106.

Tombola ima listke s številkami na belih poljih. Listki so označeni od 1 naprej, vendar ni vseh številk, ohranjenih je 29 listkov, poslednja številka je 38. 64 krogcev s številkami je rumene in 6 ploščic modre barve. Provenienca predmeta ni znana. V rabi: 2. polovica 20. stoletja.


247.

Sestavljanka “Elektropionir” / kovina, lepenka, sintetični material / škatla: v - 41,5 cm; d - 24,5 cm / št. neg. 21595 / inv. št. 18107.

V škatli je spravljen komplet namenjen tehnični vzgoji z imenom ELEKTROPIONIR. Z različnimi kovinskimi predmeti in tuljavami se lahko naredi “160 zanimivih poskusov s področja elektrike in magnetizma za praktično delo doma in v šolah”, kot sporoča besedilo na škatli. Komplet ni popoln, manjka precej predmetov, ki sodijo v ustrezne plastične vložke v škatli. Izdelek Mehanotehnike, Izola, “ART.E. 60”. V rabi: 70. leta 20. stoletja.


248.

Sestavljanka “Elektropionir” / papir, kovina / škatla: v - 43 cm; d - 31,5 cm / št. neg. 21594 / inv. št. 18108.

Komplet predmetov namenjen tehnični vzgoji je spravljen v škatli iz lepenke. Predmeti so položeni v 2 plastična vložka in imajo po merah odtisnjene prostorčke. Komplet ni popoln. Predmeti so kovinski, v obliki kovinskih preluknjanih ploščic različnih mer, poleg so še kolesa, vijaki, matice in podobno. Priloženo je navodilo: “Mehanotehnika 4”, ki vsebuje 22 slik aparatov, ki jih je moč sestaviti. Natisnjen je tudi seznam predmetov za škatlo 4, ki je najtežja po zahtevnosti, za skupno 200 predmetov. Letnica na navodilu: 1973. Je izdelek tovarne Mehanotehnika, Izola.


249.

Punčka / porcelan, papier mâché / v - 33 cm / št. neg. 21454, dia 4032 / inv. št. 18109.

Punčka ima glavico iz porcelana, telo in udi so iz papier mâchéja. Ima steklene vstavljene oči, brez vek, narisane obrvi, zgornje in spodnje trepalnice, usta ima odprta, brez zobkov. Ima ostanek naravnih svetlih las, zdaj postriženih. Na tilniku je odtis: “Made in Germany, Armand Marseille, 560 a, A.2M., D.R.M., R232/1”. Punčka je oblečena v rožnato oblekico, s kratkimi rokavi in podloženo s spodnjim krilom. Dolžina je nad koleni. Po podatkih prodajalke je bila v lasti bogate družine iz Škofje Loke, pred 1. svetovno vojno.


250.

Sestavljanka “Kinderjajčka” / sintetični material, papir / d cca - 3 cm, 4 cm / št. neg. 21571 / inv. št. 18110.

Večinoma plastične igračke miniaturnih izvedb, različnih oblik, so vložene v plastično škatlico, škatlica pa v čokoladno jajce. Ta jajčka so otroci množično kupovali. Igračko je bilo treba sestaviti po priloženem navodilu. Igračke so kombinacija fantazijskih predmetov (vesoljskih ladij itd.), pa tudi sočasnih filmskih junakov, ali junakov iz stripov. V rabi: zgodnja 80. leta 20. stoletja.


251.

Album “Nestlé” / papir / v - 14 cm; d - 29 cm / št. neg. 21506, 21507, 21612, dia 4034 / inv. št. 18111.

Album vsebuje 3 liste oz. 6 strani, na katerih so odtisnjene črno-bele fotografije. Na te fotografije so lepili sličice, ki so bile priložene tablicam čokolade. Na vsaki strani je 12 sličic. Navodila za igro oz. tekmo so na drugi strani platnic v srbskem jeziku (cirilica), hrvaščini in slovenščini (latinica). Za izpolnjeni album je bila obljubljena nagrada (“srebrni švicarski satovi, fotografski aparati in švicarski gramofoni”). Album ni popoln. Na zelenih platnicah je tekst: “ALBUM NESTLÉ - GRAND CONCOURS CHOCOLAT NESTLÉ”. V rabi: 30. leta 20. stoletja.


252.

Družabna igra / lepenka, potiskana / d - 48 cm; š - 33 cm / št. neg. 21508, 21572 / inv. št. 18112 a+b.

a.) Na pravokotnem prepognjenem kartonu je natisnjena igra: v vsakem izmed štirih kotov je risba Smrkcev, ki imajo naslove: Lakotniki (rumeni), Zaspanci (zeleni), Nosančki (modri) in Nagajivčki (rdeči). Po sredini kartona teče pot igre. Na pravokotnem prepognjenem kartonu je natisnjena precej komplicirana pot igre: iz kota levo zgoraj gre Smrkec po različnih postajah v šolo, ki je sredi kartona, kjer je tudi konec igre. Oba kartona sta brez figuric. Na zadnji strani je enakomerno potiskan vzorec rdečih kock z imenom “HRIBAR”. Izdelek je iz kartonažne tovarne Kocka (Hribar), Domžale, 90. leta 20. stoletja.


253.

Družabna igra / lepenka / d - 42,5 cm; š - 28 cm / št. neg. 21589 / inv. št. 18117.

Na pravokotnem kartonu je narisano zeleno polje, na dveh nasprotnih si straneh je po 1 ograjen prostor - gol, v sredini krog. Na polju so zarisani rdeči in rumeni krogci, ki so med seboj povezani s črtami in številkami. Poleg je igralna kocka, manjkajo verjetno krogci, katerih število ni znano. V rabi: 50. leta 20. stoletja.


254.

Kocke / les, papir / škatla: d - 25,5 cm; š - 26,3 cm; kocka - 3,8 x 3,8 cm / št. neg. 21402, 21608 / inv. št. 18123.

V škatli je 30 kock. Vsaka kocka ima 6 ploskev in na vsaki ploskvi je natisnjen del druge podobe. Tako se lahko sestavlja 6 različnih podob. Povsod so upodobljeni otroci z živalmi. Kocke so lesene, oblepljene z barvnim tiskom. Priložene so 4 slike, po ena slika je na zunanji in notranji strani škatlinega pokrova. Kocke so v škatli iz lepenke, ki je oblepljena. Na zunanji strani škatlinega dna je odtis štampiljke, delno nečitljiv: “SED n.p. Stara Paka ... Kčs 15”. Uvoženo iz Češke, 50. leta 20. stoletja.


255.

Spalnica / les, papir / postelja: d - 18 cm; š - 17 cm; nočna omarica: v - 6,5 cm; š - 4 cm; d - 6 cm; psiha: v - 13,2 cm; d - 11,5 cm; omara: v - 14 cm; g - 5,5 cm; d - 16 cm / št. neg. 21415, 21411, 21410, 21414, 21412, 21413 / inv. št. 18124/1,2, 3, 4, 5.

Pohištvo obsega: 1 široko zakonsko posteljo, 2 nočni omarici, 1 psiho, 1 dvodelno omaro za obleko. Vsak kos pohištva je postavljen na 2 ali 4 rdeče pobarvane lesene noge. Omara ima 2 lesena zeleno pobarvana ročaja, psiha in omarici po 1 ročaj. Pohištvo je izdelano iz mehkega smrekovega lesa, oblepljenoje s papirjem. Izvira iz Bukovice v Selški dolini, izdelano po letu 1954.


256.

Avto / les / v - 15 cm; d - 30 cm / št. neg. 21403 / inv. št. 18125.

Tovorni avto ni dokončan. Narejen je iz enega kosa. Kabina je pobarvana zeleno, blatniki za 4 kolesa so rdeči, podvozje je črno. Na kabini so še vidni ostanki risbe s svinčnikom, kot načrt za rezljanje. Provenienca predmeta ni znana.


257.

Slikanica “Metka in njena lepa pripovedka” / papir / v - 17,7 cm; d - 16 cm / št. neg. 21404/inv. št. 18126.

Knjižica z naslovom “Metka in njena lepa pripovedka (Premična slikanica št. 2)” ima 8 listov. Na 8 straneh je natisnjena dvobarvna ilustracija s štirivrstično pesmico. Na 7 straneh je natisnjena postava v obleki, brez glave in nog. Poleg je bila še figura punčke, ki se je lahko oblekla v dodano garderobo. Knjižnico je izdal “Štamparski zavod Ognjen Prica, Zagreb”. V rabi: 50. leta 20. stoletja.


258.

Ročna lutka / sintetični material / d - 20 cm / št. neg. 21405 / inv. št. 18127.

Ročna lutka opice ima na glavici pripeto “rokavico” v obliki oblekice z dvema rokama. Obleka je iz sintetičnega pliša rjave barve. Opica ima dlani in obraz iz rumene polsti, velika ušesa in stekleno oko (eno manjka). Igrača je bila izdelana na Češkem in po letu 1960 prinešena v Ljubljano. Igračo je muzeju podarila Janja Žagar, Ljubljana.


259.

Ročna lutka / sintetični material / d - 20 cm / št. neg. 21406 / inv. št. 18128.

Ročna lutka opice, na glavico je pripeta “rokavica” v obliki oblekice z dvema rokama. Obleka je iz sintetičnega pliša rjave barve. Opica ima dlani in obraz iz rumene polsti, velika ušesa in stekleno oko (eno manjka). Igrača je bila izdelana na Češkem in po letu 1960 prinešena v Ljubljano. Igračo je muzeju podarila Janja Žagar, Ljubljana.


260.

Izrezanka “Smučar Marko gre na olimpijske igre” / papir / v - 37 cm; d - 18 cm / št. neg. 21590 / inv. št. 18129.

V mapo iz tršega papirja je vloženih 11 listov. Na vsakem listu so narisani kosi garderobe. Na notranji strani mape je narisana figurica dečka v spodnjem perilu. Deček je izrezan, ostale kose je treba še izrezati. Te se potem oblači in ovija na dečka. Priložena sta še dva lista z narisanimi smučmi. Na sprednji strani je naslov: “Smučar Marko gre na olimpijske igre”. Natisnila: “NIŠRO Varaždin 1983”. Igračo je Slovenskemu etnografskemu muzeju podarila Kaja Klobas, Ljubljana.


261.

Električna poštevanka / papir, kovina, steklo / škatla: v - 21 cm; d -15 cm / št. neg. 21408 / inv. št. 18130.

V škatli iz kartona je nameščena baterija z 2 žičkama, ki sta povezani z majhno baterijsko žarnico. Nad tem je položen karton s kovinskimi luknjicami, nanj se polagajo posamezni listki s poštevanko. Kadar vložiš obe žički v pravilno luknjico, se zasveti lučka. Listov je 10. V rabi: 70. leta 20. stoletja. Igračo je Slovenskemu etnografskemu muzeju podarila Kaja Klobas, Ljubljana.


262.

Punčka / sintetični material / v - 27 cm / št. neg. 21409 / inv. št. 18131.

Punčka je iz sintetične niti rjave barve. Glava se razširi v štiri kite, po dve na vsako stran, dve v roki, dve navzdol pa v nogi. Punčka ima prilepljeni očesci, oblečena je v rožasto obleko, ki je sešita na stroj. Provenienca predmeta ni znana. V rabi: 60. leta 20. stoletja.


263.

Album “Barbi” / papir / v - 22 cm; d - 24 cm / št. neg. 21416, 21417 / inv. št. 18132.

Album s kartonastimi platnicami vsebuje 12 listov. Na listih so prazni okvirčki s številkami, pripravljeni za lepljenje sličic iz zavojčkov žvečilnega gumija. Izdano: “Dečje Novine, Gornji Milanovac”. Besedilo je v cirilici in latinici. Izdelano po licenci “Matell Inc. 1976”, v prodaji v 80. letih 20. stoletja.


264.

Album “Tarzan” / papir, potiskan / v - 27,5 cm; d - 24 cm / št. neg. 21418, 21419 / inv. št. 18133.

Album s kartonastimi platnicami ima 48 paginiranih listov. V 400 podnaslovih je napisana Tarzanova zgodba (“Tarzan i zlatni grad”). V prazne okvirčke je bilo treba nalepiti sličice z enako številko. Sličice so bile priložene zavojčkom žvečilnega gumija. Tekst na zadnji strani znotraj: “100 kesica - dobija blok i olovku Dečje Novine, 300 kesica - dobija torbicu Dečjih Novina, 500 kesica - dobija igru Master Maind”. Besedilo je v cirilici in latinici. Izdelano po licenci “1976 Edgar Rice Burroughs, Inc.”. Izdano: “Dečje Novine, Gornji Milanovac”. V rabi: 80. leta 20. stoletja.


265.

Pajac na kolesih / les / v - 16 cm / št. neg. 21420 / inv. št. 18134.

Lesena stilizirana figura Pierota. Ima narisan obraz, koničasto kapico, zlat ovratnik in tri gumbe na telesu. Telo je podolgovato in stisnjeno med dve kolesi. Kolesi sta tako veliki, da se možic pelje z njimi in medtem niha s telesom. Igračka je stružena. Kolesa in kapa so modre barve, pajacovo telo je rdeče. Provenienca predmeta ni znana.


266.

Didaktični priročnik “Mladi crtač” / papir / v - 20 cm, d - 30 cm / št. neg. 21422, 21421 / inv. št. 18135.

V mapi z naslovom “France Kunaver: Mladi crtač” je 5 zvezkov z ilustracijami. Vsak zvezek ima nekaj listov z risbami ljudi, živali, avtomobilov itd. Na zadnji strani je besedilo: “Franc Kunaver: Mladi crtač. Korice izradio: Rudi Gorjup, Izdavačko poduzeče Mladost, Zagreb. Tisk: Tiskarna ljudske pravice, Ljubljana. Litografija: Učne delavnice Zavoda za gluho mladino, Ljubljana”. V rabi: 50. leta 20. stoletja.


267.

Avto / les, kovina / v - 10 cm; d - 20 cm / št. neg. 21423 / inv. št. 18136.

Tovornjak je lesen, pobarvan zeleno-rdeče, s kovinsko masko spredaj in kovinskimi blatniki na 4 kolesih. Kabina ima 4 odprtine, a ne vrat. Zadaj je nepokriti del za tovor. Je neserijski izdelek, najden v hiši na Prulah, Ljubljana, nastal verjetno po 1950.


268.

Punčka / sintetični material / v - 27 cm / št. neg. 21424, 21511 / inv. št. 18137.

Punčka iz gumijaste mase je votla. Delana je po vzorcu predvojnih celuloidnih punčk. Lasje so zviti v svitek ob ušesu. Roki in nogi sta premakljivi. Obraz je poslikan. Oblekica je sešita ročno. Provenienca predmeta ni znana.


269.

Kotalke / sintetični material / št. 38/39 / št. neg. 21425, 21426 / inv. št. 18138.

Na čevlju - gležnarju so pritrjeni 4 koleščki, 2 spredaj, 2 zadaj. Spredaj je pritrjen okrogel čep za zaviranje. Čevlji so narejeni iz belega umetnega usnja in umetne gume, podloženi z zeleno tkanino. Enake zelene barve so koleščki in zaviralec. Na koleščkih je napis “Roller Skates, Made in Germany”. V rabi: v Ljubljani v 90. letih 20. stoletja. Kotalke je Slovenskemu etnografskemu muzeju podarila Nataša Keršič, Ljubljana.


270.

Smuči / sintetični material / d - 38,5 cm; š - 8,7 cm / št. neg. 21427 / inv. št. 18139.

Par zelo kratkih smučk, ki so na sprednjem koncu zašiljene navzgor. Vsaka smučka ima dva trakova s sponkami, z njima se pritrdi na čevelj. Smučke so rdeče barve, trakovi so beli. V rabi: 70. leta 20. stoletja. Igračo je Slovenskemu etnografskemu muzeju podaril Miha Keršič, Ljubljana.


271.

Pobarvanka “Mitten im Verkehr” / papir / v - 25,2 cm; d - 22 cm / št. neg. 21428, 21509 / inv. št. 18140.

Knjižica ima naslov “Mitten in Verkehr”. Ima 12 risb, nekatere so barvne, druge v črnobelih obrisih so pripravljene za barvanje. Med njimi so prazne strani namenjene prerisovanju. Na enem izmed praznih listov je napis: “Črmelj Marjan, učenec II.b razreda, Devica Marija v Polju”. Po podatkih prodajalca je bila slikanica v rabi med in po 2. svetovni vojni.


272.

Slikanica / lepenka / v - 14 cm; d - 9,5 cm; / št. neg. 21429 / inv. št. 18141.

Del otroške slikanice s 4 kartonastimi listi z barvnimi slikami sestavlja: 1. list - slika gosi, slika dveh medvedov; 2. list: slika dveh osličkov, slika kokoši in piščanca; 3. list: - slika ovce s čebelo na cvetu, slika konja; 4. list - slika muce pred lončkom z mlekom. Provenienca predmeta ni znana.


273.

Slikanica “Zlata gos” / papir / v - 26 cm; d - 20,5 cm / št. neg. 21430 / inv. št. 18142.

Slikanica ni kompletna in predstavlja le del Grimmove pravljice “Zlata gos” v 5 ilustracijah, besedilo je tiskano v gotici. Na naslovnici ima besedilo: “Wiener Bilderbücher No.3, Die Golden Gans, Künstler-Steinzeichnungen von C. KRENEK, KONEGENS JUGENDSCHRIFTEN - VERLAG. G.M.B.W. WIEN”. V rabi: domnevno na Gorenjskem med 2. svetovno vojno.


274.

Slikanica / lepenka / v - 29,5 cm; d - 22 cm / št. neg. 21431 / inv. št. 18143.

Slikanica in zgibanka, “Alfred Hahn Verlag in Leipzig”, ima na 9 straneh natisnjene pesmi in ilustracije. Ilustracije so delo Gertrud in Waltherja Casparija. Slikanica je poškodovana in ji manjka neznano število listov. V rabi: domnevno na Gorenjskem med 2. svetovno vojno.


275.

Slikanica / lepenka / v - 25 cm; d - 19 cm / št. neg. 21432, 21433 / inv. št. 18144.

Na kartonastih listih so verzi in ilustracije v barvah. Besedilo je tiskano v gotici. Ilustracije so delo Gertrud Caspari, “Alfred Hahn’s Verlag, Leipzig”. Vsega je 22 strani z ilustracijami. Posamezni listi so odtrgani. V rabi: domnevno na Gorenjskem med 2. svetovno vojno.


276.

Punčka / tekstil, polnilo / v - 49 cm / št. neg. 21434, dia 4030 / inv. št. 18145.

Roki in nogi ima punčka prišiti na telo, prav tako glavico. Polnjena je s cunjami. Roki (dlani) ima iz drugačnega blaga, prav tako stopali in obraz. Pokrita je s kapo, ki je iz istega blaga kot udi in telo. Na obrazu ima obšiti dve luknji in vanje vsajeni stekleni očesci, kar ji daje precej grozljiv izraz. Oblečene ima spodnje hlačke in haljo, ki se spredaj zapenja s pritiskači. Na nogah ima en copat, drugi je izgubljen. Punčka je bila najdena v hiši na Podlehniku, 70. leta 20. stoletja.


277.

Računalniška igra “Namišljeni ljubljenček Rexi” / sintetični material, baterije / v - 5 cm / št. neg. 21435 / inv. št. 18146.

Računalniška igrica predstavlja plastično hišico, ki ima spredaj ekran s podobo psička in spodaj 4 gumbe. Na te gumbe pritiska uporabnik, kadar želi aktivirati podobo psička. Priložena so obširna navodila, natisnjena v slovenščini. Hišica je obešena na kovinsko vrvico. Izdelek je bil uvožen s Kitajske, 90. leta 20. stoletja.


278.

Družabna igra “Monopoli” / les, karton / škatla: d - 50 cm; š - 34 cm / št. neg. 21436 / inv. št. 18147.

Na velikem kartonu so natisnjeni medaljoni z vrednostmi. Zemljepisni pojmi so vzeti iz svetovnih turističnih krajev, npr.: Nigerija, Zambija, Cannes, St. Tropez, Andora, Schladming, Florida itd. Med njimi so natisnjeni medaljoni s kazenskimi točkami. Igra temelji na nakupovanju ali izgubljanju nepremičnin. Poleg so še listki z natisnjenimi vrednostmi, kot plačilnim sredstvom ter kartončki z istimi zemljepisnimi pojmi, kot so natisnjeni na velikem kartonu. Igra se z malimi lesenimi hišicami v 2 barvah: rdeči in rumeni ter z igralno kocko. Vsega je 51 kosov. Je izdelek kartonažne tovarne Kocka (Hribar), Domžale, 90. leta 20. stoletja.


279.

Družabna igra “Monopoly” / lepenka, kovina, sintetični material / škatle: d - 40 cm; š - 27 cm / št. neg. 21437 / inv. št. 18148.

Igra “Monopoly” ima podnaslov: “Igra trgovanja z imetjem”. Na velikem kartonu, ki je podložen z rdečo plastiko, so natisnjeni pravokotniki z zemljepisnimi pojmi in vrednostmi. Tukaj so zemljepisni pojmi vzeti s slovenskega ozemlja, npr.: Bogenšperk, Mokrice, Otočec, Fiesa, Ljutomerske gorice, Portorož, Piran, Bled itd. Vmes so tudi druge vrednosti in kraji. Igra temelji na nakupovanju ali izgubljanju posestev oz. nepremičnin. Igra ima izčrpno navodilo v slovenskem jeziku. Priložene so plastične podobe hišic, različne kovinske figurice, zavitek denarja Monopoly itd. Igra je po naročilu slovenskega kupca in distributerja (Spectra Int.) tiskana na Irskem, v organizaciji ameriške firme Hasbro leta 1996. V Sloveniji je dobila znak “Dobra igrača”!


280.

Avto / les, kovina / v - 4,5 cm; d - 16 cm; š - 6 cm / št. neg. 21512 / inv. št. 18149.

Leseni avtomobil je na 4 kolesih. Kolesa imajo kovinske kape, prav tako je spredaj montiran kovinski odbijač in dvoje kovinskih ploščic kot sprednje luči. Streha ter sprednji in zadnji del avtomobila so v rdečem lesu, stranski deli in notranjost avtomobila pa so modri. Podvozje ni barvano. Igrača je bila najdena na Štajerskem, je domač izdelek, 50. leta 20. stoletja.


281.

Avto / les, kovina / v - 5,5 cm, d - 12,2 cm / št. neg. 21510 / inv. št. 18150.

Leseni avtomobil je na 4 kolesih. Kolesa imajo kovinske kape, spredaj je montiran kovinski odbijač in dvoje kovinskih ploščic kot srednje luči. Avtomobil ima belo pobarvano streho, sprednji in zadnji del sta zelena, stranski deli so modri, notranjost pa rdeča. Podvozje ni pobarvano. Igrača je bila najdena na Štajerskem, je domač izdelek, 50. leta 20. stoletja.


282.

Avto / les, kovina / v - 11 cm, d - 11 cm / št. neg. 21438 / inv. št. 18354.

Leseni traktor je na 4 kolesih: sprednji sta pritrjeni na vrtljivi deščici in sta manjši, zadnji sta večji in se ne vrtita. Spredaj ima traktor visok dimnik. Ima kovinske kape na kolesih in kovinski volan. Traktor je zeleno pobarvan. Igrača je bila najdena na Štajerskem, 50. leta 20. stoletja.


283.

Pirh / les / v - 11 cm; d - 81 cm; pr - 6 cm / št. neg. 21439, 21440 / inv. št. 18355

Struženi pirh je narejen kot škatlica: znotraj je votel, sestavljen je iz dveh polovic. Stoji na 3 manjših podstavkih v obliki pirhov, na pokrovu je prav tak pirh. Okrašen je z vžganimi okraski, zgornji pirhec je rdeče barve. Površina je lakirana. Na notranji strani je z zelenim črnilom napisano: 1947 - Velika noč - t. L. Igračo je leta 1996 Slovenskemu etnografskemu muzeju podarila Marjeta Čampa iz Kranja. Dobila ga je kot velikonočno darilo od tete.


284.

Voziček / les, tekstil, kovinski kolesi z gumijastim obročem / v - 97 cm / št. neg. 21441 / inv. št. 18356.

Leseni zložljivi otroški voziček je oblikovan kot naslonjač z visokim naslonjalom in oporo za noge. Na dveh deščicah ob straneh sta zadaj montirani dve kolesi. Če je dvignjen prednji del, se voziček lahko vozi po dveh kolesih. Kot naslonjalo sta pritrjena dva kosa gumiranega platna rdeče barve. Sedalo je narejeno iz osmih deščic. Na opori za noge piše “ELAN”. Voziček je bil najprej namenjem prevozu dojenčka, kasneje pa igranju otrok. Je izdelek tovarne Elan, Begunje, 50. leta 20. stoletja.


285.

Sanke / les, kovina / v - 20 cm; d - 81 cm / št. neg. 21442 / inv. št. 18357.

Lesene sanke za otroke imajo sedalo sestavljeno iz 7 deščic. Spredaj so povezane s kovinsko palico. Sani so ojačane s kovinsko ploščo. Kupljene so v Ljubljani leta 1962. Igračo je Slovenskemu etnografskemu muzeju podaril Zoran Grgič, Ljubljana.


286.

Sestavljanka “šurkov skedenj” / les / d. deščice - 12,4 cm; š - 2 cm / št. neg. 21443 / inv. št. 18358.

Sestavljanka, imenovana “šurkov skedenj”, je priprava narejena iz 6 deščic, ki so rezljane na različne načine in potem sestavljene v obliki nekakšne paličaste rože. Šurkov skedenj je izdelal leta 1998 Viktor Prezelj iz Cerknega, r. 1921, po spominu iz otroštva. Naredil ga je iz odpadkov mahagonijevega lesa. Take igrače so si na paši delali iz lipovega ali hrastovega lesa.


287.

Sestavljanka “šurkov skedenj” / les / d. deščice - 11 cm; Š - 1,7 cm / št. neg. 21444 / inv. št. 18359.

Sestavljanka, imenovana “šurkov skedenj”, je priprava iz 6 deščic, ki so rezljane na različne načine in potem sestavljene v obliki nekakšne paličaste rože. Šurkov skedenj je izdelal leta 1998 Viktor Prevzelj iz Cerknega, r. 1921, po spominu iz otroštva. Naredil ga je iz odpadkov mahagonijevega lesa. Take igrače so si na paši delali iz lipovega ali hrastovega lesa.


288.

Sestavljanka “šurkov skedenj” / les / d. deščice - 10 cm; š - 1,8 cm / št. neg. 21445 / inv. št. 18360.

Sestavljanka, imenovana “šurkov skedenj”, je priprava iz 6 deščic, ki so rezljane na različne načine in potem sestavljene v obliki nekakšne paličaste rože. Šurkov skedenj je izdelal leta 1998 Viktor Prezelj iz Cerknega, r. 1921, po spominu iz otroštva. Naredil ga je iz odpadkov mahagonijevega lesa. Take igrače so na paši delali iz lipovega ali hrastovega lesa.


289.

Družabna igra “kozana” / les / rogovila: v - 38 cm; palica: d - 69 cm / št. neg. 21446 / inv. št. 18361 a+b.

Olupljena lesena rogovila ali tudi “koza za zbijat”, stoji obrezana na treh nogah. Poleg je še lesena palica. Igračo je naredil leta 1998 Rok Skuk iz Šentjanža, r. 1925, po spominu iz otroštva. Take igrače so si delali na paši.


290.

Vrtavka / les / d - 12,9 cm; pr - 5,5 cm / št. neg. 21447 / inv. št. 18362.

Lesena vrtavka ali “brglc” ali “volk” je na paličico nataknjen del lesene špule. Paličico je treba zavrteti med prsti in vrtavka se premika po podlagi. Igračo je naredil leta 1998 Ivan Prislan iz Šentjanža v Savinjski dolini po spominu iz otroštva. Take igrače so večinoma delali na paši.


291.

Avto / les / d - 63 cm; š - 42 cm / št. neg. 21448 / inv. št. 18364.

Zelo preprosto izdelani voziček za igranje ima obliko tovornjaka. Na 4 polna lesena kolesa je položena deska, na deski spredaj sta še 2 manjši deščici, ki naj bi pomenili kabino, za tovorni del je uporabljen predal, ki ima še vedno del ključavnice. Spredaj sta pritrjena 2 gumijasta zamaška, kar naj bi pomenilo žaromete, zadaj na zabojčku prav tako. Spredaj je pritrjena vrv za vlečenje. Voziček je dovolj velik tudi za prevažanje majhnih otrok. Je nedvomno domače delo. Provenienca predmeta je neznana.


292.

Hojca / les / v - 38 cm; d - 70 cm; pr - 18 cm / št. neg. 21449 / inv. št. 18365.

Zelo preprosto izdelana hojca je pripomoček, s katerim so se otroci učili prvih korakov. Spodnji kvadrat tvorijo 4 deščice, ki v stičiščih nosijo vrtljiva lesena kolesca, na sredini vsake spodnje deščice vodi lesena palica do zgornjega kvadrata. Ta je pritrjen s 4 palicami in ima v sredini okroglo odprtino, obloženo z upognjenim lesom, ki je finejši od ostalega. V to odprtino, ki je široka 18 cm, so postavili dojenčka, ki se je oprl na širši obod in se premikal s pomočjo koles. Predmet je verjetno iz Štajerske in je domače delo.


293.

Tricikelj / kovina, les, guma / v - 52 cm; d - 70 cm / št. neg. 21450 / inv. št. 18366.

Zadaj ima tricikelj dve kolesci, spredaj enega večjega. Na tem so pedala. Tricikelj je kovinski, kovinska so tudi kolesa, na kolesih so gume, ki so izrabljene do kovinskega roba. Sedež je lesen. Balanca je privarjena kasneje in ima obliko ravne kovinske palice. Predmet je domnevno iz okolice Ljubljane. V rabi: 50. leta 20. stoletja.


294.

Hojca / les / v - 35 cm; d - 31 cm; pr - 20 cm / št. neg. 21451 / inv. št. 18367.

Mreža struženih palic sestavlja spodnji šesterokotnik. Na stičišču dveh palic je vsajen lesen stružen valj, skozi katerega gre lesen zatič in spodaj vrtljivo kolesce. Tako se hojca premika na šestih kolescih. Iz spodnjega šesterokotnika vodi 12 struženih palic, ki so vsajene v gornji leseni obod. V obod so postavili dojenčka, ki se je oprl na okvir in se premikal s pomočjo kolesc. Provenienca predmeta ni znana.


295.

Hojca / les / v - 43,5 cm; d - 46 cm; pr - 21,5 cm / št. neg. 21452 / inv. št. 18368.

Na štirih debelejših nogah so spodaj podstavljena vrtljiva lesena kolesca. Na zgornjem koncu nosijo noge desko, ki ima v sredini okroglo odprtino. Skozi to odprtino so postavili dojenčka, ki se je premikal s pomočjo kolesc. Provenienca predmeta ni znana.


296.

Gugalnik / les / v - 25,5 cm; d - 103 cm / št. neg. 21453 / inv. št. 18369.

Dve upognjeni palici tvorita ogrodje na eni, dve na drugi strani. Vmes je pritrjena lesena deščica kot sedalo. Zadaj in spredaj so lesene palice namenjene opori in oprijemu. Igrača je verjetno iz trgovine J.J. Naglas, Ljubljana, v času med obema vojnama.


297.

Medvedek / sintetični material / v - 110 cm / št. neg. 21461 / inv. št. 18370.

Sedeči medvedek je iz pliša, svetlorumene barve, s polnilom. Vsajeni ima očesci iz temnorjave plastike. Tudi smrček je iz temnorjave plastike. Je zelo velik, tako rekoč maksimedved. Zadaj na sedalu ima všito znamko “CE Mehano”, na drugi strani “Made by Mehano Izola Slovenia”. Igračo je Slovenskemu etnografskemu muzeju podarila tovarna Mehano d.o.o., Izola, 1997.


298.

Električni vlak / sintetični material / d - več standardnih dolžin / št. neg. 21467 / inv. št. 18371.

Električni vlak je komplet vagonov, lokomotiv in tračnic ter ostalih pripadajočih predmetov, ki predstavljajo postaje, progo itd.. Vsega je 117 kosov v veliki potiskani papirnati škatli z imenom: “RAILROAD EMPIRE II”. Na škatli je nalepka: “MEHANO - Izdeluje Mehano Izola”. Igračo je Slovenskemu etnografskemu muzeju podarila tovarna Mehano d.o.o., Izola, 1997.


299.

Dinozavri / sintetični material / d cca - 10 cm / št. neg. 21460 / inv. št. 18372.

Figuric dinozavrov in podobnih reptilov je 10 kosov. Poleg so še figure grmov in dreves. Nalepljena je deklaracija: “Uvoznik: Mehano d.o.o. Izola. Poreklo: Kitajska. Leto uvoza: 1993. Artikel: igrača”. Igračo je Slovenskemu etnografskemu muzeju podarila tovarna Mehano d.o.o., Izola, 1997.


300.

Zajklja z zajčkom / sintetični material, baterije / d - 17 cm / št. neg. 21459 / inv. št. 18373.

Plastična figurica zajca ima na trebuhu posodo, v kateri sedi manjši zajec. Veliki zajec drži v roki steklenico in ga hrani, zadaj ima elektromotorček, vloženi sta 2 bateriji in stikalo. Figuri sta živahnih barv: rožnate, bele, vijoličaste, rumene. Na škatli je naslov: “Mammy feeding pet. Made in China”. Igračo je Slovenskemu etnografskemu muzeju podarila tovarna Mehano d.o.o., Izola, 1997.


301.

Avto / sintetični material, elektromotor / d - 25 cm; š - 10 cm / št. neg. 21461 / inv. št. 18374.

Avto je iz plastičnega materiala, model Mercedes C 111, z elektromotorčkom, ki je z žico povezan z daljinskim upravljalcem. Upravljalec ima več povelj, z njim lahko avtu odpreš in zapreš vrata, voziš vzvratno in naprej, desno, levo, se ustaviš. Igrača je pomanjšani popolni posnetek velikega dirkalnega avtomobila. Igračo je Slovenskemu etnografskemu muzeju podarila tovarna Mehano d.o.o., Izola, 1997.


302.

Igralni avtomat / sintetični material, elektromotor / v - 30 cm; d - 51 cm; š -30 cm / št. neg. 21465, 21466 / inv. št. 18375.

Igralni avtomat imenovan “STAR MISSION, Electric flipper” je tudi električni fliper. Spodnja plošča ima za podlago sliko vesoljskih bojevnikov, ki z letali zadevajo različne cilje. Pravokotno na ploščo je postavljena še ena slika, kjer je merilec z vrednostmi. Vse je opremljeno z lučkami, ki zasvetijo, ko je dosežen zadetek. Igračo je Slovenskemu etnografskemu muzeju podarila tovarna Mehano d.o.o., Izola, 1997.


303.

Pisalni stroj “Barbie” / sintetični material / d - 32 cm; š - 32 cm / št. neg. 21457, 21458 / inv. št. 18376.

Pisalni stroj je iz plastične mase. Priloženi so mu listi in nalepke z imenom Barbie. Stroj ima izrazito rožnato barvo, kombinirano z vijoličasto, tipke so bele, ima 54 znakov, transkribcija je angleška. Vsi napisi na škatli so v različnih tujih jezikih, slovenščine ni. Igračo je Slovenskemu etnografskemu muzeju podarila tovarna Mehano d.o.o., Izola, 1997.


304.

Pisalni stroj / sintetični material, elektromotor / d - 32 cm; š - 32 cm / št. neg. 21462 / inv. št. 18377.

Pisalni stroj je iz plastične mase in ima naslov “FUTURA TRONIC, Electronic Typewriter”. Stroj je sive barve, s črnim valjem, modrimi gumbi in rumenimi tipkami. Ima 90 znakov. Uporabiti je treba 6 baterij. Izdelano v Mehanu, Izola, Slovenija. Igračo je Slovenskemu etnografskemu muzeju podarila tovarna Mehano d.o.o., Izola, 1997.


305.

Konstrukcijska igra / sintetični material, kovina, guma / škatla: š - 32,5 cm; d - 49 cm / št. neg. 21463 / inv. št. 18378.

Konstrukcijska igra je sestavljena iz 635 delčkov. To so kovinski deli. Z njimi se lahko sestavi najrazličnejše naprave: avtomobile, dvigala, bagre, mline na veter in podobne tehnične predmete. Sestavlja se jih po priloženih slikah in skicah, ki so razdeljene na več težavnostnih stopenj. Po priloženih navodilih sodi ta tehnična igrača v program Talent. Priložen je še daljinski upravljalec, povezan z žico. Navodila na škatli so v različnih jezikih, v slovenščini ga ni. Igračo je Slovenskemu etnografskemu muzeju podarila tovarna Mehano d.o.o., Izola, 1997.


306.

Električni vlak / sintetični material, elektromotor / vagoni, tračnice - standardne mere / št. neg. 21464 / inv. št. 18379.

Vlak je komplet vagonov, lokomotiv in tračnic z električnim stikalom, “Hobby Transformer”. Na škatli je napis: “Mehano Train Line - HO Scale Model Electric Train Set. Art. T 355. Made in Slovenia, Mehano, 66310 Izola, Slovenia”. Igrača je bila izdelana po letu 1991, Slovenskemu etnografskemu muzeju jo je podarila tovarna Mehano d.o.o., Izola, 1997.


307.

Slon / sintetični material / v - 75 cm / št. neg. 21469 / inv. št. 18380.

Na dveh nogah stoječi slonček iz pliša ima polnilo. Osnovna barva je svetlo siva, podplate sprednjih in zadnjih nog ter notranjo stran uhljev ima belo. Prilepljeni ima sintetični očesci, na koncu rilca pa prišito rožnato krpico. Okrog vratu ima zeleno pentljo. Na znamki je napis: “CE MEHANO, Made by Mehano, Izola, Slovenia”. Igračo je Slovenskemu etnografskemu muzeju podarila tovarna Mehano d.o.o., Izola, 1997.


308.

Medvedek / sintetični material / v - 62 cm / št. neg. 21470 / inv. št. 18381.

Sedeči medvedek iz pliša ima polnilo. Izdelan je v enem kosu, glava in udi se ne premikajo. Osnovna barva je svetlomodra, šape in podplati so rožnati, prav tako notranja stran ušes, gobček je bel. Pritrjeni sta sintetični očesci in črn sintetični smrček. Okrog vratu ima rumeno pentljo. Na znamki je napis: “CE MEHANO, Made by Mehano, Izola, Slovenia”. Igračo je Slovenskemu etnografskemu muzeju podarila tovarna Mehano d.o.o., Izola, 1997.


309.

Medvedek / sintetični material, polnilo / v - 62 cm / št. neg. 21470 / inv. št. 18382.

Sedeči medvedek iz pliša ima polnilo. Izdelan je v enem kosu, glava in udi se ne premikajo. Osnovna barva je svetlomodra, šape in podplati so rožnati, prav tako notranja stran ušes, gobček je bel. Pritrjeni sta sintetični očesci in črn sintetični smrček. Okrog vratu ima rumeno pentljo. Na znamki je napis: “CE MEHANO, Made by Mehano, Izola, Slovenia”. Igračo je Slovenskemu etnografskemu muzeju podarila tovarna Mehano d.o.o., Izola, 1997.


310.

Tjulenj / sintetični material, polnilo / d - 70 cm / št. neg. 21468 / inv. št. 18383.

Tjulenj iz belega pliša ima polnilo. Spredaj in zadaj sta 2 plavutki. Prilepljeni ima plastični očesci in črn plastičen smrček. Na znamki je napis: “CE MEHANO, Made by Mehano, Izola, Slovenia”. Igračo je Slovenskemu etnografskemu muzeju podarila tovarna Mehano d.o.o., Izola, 1997.


311.

Miniaturni model gospodinjskega orodja (razno) - leseni predmeti: šatulja, v - 4 cm; d - 12 cm; š - 7 cm; svečnik, v - 2,8 cm; pr - 1,6 cm; kelih, v - 2,4 cm; pr - 1,6 cm; skodelica, pr - 1,5 cm; čajnik, v - od 3,5 cm do 4 cm; pr - 1,5 cm; vaza, v - 4 cm; pr - 1,7 cm; krožnik, pr - od 2,5 cm do 3,3 cm; skleda, pr - 2,5 cm; posoda, pr - 2,5 cm; posoda na podstavku, v - 1,6 cm, pr - 2 cm / št. neg. 21542, 21543 / inv. št. 18384.

Šatulja s pokrovom vsebuje 20 miniaturnih modelov posodja: 2 svečnika, 1 kelih, 4 skodelice, 2 čajnika, 1 vazo, 1 večji krožnik, 3 manjše krožnike, 4 sklede, 1 posodo in 1 posodo na podstavku. Na pokrovu šatulje je zapis s svinčnikom “Vončina Jožefa”. Provenienca predmeta ni znana. V rabi: med obema vojnama.


312.

Družabna igra “špana - mlin” / les / d - 17 cm / št. neg. 21605 / inv. št. 18385.

Na kvadratni plošči iz mehkega lesa so vrezane črte pravokotno in diagonalno, kot zahteva igra. Na srednjem polju je vrezana črka T. Na drugi strani plošče je prav tako vrezana risba petih kvadratov. Vsak kvadrat je prekrižan pravokotno in diagonalno. Robovi so poškodovani. Provenienca predmeta ni znana.


313.

Konjiček na kolesih / les, sintetični material, tekstil / v - 62 cm; d - 43 cm / št. neg. 21602 / inv. št. 18386.

Konjiček stoji na podstavku z dvignjeno desno nogo. Glava je izdelana iz rožnate plastične mase vlite v kalup. Telo in noge so leseni. Oblečen je na novo v belo blago, file. Neoblečena so štiri pobarvana črna kopita. Je brez repa in grive, ima pa originalne trakove, rdeč skaj. Podstavek je na 4 kolesih. Provenienca predmeta ni znana, verjetno 60. leta 20. stoletja.


314.

Medvedek / sintetični material, polnilo / v - 65 cm / št. neg. 21607, dia 4035 / inv. št. 18387.

Sedeči medvedek je iz pliša, osnovna barva je medeno rumena. Sprednji del ušes in gobčka ter šape in podplate ima v svetlejši rumeni barvi. Pritrjeni očesci sta iz temno rjave plastike. Smrček je narejen iz črne tkanine. Zadaj na sedalu ima všito znamko “CE Mehano”, na drugi strani “Made by Mehano Izola Slovenia”. Igračo je Slovenskemu etnografskemu muzeju podarila tovarna Mehano d.o.o., Izola, 1997.


315.

Družabna igra šah / les / v - od 5 cm do 8 cm / št. neg. 21613 / inv. št. 18388.

Šahovske figure so izrezljane iz mehkega lesa. 16 figur je rdeče, 16 zelene barve. Nedvomno je domači izdelek. Provenienca predmeta ni znana.





CATALOGUE OF OBJECTS


Introductory note

The objects in the present museum collection were made by adults or children, and their primary intended use was as playthings. The concept of toys is, of course, much wider. Many an object can be determined as a toy because of the way it is used. It can be any untreated object which, at a certain moment, tempts a child to play with it. Take for instance, colourful pebbles or ordinary pieces of glass which are so similar to glittering marbles: a child’s imagination turns playing with either of them into an equally pleasant pastime. A piece of wood wrapped in rags can draw as much love and affection as a real doll made by a craftsman.

This collection of toys is thus limited to purpose-built toys. They are toys made by children themselves, by adults who knew the children they were making them for, and toys made in huge quantities in factories which appear as copies in various parts of the world.

The collection of toys at the Slovene Ethnographic Museum is limited to objects dating from the late 19th century to the present. Since most objects are not over 50 years old many readers will know and be familiar with them; in other words, these are toys they themselves played with as children.

At the time the museum acquired the first objects which were known to be used by children as playthings, curators hardly ever purchased them as toys. They were classified and attributed to various fields: musical instruments, customs, crafts, and folk art. Indeed, they were considered to be significant evidence of crafts, music, customs and art.

Most numerous among these objects are certainly earthenware toys, especially whistles of different forms. To children from a peasant environment they were actually the most commonly purchased toys as late as the first half of the 20th century. The same can be said of gingerbread figures, presents children yearned for and which were also toys, though unfortunately short-lived. Furthermore, the rattles and similar devices used to sanctify the days preceding Easter were used as toys by children throughout the year.

For the very reason of their substantial numbers alone; these objects require special treatment within the context of other collections - those of musical instruments or as items used in various customs - and have been excluded from this catalogue.


Abbreviations: inv. no. = inventory number of the Slovene Ethnographic Museum; neg. no. : number of the negative in the picture library of the Slovene Ethnographic Museum; h = height; w. = width; d. =depth; l. = length.





1.

Bird / wood / h.* = 6.5 cm; 1. = 4 cm / neg. no. 21577 / inv. no. 29.

Bird made of beech, very simple forms. Carved by ten-year old Lojze Petek from Sele near Adlešiči (Bela Krajina) in 1922. Mentioned in: G. Makarovič, Slovenska ljudska umetnost (Slovene Folk Art), Ljubljana, 1981, p. 353.


2.

Mallet / wood / l. = 15.5 cm; mallet’s thickness = 4 cm / neg. no. 21565 / inv. no. 35.

A little piece of wood is set on a stick. The inscription “Jože Adlešič” is still visible on the stick. The toy belongs to the collection of “shepherds” toys made in the village of Sele near Adlešiči (Bela Krajina) in 1922. The object carries inv. no. 3075 due to double inventory.


3.

Horse - whistle / wood / h. = 9 cm; thickness of platform = 5.6 cm / neg. no. 20465, 21555 / inv. no. 62.

Wooden horse with rider. A whistle is set in the horse’s rear. The horse stands on a platform. Colours: orange horse, blue rider, orange cap. The object was purchased by the museum at Ljubljana’s St Nicholas Fair in 1925.


4.

Horse and peacock / wood / h. = 20 cm; l. = 25 cm; w. = 8.5 cm / neg. no. 21504 / inv. no. 227.

The horse’s rear contains a whistle. It stands on a platform with two wheels at both ends. On one of the front wheels the figure of a peacock is placed. When the toy is moved, the peacock turns. Colours: red horse, green saddle, blue, green and gold peacock. The toy was presumably made in Zagorica near Dobrepolje (Dolenjska) in the 1930s. It is mentioned in G. Makarovič’s Slovenska ljudska umetnost, Ljubljana, 1981, p. 353.


5.

Miniature model of kitchen utensils and gymnastics apparatus / wood / l. = 6.5 to 9 cm; diameter = 7 cm / neg. no. 21548 / inv. no. 246.

The following items are tied to a turned wooden plate: mixing spoon, blender, strainer, gymnastic club, dumb-bell. Ribnica wooden articles. Purchased by the museum in 1930.


6.

Miniature gymnastics apparatus / wood / l. = 6.4 cm / neg. no. 21554 / inv. no. 247.

Tied in a bundle are the following objects: 2 gymnastic clubs, 2 dumb-bells. Purchased by the museum in 1930.


7.

Cradle with baby / wood / h. = 14.5 cm; l. = 17 cm / neg. no. 19735 / inv. no. 787.

In the cradle lies a baby with its hands crossed on its chest. Oil-painted. Made by Lovrenc Erzar (1835-1906) from Nasovče (Gorenjska). Mentioned in G. Makarovič’s Slovenska ljudska umetnost, Ljubljana, 1981, p. 349.


8.

Soldier / wood / h. = 19.3 cm / neg. no. 19732 / inv. no. 920.

Soldier with accordion. Oil-painted wood. Made in Zagorica near Dobrepolje between the wars. Donated to the Slovene Ethnographic Museum by Dr. Stanko Vurnik in 1931. Mentioned in G. Makarovič’s Slovenska ljudska umetnost, Ljubljana, 1981, p. 352.


9.

Doll / wood, papier-mâché, leather / h. = 61.5 cm / neg. no. 21611, slide 4031 / inv. no. 1630. / 8095

Doll with wooden head. Worked and painted head, hairstyle with painted curls, top part of pony tail is missing. The body and a part of the arms and legs are made of fine goat leather. The arms are made of wood from the elbows down, as are the legs from the knees to the feet. Movable elbows and knees. The fingers are well shaped. The little shoes are painted. Black silk dress with double white lace collar. The doll was purchased by the museum in 1912. Is a Grödental wooden doll, mid-19th century.


10.

Bird / wood / h. = 3.2 cm; thickness of base = 6.4 cm / neg. no. 20466, 21566 / inv. no. 3079.

The bird is carved from softwood. Fixed to a little base with two nails. Painted with a red and a blue pencil. Inscription on the bottom of the base: “Ivan Adlešič”. Belongs to the collection of wooden toys from Bela Krajina, 1922.


11.

Bird / wood / h. = 3.2 cm; thickness of base = 6.5 cm / neg. no. 20466, 21567 / inv. no. 3080.

The bird is carved from softwood. Fixed to a little base with two nails. Painted with a red and a blue pencil. On the bottom of the base is the inscription: “Ivan Adlešič”. Belongs to the collection of wooden toys from Bela Krajina, 1922.


12.

Doll / wood / h. = 14.5 cm / neg. no. 20514 / inv. no. 3231.

Figures carved from bark. Origin unknown.


13.

Animal figures / wood / l. = 6 cm / neg. no. 20515 / inv. no. 3233a.

Figures carved from bark. Origin unknown.


14.

Animal figures / wood / l. = 6 cm / neg. no. 20515 / inv. no. 3233b.

Figures carved from bark. Origin unknown.


15.

Wheel-barrow / wood / h. = 16 cm; l. = 14.5 cm / neg. no. 21568 / inv. no. 3237.

Wooden wheel-barrow with two figures at either end of the cross-piece. The wheelbarrow is moved with a long stick and the figure turns around. Probably from the aria around of Ribnica, before 1940.


16.

Whistle / wood / l. = 12.5 cm / neg. no. 21569 / inv. no. 3238.

Whistle in the form of a bird. The bird is yellow; green and red stripes indicate the feathers; the beak is red. Origin unknown.


17.

“Nut-crackers” / wood / h. = 9 cm / neg. no. 21579 / inv. no. 7579.

The “nut-crackers” consist of three parts: a little stick, a nut fastened in the centre of the stick, and around wooden base which is also fastened to the stick. A string is attached to the stick and passes through the nut. Made by Tone Resnik from Petrušna Vas, 1952.


18.

Miniature model of kitchen utensils - tubs / wood / h. = 3 cm; diam. = 4 cm / neg. no. 21517 / inv. no. 8179 a/1, a/2, a/3.

3 miniature models of tubs, turned, each with two handles. Along the perimeter run 2 burned decorative lines. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


19.

Miniature models of household utensils - sieves / wood, metal mesh / diameters: 60 cm (4 sieves), 7 cm (2 sieves), 8 m (1 sieve), 9 cm (1 sieve), 10 cm (1 sieve); / neg. no. 21518 / inv. no. 8179 b/1, b/2, b/3, b/4, b/5, b/6, b/7, b/8, b/9.

9 miniature models of sieves, double wooden perimeter, wire mesh. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


20.

Miniature models of household utensils - clay pots / wood / h. = 3.5 cm; diam. = 2.6 cm / neg. no. 21541 / inv. no. 8179 c/1, c/2, c/3.

3 miniature models of turned wooden pots. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


21.

Miniature model of kitchen utensils - bowls / wood / diam. = 4.5 cm / neg. no. 21553 / inv. no. 8179 č/1, č/2, č/3.

3 miniature models of turned wooden bowls. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


22.

Miniature model of kitchen utensils - plates / wood / diam. = 5.5 cm / neg. no. 21551 / inv. no. 8179 d/1, d/2, d/3.

3 miniature models of turned wooden plates. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


23.

Miniature model of kitchen utensils - chalices / wood / h. = 4.5 cm; diam. = 2.5 cm / neg. no. 21552 / inv. no. 8179 e/1, e/2, e/3.

3 miniature models of turned wooden glasses/chalices. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


24.

Miniature model of kitchen utensils - wicker baskets / wood / diam. = 6 cm / neg. no. 21530 / inv. no. 8179 f/1, f/2, f/3.

3 wicker baskets made of stripped stakes. Indefinable colour pattern of red, blue and green. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


25.

Miniature model of kitchen utensils - rolling-pins / wood / 1 = 8.4 cm / neg. no. 21539 / inv. no. 8179 g/1, g/2, g/3.

3 miniature models of turned wooden rolling-pins. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


26.

Miniature model of kitchen utensils - mallets / wood / l. = 8 cm / neg. no. 21561 / inv. no. 8179 h/1, h/2, h/3.

3 miniature models of turned wooden mallets. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


27.

Miniature model of kitchen utensils - scoops / wood / l. = 6 cm / neg. no. 21549 / inv. no. 8179 i/1, i/2, i/3.

3 miniature models of carved wooden scoops (for grain and flour). Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


28.

Miniature model of kitchen utensils - strainers / wood / l. = 4.3 cm / neg. no. 21547 / inv. no. 8179 j/1, j/2, j/3.

3 miniature models of turned wooden strainers. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


29.

Miniature model of kitchen utensils - blenders / wood / l. = 7.5 cm / neg. no. 21546 / inv. no. 8179 k/1, k/2, k/3.

3 miniature models of turned wooden blenders. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


30.

Miniature model of kitchen utensils - star-shaped blender / wood / l. = 9 cm / neg. no. 21544/inv. no. 8179 1/1, 1/2, 1/3.

3 miniature models of turned wooden star-shaped blenders. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


31.

Miniature model of kitchen utensils - mushroom-shaped darning-aids (darning-eggs) / wood / l. = 4.6 cm / neg. no. 21562 / inv. no. 8179 m/1, m/2, m/3.

3 miniature models of turned wooden darning aids. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


32.

Miniature model of kitchen utensils - spoons / wood / l. = 8.7 cm / neg. no. 21563 / inv. no. 8179 n/1, n/2, n/3.

3 miniature models of carved wooden spoons. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


33.

Miniature model of kitchen utensils - mixing spoons / wood / l. = 9 cm / neg. no. 21550 / inv. no. 8179 o/1, o/2, o/3.

3 miniature models of carved wooden mixing spoons. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


34.

Miniature model of kitchen utensils - flat spoons / wood / l. = 7.5 cm / neg. no. 21559 / inv. no. 8179 p/1, p/2, p/3.

3 miniature models of carved wooden flat spoons. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


35.

Miniature model of kitchen utensils - table knives / wood / l. = 8 cm / neg. no. 21556 / inv. no. 8179 r/1, r/2, r/3.

3 miniature models of wooden table knives. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


36.

Miniature model of kitchen utensils - forks / wood / l. = 9.5 cm / neg. no. 21557 / inv. no. 8179 s/1, s/2, s/3.

3 miniature models of carved wooden forks. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


37.

Miniature model of kitchen utensils - two-prong forks / wood / l. = 8 cm / neg. no. 21558 / inv. no. 8179 š/1, š/2, š/3.

3 miniature models of two-prong wooden forks. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


38.

Miniature model of kitchen utensils - axes / wood / l. = 8.7 cm / neg. no. 21600 / inv. no. 8179 t/1, t/2, t/3.

3 miniature models of carved wooden axes. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


39.

Miniature model of kitchen utensils - hoes / wood / l. = 8.7 cm / neg. no. 21540 / inv. no. 8179 u/1, u/2, u/3.

3 miniature models of carved wooden hoes. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


40.

Miniature model of kitchen utensils - shovels / wood / l. = 8.9 cm / neg. no. 21545 / inv. no. 8179 v/1, v/2, v/3.

3 miniature models of carved wooden shovels. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


41.

Miniature model of kitchen utensils - pickaxe / wood / l. = 8.7 cm / neg. no. 21564 / inv. no. 8179 x/1, x/2, x/3.

3 miniature models of wooden, machine-turned pickaxes. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


42.

Miniature model of kitchen utensils - hammers / wood / l. = 8.5 cm / neg. no. 21538 / inv. no. 8179 z/1, z/2, z/3.

3 miniature models of carved wooden hammers. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


43.

Miniature model of kitchen utensils - saws / wood / l. = 9.2 cm / neg. no. 21560 / inv. no. 8179 ž/1, ž/2, ž/3.

3 miniature models of carved wooden handsaws. Ribnica wooden articles. In 1958 an exhibition of toys was held in the Ethnographic Museum in Belgrade. The group of toys under number 8179/a-ž represented Slovene toys. They were bought for the Slovene Ethnographic Museum by the crafts co-operative of Sodražica in 1958.


44.

Jigsaw puzzle, called “tidltačka” or “škratov kalen” / wood / thickness of lathe = 9 cm; w. = 1.5cm / neg. no. 20511, 21570 / inv. no. 8382.

The puzzle consists of 6 pieces of wood of equal length; every piece is carved in a different way in the centre. The pieces have to be arranged into a special form. Origin unknown, probably from the area around Vipava, visited by the museum’s ethnological team in 1958.


45.

Horse with soldier / wood / h. = 24 cm; l. = 24 cm; w. = 7.5 cm / neg. no. 20467 / inv. no. 9230.

The horse stands on two concave, turned, parallel bent boards, connected by four cross-pieces. The horse is white with grey spots; the mane and tail are made of horse hair, the strap around its head extends into the reins in the rider’s hands. The soldier sits on a brown saddle. He wears a red cap with black peak and is dressed in a blue jacket with bronzed buttons, red trousers and black boots. The rocking board and cross-pieces are red. The toy was made by a miller from Radomlje near Kamnik between the wars. Mentioned in G. Makarovič: Slovenska ljudska umetnost, Ljubljana, 1981, p. 351


46.

Skittle game, “Russian skittle” / wood, metal / h. = 78 cm; w. = 63 cm / neg. no. 21529 / inv. no. 9834.

Three turned sticks are fixed to a horizontal board. A string with a wooden ball - used to overturn the skittles - is fixed to the upper horizontal stick. The skittle stands on the board and is tied to a string. A vertical pin is also attached to the board and on it a sheet metal, shovel-shaped plate from which the ball rebounds. Bought in Ljubljana, 1965.


47.

Cow with calf / wood / h. = 13 cm; l. = 17 cm; w. = 6 cm / neg. no. 21580 / inv. no. 10461.

Cow and calf; both figures are fixed to a platform on four wheels; colours: green, red, black, yellow and brown. Late 19th or early 20th century, from Mengeš near Ljubljana. The object was probably originally made as a votive offering. Oral information confirms that children used to play with votive sculptures. The objects are mentioned in G. Makarovič’s Slovenska ljudska umetnost, Ljubljana, 1981, p. 350.


48.

Cradle / wood / h. = 12 cm; l. = 25 cm / neg. no. 21578 / inv. no. 11537.

Cradle made of softwood. All sides are painted. Origin unknown.


49.

Top / wood / h. = 7.5 cm; diam. = 7 cm / neg. no. 20491 / inv. no. 14438.

Turned wooden ball, also called a volk (wolf), the size of an apple. On its perimeter is a square cut-out and at the bottom an extension in the form of a button: At the top is a cover which contains the string for spinning the top. The ball spins on the protruding button. Beech, unpainted, red belt around the ball. Origin: Šentvid near Stična, where children used to play with this toy until the end of the Second World War. Acquired by the museum in 1976.


50.

Dominoes / wood and ivory / box: h. = 9.5 cm; l. = 33 cm; w. = 7 cm; domino: h. = 3.2 cm; l. = 7.5 cm, w. = 1.5 cm / neg. no. 20477 / inv. no. 14769.

Wooden lidded box with 45 dominoes. The dominoes are ivory-coated. They were presumably used in the Krapež Inn in Ljubljana, and later by children to play with. Inter-war period.


51.

Cart / wood / h. = 12 cm; l. = 32 cm / neg. no. 20505 / inv. no. 14932.

Open-frame cart with shaft. Four solid wheels. Red sides, light-blue front and rear board. The toy was bought in the early 1980s at the Ljubljana market and was made in the area around Ribnica (Dolenjska).


52.

Bird on wheels, “butterfly” / wood / tail’s length = 15 cm; stick: l. = 66 cm / neg. no. 20474 / inv. no. 14933.

The bird’s wings are joined with a leather belt and connected to the wheels with a wire. The wings and tail are painted and ornamented. Between the wheels a stick is inserted to push the bird around. The object was bought at the market in Ljubljana in the early 1980s and was made in the area around Ribnica (Dolenjska).


53.

Whistle / wood / l. = 18.5 cm / neg. no. 20492 / inv. no. 14934.

Wooden whistle with drilled holes and burned ornaments; the basic colour is yellow. The object was bought at the market in Ljubljana in the early 1980s and was made in the area around Ribnica (Dolenjska).


54.

Horse on wheels / wood / h. = 18.5 cm; l. = 19 cm / neg. no. 20507 / inv. no. 14935.

The horse is carved from wood, the head and hoofs are painted white, the body black. The manes and tail are made of (sheep and rabbit) hair and stuck to the body. The saddle is red. The horse stands on a red platform with four wheels. The object was bought at the market in Ljubljana in the early 1980s and was made in the area around Ribnica (Dolenjska).


55.

Cart with two horses / wood / cart: l. = 31 cm / neg. no. 20506, 20562 / inv. no. 14936.

Two horses drawing a cart. The horses are sawn out in silhouette and painted, the cart is of the open-frame type. Solid wheels. The open sides and a part of the cart are painted red and yellow. Very simple make. The object was bought at the market in Ljubljana in the early 1980s and was made in the area around Ribnica (Dolenjska).


56.

Wheel-barrow / wood / l. = 80 cm / neg. no. 21382 / inv. no. 14937.

Painted red wheel-barrow, also called a šajtrga or karjola. The object was bought at the market in Ljubljana in the early 1980s and was made in the area around Ribnica (Dolenjska).


57.

Cradle / wood, textile / h. = 25 cm; l. = 46 cm; w. = 22 cm / neg. no. 20510 / inv. no. 14938.

The wooden top and bottom side are made of fibreboard and connected with four bars. Across the bottom a colourful cloth is stretched to create a cradle. The object was bought at the market in Ljubljana in the 1980s.


58.

Pram / splints and wood / h. = 52 cm; l. = 38 cm / neg. no. 21383 / inv. no. 14939.

The pram has a basket with a canopy, all made of splints. The bottom is wooden. Wooden platform on four wheels, basket with wicker handle. The object was bought at the market in Ljubljana in the early 1980s.


59.

Baby / celluloid / h. = 20,5 cm / neg. no. 19759 / inv. no. 14940.

Celluloid baby, flesh colour. Painted eyebrows and top eyelashes, set movable eyes. Short hairstyle, curled at the back of the neck. The head is cracked in several areas. Industrial product, bought in Italy, mid-20th century.


60.

Doll / papier-mâché / h. = 44 cm / neg. no. 20531 / inv. no. 14941.

The doll has short brown hair, painted blue eyes, the limbs are not movable. Mid-20th century.


61.

Doll / textile / h. = 38 cm / neg. no. 18983 / inv. no. 14942.

The doll is made of felt and is a so-called Lend doll, or at least a copy of such a doll. The dress is not the original one. The eyes and lips are painted, the hair is blond and cut short. Bought in Germany in 1925. Donated to the Slovene Ethnographic Museum by Vera Šantič, Ljubljana, 1979.


62.

Baby / papier-mâché / h. = 31 cm / neg. no. 19731 / inv. no. 14943.

Baby, made of a material similar to papier-mâché. The arms and legs are jointed at the elbows and knees. Flesh colour; short, dark brown hair, movable eyes with eye-lashes. Stamp “Made and Italy” on the back. The voice mechanism is defective. Mid-20th century.


63.

Doll / wood, cloth / h. = 62 cm / neg. no. 20469 / inv. no. 14944.

Rag doll, called Janezek (Johnny). Wooden head with hair made of horse-hair strands, like a brush. The eyes are set and movable. The body and limbs are made of rags. Dressed in a crocheted waistcoat. Made in Bled in 1940. Donated to the Slovene Ethnographic Museum by Marjeta Bačar, Bled, 1979.


64.

Pram / wood / h. = 45 cm; l. = 67 cm; w. = 30 cm / neg. no. 21384 / inv. no. 14945

Green pram. Simple platform on four wheels with a painted pram on it. Painted on the inside and outside. Red wheels. At either side a metal circle is attached, combined with red. The handle is missing. Made in Bled in 1940 for the Janezek doll (inv. no. 14944). Donated to the Slovene Ethnographic Museum by Marjeta Bačar, Bled, 1979.


65.

Doll / celluloid / h. = 52 cm / neg. no. 20535 / inv. no. 14946.

Celluloid doll. Movable neck with a hole in the head; the eyes are missing as well as one hand; flesh colour; short hairstyle tied into a bun. Bought in Ljubljana some years before the Second World War. Donated to the Slovene Ethnographic Museum by Pika Vrhunc, Ljubljana, 1979.


66.

Doll / celluloid / h. = 34 cm / neg. no. 20523 / inv. no. 14947.

Celluloid doll. A hole in the head has been covered. At the back of the neck are a turtle-shaped sign and the number 35. Movable glass eyes. Short hairstyle in the form of a bun. Bought in Ljubljana some years before the Second World War. Donated to the Slovene Ethnographic Museum by Mitja Lamut, Ljubljana, 1979.


67.

Head of a puppet (boy) / wood / h. = 8 cm / neg. no. 21385 / inv. no. 14948.

Head of a hand-held puppet, turned. The ears and nose are stuck to the head, the eyes and mouth drawn on it, the neck is hollow. Anton Pavlovčič from Izola made the puppet for his children in the 1970s. He donated it to the Slovene Ethnographic Museum in 1979.


68.

Head of a puppet (girl) / wood / h. = 8 cm / neg. no. 21386 / inv. no. 14949.

Head of a hand-held puppet, turned. The ears and nose are stuck to the head, the eyes and mouth drawn on it, the neck is hollow. The hair is stuck to the head. Anton Pavlovčič from Izola made the puppet for his children in the 1970s. He donated it to the Slovene Ethnographic Museum in 1979


69.

Building stones / artificial stone / h. = 23 cm; l. = 35 cm / neg. no. 21588 / inv. no. 14950.

The box contains grey, red and green bricks made of artificial stone. The original name on the box reads: “Gradjevni kamenčiči, proizvodnja dječjih igračaka, Stanislav Šilc - Podsused”. (Building stones, Toy production, Stanislav Šilc - Podsused). 18 pieces in all. Used during the inter-war period. Donated to the Slovene Ethnographic Museum by Mitja Lamut, 1979.


70.

Glass beads / paper, glass / h. = 14 cm; l. = 27 cm / neg. no. 20503 / inv. no. 14951.

White, green, red, black and yellow glass beads in a cardboard box. Some beads are missing and have been replaced with plastic ones. The game consists of placing the glass beads in recesses in a glass plate. Enclosed pattern book, 8 sheets: “Vorlagen für Glasskugel - Mosaik”. Name on box: “Glass Kugel Mosaik”. Early 20th century. Donated to the Slovene Ethnographic Museum by Marija Ravnikar, 1979.


71.

Bear / synthetic material, stuffing / h. = 47 cm / neg. no. 19748, slide no. 4029 / inv. no. 14952.

Plush bear stuffed with wood-wool. The eyes are two glass buttons. Bought in Ljubljana around 1930. Donated to the Slovene Ethnographic Museum by Pika Vrhunc, Ljubljana, 1979.


72.

Bear / synthetic material, stuffing / h. = 52 cm / neg. no. 19758 / inv. no. 14953.

Plush bear, light colour. One hand is missing. Stuffed with shavings. Found in a dustbin in Ljubljana, 1978.


73.

Board game called “Salta” / cardboard / box: l. = 43 cm; w. = 23 cm / neg. no. 20521, 21609 / inv. no. 14954.

The Salta board game consists of a cardboard board in the form of a chess board and 30 discs - 15 red and 15 green ones. Two sticks: one red, one green. On the cover of the box is the portrait of a bearded man and the inscription “SALTA”. The game was bought in Ljubljana prior to 1910. It was donated to the Slovene Ethnographic Museum by Vera Šantič, Ljubljana, 1979.


74.

Doll / celluloid / h. = 69 cm / neg. no. 21587 / inv. no. 14955.

Celluloid doll. One arm and one leg are missing. The face has movable eyes; half of the back of the head is missing. The dress is the original one - red with imprinted lace. Built-in voice mechanism which says “mama” when the doll is moved. The doll belongs to the so-called Triestian bambole which spread in Slovene households after 1945. It was found in a dustbin in Ljubljana in 1979.


75.

Baby / porcelain / h. = 10 cm / neg. no. 18739 / inv. no. 14956.

The baby’s face and hair are painted; the arms and legs are attached to the body with elastic bands; original white hand-made dress, red apron with blue ribbons. The baby was bought in Novo Mesto in 1915. It was donated to the Slovene Ethnographic Museum by Marija Rozman, Ljubljana, 1979.


76.

Puzzle / wood, board / box - 12.5 x 12.5 cm / neg. no. 20527, 20582 / inv. no. 14957.

The box contains wooden, painted rhombi, rhomboids and triangles. Colours: red (4 pcs), blue (3), green (4), yellow (4), black (1), white (2); cardboard sheet with colour patterns to compose the pictures. Some pieces are missing. The puzzle was bought in Ljubljana around 1950. It was donated to the Slovene Ethnographic Museum by Matija Lamut, Ljubljana, 1979.


77.

Cut-out “Mojca Pokrajculja” / cardboard / different ones; house: h. = 18 cm; l. = 14 cm / neg. no. 21387 / inv. no. 14958.

Figures cut out of printed cardboard. The characters, items and animals are from the Slovene folk tale Mojca Pokrajculja. 10 figures in all. Each figure also has a paper base. Figures: rabbit, bear, spruce (2), roebuck, fox, wolf, Mojca Pokrajculja, honey-pot, pot-cottage. The toy was bought in Ljubljana in the 1950s and donated to the Slovene Ethnographic Museum by Matija Lamut from Ljubljana in 1979.


78.

Board game - ludo / cardboard, wood / l. = 32 cm; w. = 32 cm / neg. no. 20526 / inv. no. 14959.

Four paths for four animals are printed; in the four corners, printed pictures of a rabbit, cat, dog and fox. For each animal there are four pegs; also a dice. 14 figures, board and dice. Bought around 1950 and donated to the Slovene Ethnographic Museum by Matija Lamut from Ljubljana in 1979.


79.

Doll / porcelain, papier-mâché / h. = 78 cm / neg. no. 21610, slide no. 4033 / inv. no. 14960.

Doll with porcelain head. On the back of the head is the inscription “AM 14 DEP. MADE and GERMANY”. The light-blond hair is not original; the dress is purple with white lace and is also not original. The eyes are set and movable, movable arms and legs; body and limbs made of papier-mâché. Produced by the Armand Marseille Factory, Koppelsdorf, Porzellanfabrik, 1885 - 1930, Germany. After 1900. Purchased by the Slovene Ethnographic Museum in 1979, sold by M.M. from Ljubljana.


80.

Building set / wood / h. = 20 cm; l. = 15.5 / neg. no. 20480 / inv. no. 14961.

The toy consists of 12 solid bodies shaped as corners or U-s which can be combined randomly. Colours: yellow, red, green, and orange pieces as well as uncoloured ones; 12 elements in all. Donated to the Slovene Ethnographic Museum by the Ciciban Factory, Miren near Nova Gorica, 1980. Note: only 6 bodies are shown in the picture.


81.

Building set / wood / cart: h. = 18 cm; l. = 15.5 cm / neg. no. 20487 / inv. no. 14962.

The box on four wheels contains objects of different colours and shapes: 2 cylinders (uncoloured), 2 squares (uncoloured), 2 cubes (uncoloured), 2 cylinders (red), 2 squares (red), 2 cubes (green), 2 discs (green), 2 discs (yellow), 2 discs (red); there are thus 4 different shapes and 4 different colours; 22 pieces in all, plus cart. Donated to the Slovene Ethnographic Museum by the Ciciban Factory, Miren near Nova Gorica, 1980.


82.

Puzzle with three figures / wood, board / box - 15 x 15 cm / neg. no. 20502 / inv. no. 14963.

Several different wooden pieces in a box; different colours and shapes: 2 rhombi, 1 triangle, 1 square, all in yellow, red, blue and green; 16 elements in all. Donated to the Slovene Ethnographic Museum by the Ciciban Factory, Miren near Nova Gorica, 1980.


83.

Drum / wood / handle: l. = 14 cm; plate: l. = 19 cm / neg. no. 20486, 20558, 20559 / inv. no. 14964.

A plate is fixed vertically to a handle and a ball fixed to the handle hits the plate, making a loud noise. Design by Oskar Kogoj. Donated to the Slovene Ethnographic Museum by the Ciciban Factory, Miren near Nova Gorica, 1980.


84.

Building set called “Pythagoras’s triangles” / wood, board / box - 14.5 x 14.5 cm / neg. no. 20518, 20583 / inv. no. 14965.

The set consists of triangular pieces of different sizes: 3 big red ones and 3 unpainted ones, 2 small red ones and two unpainted ones; 10 triangles in all. Donated to the Slovene Ethnographic Museum by the Ciciban Factory, Miren near Nova Gorica, 1980.


85.

Ball with pin / wood / pin: l. = 10 cm; ball: diam. = 9 cm / neg. no. 20478 / inv. no. 14966.

Orange wooden ball with holes through which a wooden pin with attached string has to be passed. Donated to the Slovene Ethnographic Museum by the Ciciban Factory, Miren near Nova Gorica, 1980.


86.

Train / car / wagon: l. = 9 cm / neg. no. 20566 / inv. no. 14967.

The train consists of a locomotive and three cars; the locomotive is made exactly like the cars but for a chimney. The cars are connected with a leather ribbon. Unpainted. Donated to the Slovene Ethnographic Museum by the Ciciban Factory, Miren near Nova Gorica, 1980.


87.

Building set “Ciciban” / wood / different dimensions, cylinder: l. = 7.5 cm; stick: l. = 17.5 cm and 7.5 cm; block: l. = 7.5 cm; ball: diam. = 3 cm / neg. no. 20509, 21531 / inv. no. 14968.

The building set consists of a large number of different solid elements: cylinders, sticks, perforated blocks, beads. 3 green cylinders, 5 orange blocks, 1 green bead, 21 long sticks and 18 short sticks, unpainted. 48 elements in all. Donated to the Slovene Ethnographic Museum by the Ciciban Factory, Miren near Nova Gorica, 1980.


88.

Handle with ball / wood / handle: l. = 22 cm / neg. no. 20485, 20560 / inv. no. 14969.

The toy is made in the form of a child’s rattle: it has three holes at one end through which a ball, attached to a string, must be passed. Orange painted wood. Donated to the Slovene Ethnographic Museum by the Ciciban Factory, Miren near Nova Gorica, 1980.


89.

Puzzle / wood / approx. l. = 7.5 cm / neg. no. 20488 / inv. no. 14970.

The objects represent various animals and people in very simplified forms. Their edges are sharp and they can be fitted together. Several colours: 3 green, 5 red, 3 blue, 3 orange, 4 yellow, 17 unpainted. 35 elements in all. Donated to the Slovene Ethnographic Museum by the Ciciban Factory, Miren near Nova Gorica, 1980.


90.

Train / wood / car: l. = 13.5 cm / neg. no. 20565 / inv. no. 14971.

The train consists of a locomotive and 3 freight cars. A further 6 cubes represent the freight. The wooden locomotive is painted red, blue and natural wood colour; the cars have red wheels and the cubes are red (2), yellow (2) and green (2). Donated to the Slovene Ethnographic Museum by the Ciciban Factory, Miren near Nova Gorica, 1980.


91.

Building set / wood / cylinders: l. = 7.5 to 14.5 cm / neg. no. 20561 / inv. no. 14972.

The toy consists of several different elements: 1 hollow cylinder with holes (unpainted), 1 yellow cylinder with bead and holes, 2 green cylinders with holes, 3 sticks with beads (red, green, blue), 7 green beads, 1 red, 1 blue, 2 short sticks, 1 bead on a string. Donated to the Slovene Ethnographic Museum by the Ciciban Factory, Miren near Nova Gorica, 1980.


92.

Bunny / synthetic material, stuffed / h. = 50 cm / neg. no. 19756 / inv. no. 14973.

Plush toy in two colours: grey-purple on the back and limbs, while the belly, snout and inside of the ears are yellow. Plastic eyes and muzzle. Donated to the Slovene Ethnographic Museum by the Mehanotehnika factory, Izola, 1980.


93.

Bear / synthetic material, stuffing / h. = 52 cm / neg. no. 19784 / inv. no. 14974.

Stuffed grey plush toy; white soles, claws and mouth; button eyes and muzzle; blue bow around the neck. Donated to the Slovene Ethnographic Museum by the Mehanotehnika factory, Izola, 1980.


94.

Building set “The little builder” / synthetic material / block - 4 x 4 cm / neg. no. 20493 / inv. no. 14976.

The toy consists of different figures in different colours: squares, rectangles, semicircular pieces, circles. There are 19 red, 13 light-yellow, 5 blue, 8 dark-yellow, 10 yellow, and 20 green pieces. They are all made of plastic. Donated to the Slovene Ethnographic Museum by the Mehanotehnika factory, Izola, 1980.


95.

“Bimo” Blocks / synthetic material / figures - 2 to 4 cm / neg. no. 20482, 20459, 20540 / inv. no. 14977.

The toy consists of different figures in different colours: squares, rectangle, triangles, circles and connecting pieces. There are 163 red and 82 yellow connecting pieces; 37 red pieces have other shapes. Donated to the Slovene Ethnographic Museum by the Mehanotehnika factory, Izola, 1980.


96.

“Bimo” Blocks / synthetic material / figures - 2 to 4 cm / neg. no. 20460, 20540 / inv. no. 14978.

The toy consists of different figures in different colours: squares, rectangles, triangles, circles (60 yellow and 50 red), 104 connecting pieces (red and yellow), and five packets of sticks. Donated to the Slovene Ethnographic Museum by the Mehanotehnika factory, Izola, 1980.


97.

“Bimo” Blocks / synthetic material / figures - 2 do 4 cm / neg. no. 20461, 20540 / inv. no. 14979.

The toy consists of different figures in different colours: squares, rectangles, triangles, circles (92 yellow and 72 red ones); 123 connecting yellow and red pieces; 4 packets of sticks. Donated to the Slovene Ethnographic Museum by the Mehanotehnika factory, Izola, 1980.


98.

Ship (ferry) / synthetic material / l. = 54 cm / neg. no. 21388 / inv. no. 14980.

On the ferry the lower deck is empty and ready to accept toy cars. The model is painted in four colours: blue for the top part, white in the centre, grey for the car deck and red for the part of the ferry which is underwater. The model is powered by an electric motor that can be controlled by electric commands. Two batteries provide the power.

Donated to the Slovene Ethnographic Museum by the Mehanotehnika factory, Izola, 1980.


99.

Telephone / synthetic material / real-size telephone / neg. no. 21604 / inv. no. 14981.

2 telephone set with ear-pieces, connected with a wire several metres long. In each set batteries must be inserted. The telephones are blue, the dial is on a yellow base in the form of keys. Donated to the Slovene Ethnographic Museum by the Mehanotehnika factory, Izola, 1980.


100.

“Pika Slika” Puzzle / synthetic material / board: h. = 25.5 cm; l. = 35 cm / neg. no. 20481 / inv. no. 14982.

Plastic pins of different colours: blue, yellow, green and red ones are to be set in holes in a plastic board to compose different patterns and pictures. Donated to the Slovene Ethnographic Museum by the Mehanotehnika factory, Izola, 1980.


101.

Sewing machine / synthetic material / h. = 20 cm; l. = 21.5; w. = 12 cm / neg. no. 20479 / inv. no. 14983.

The sewing machine is powered by an electric motor. It uses batteries but can also be turned manually; pedal with wire that can be connected to the machine; the entire frame is plastic and shows three colours: white, blue, red; printed instructions enclosed. Donated to the Slovene Ethnographic Museum by the Mehanotehnika factory, Izola, 1980.


102.

“Little builder” blocks / synthetic material / block - 4 x 4 cm / neg. no. 20494 / inv. no. 14984.

The toy consists of different solid elements in different colours: cubes, rectangular prisms, semi-circular solid and connecting pieces. There are 6 yellow, 11 blue, 5 orange, 4 green, 5 red and 7 yellow solid elements. According to the instructions the toy is suitable for children from 2 to 6 years. Donated to the Slovene Ethnographic Museum by the Mehanotehnika factory, Izola, 1980.


103.

“Little builder” blocks / synthetic material / block - 4 x 4 cm / neg. no. 20495 / inv. no. 14985.

The toy consists of different solid elements in different colours: cubes, rectangular prisms, semi-circular solid and connecting pieces. There are 4 yellow, 6 blue, 5 orange, 1 green, 3 red and 9 yellow solid elements. According to the instructions the toy is suitable for children from 2 to 6 years. Donated to the Slovene Ethnographic Museum by the Mehanotehnika factory, Izola, 1980.


104.

Fire engine / synthetic material / 1 = 31 cm; w. =13 cm / neg. no. 21389 / inv. no. 14986.

Fire engine with electric motor, battery-powered, remote control and the following accessories: shovels, pickaxes, triangles etc., 21 pieces in all. The vehicles are red and covered with a grey plate. Donated to the Slovene Ethnographic Museum by the Mehanotehnika factory, Izola, 1980.


105.

Automobile / synthetic material / l. = 30 cm; w. = 12 cm / neg. no. 21390 / inv. no. 14987.

Automobile with electric motor, remote-controlled. Battery-powered. Red colour, attached inscription “Jägermeister 21, BMW Alpina”. Donated to the Slovene Ethnographic Museum by the Mehanotehnika factory, Izola, 1980.


106.

“Elektropionir” (Electric pioneer) building set / metal, synthetic material / box: h. = 25 cm; d - 42.2 cm / neg. no. 20545 / inv. no. 14988.

The toy is a set for technical education subtitled “160 interesting experiments from the field of electricity and magnetism for practical work at home and in schools.” The instructions are printed in Slovene and Serbo-Croatian. 39 elements in total, packed in a box. Donated to the Slovene Ethnographic Museum by the Mehanotehnika factory, Izola, 1980.


107.

Building set / metal / box: h. = 25 cm; l. = 35 cm / neg. no. 20496 / inv. no. 14989.

The toy consists of different metal elements. They can be assembled into a mechanical shovel and similar vehicles. The text on the box states that these are sets 2 and 4. Donated to the Slovene Ethnographic Museum by the Mehanotehnika factory, Izola, 1980.


108.

Vehicle “Mechanical shovel with trailer” / synthetic material / mechanical shovel: l. = 27 cm; w. = 17 cm; trailer: l. = 28 cm; w. = 18 cm / neg. no. 20483 / inv. no. 14990.

The vehicle is made of yellow plastic with red buttons and red wheels. Donated to the Slovene Ethnographic Museum by the Mehanotehnika factory, Izola, 1980.


109.

Automobile / synthetic material, metal / h. = 20 cm; l. = 24.5 cm; w. = 13 cm / neg. no. 20564, slide no. 4027 / inv. no. 14991.

The toy is a limousine from 1901. It is an open car; on the front and rear registration plates is the year 1901. Rubber figurine of a gentleman with moustache on the seat. In the chassis of the automobile there is a compartment for 2 batteries to feed the electric motor. Made in Japan, 1960s.


110.

Automobile / synthetic material, metal / l. = 28 cm; w. = 11 cm / neg. no. 20484 / inv. no. 14992.

The toy is a Packard limousine. Electric motor, battery-powered and remote control. Green, cabriolet. Made by the Schuco factory, Germany, 1960s.


111.

Pram / wood and other materials / h. = 50 cm; l. = 56 cm; w. = 30 cm / neg. no. 21391 / inv. no. 14993.

Miniature baby pram. Grey and wood, the windows at both sides are glazed with celluloid, the canopy is made of grey rubberised canvas. Four rubber wheels and metal handle. Made by Tribuna, Ljubljana, late 1950s.


112.

Pram / wood / h. = 12 cm; l. = 20 cm / neg. no. 21606, slide no. 4036 / inv. no. 15406.

Wooden pram. Assembled with wooden keys, without metal nails. Two wheels. Origin unknown.


113.

Bank / synthetic material / h. = 13 cm / neg. no. 21392 / inv. no. 15489.

Children’s bank in the shape of a hedgehog. Promotional toy of Jugobanka, Ljubljana. The hedgehog is made of plastic, painted yellow with black eyes, nose and bow, and 3 black buttons. The coin slot is in the hedgehog’s head. 1970s.


114.

Pussycat / wood / h. = 20 cm; l. = 19 cm / neg. no. 20508 / inv. no. 15490.

The wooden figure on wheels consists of 14 pieces assembled to form a pussycat. Front eye and string to draw it around. Colours: blue, yellow and natural colour of wood. Donated to the Slovene Ethnographic Museum by Mateja Kuhar, Ljubljana, 1983.


115.

Doll / celluloid / h. = 22.5 cm / neg. no. 19760 / inv. no. 15530.

Celluloid doll with movable legs and arms, head with light coloured hair, hair-cut with hair curled at the back of the neck; the head is attached to the body. On the back of the neck is a turtle-shaped stamp in a rhomboid; under it the number 23 1/2 is printed. Dressed in briefs, dress with sleeves and apron. Other garments belonging to the doll: two-piece pyjamas, skirt and dotted blouse. Inter-war period.


116.

Bear / textile, wood-wool / h. = 53 cm / neg. no. 19783 / inv. no. 15531.

Bear made of yellow plush with movable legs, arms and head. Glass eyes, black yarn muzzle and mouth. Stuffed with wood-wool. According to the seller the bear was bought at Krisper’s in Ljubljana in 1936.


117.

Giraffe / synthetic material / h. = 46 cm / neg. no. 19782 / inv. no. 15532.

Giraffe made of dotted beige-brown plush. Short horns on the head; along the neck are short manes made of brown thick ribbons (the tail is also of ribbons). Hoofs black PVC material. Glass eyes. Used in the 1960s.


118.

Pussy-cat / textile / h. = 23 cm / neg. no. 18984 / inv. no. 15533.

Pussy-cat made of grey-brown plush. The head and legs are in one piece; sewn to the body are the ears and a long thick tail. Stuffed with rags. The eyes are covered buttons, bow around the neck. Home-made, 1930s, Jesenice. Donated to the Slovene Ethnographic Museum by Alenka Simikič, Ljubljana.


119.

Pussy-cat / textile / h. = 12.5 cm; l. = 32 cm / neg. no. 18985 / inv. no. 15534.

Pussy-cat made of brown and red upholstering fabric, head and body sewn in one piece, ears and tail sewn on. Quite short legs. Stuffed with rags, eyes made of two covered buttons. Home-made, 1930s, Jesenice. Donated to the Slovene Ethnographic Museum by Alenka Simikič, Ljubljana.


120.

Doll / papier-mâché / h. = 44 cm / neg. no. 19780 / inv. no. 15535.

Doll with composition body and limbs; set movable eyes with eye-lashes; light yellow hair made of cotton; on the back of the body there is a round disc with holes in the belt - the doll cries when it is tilted. Used in the 1950s.


121.

Doll / papier-mâché / h. = 48 cm / neg. no. 19768 / inv. no. 15536.

Doll with composition body and limbs, set movable eyes, painted eyelashes, wig of brown human hair. There are sound holes in the belly, but the mechanism is defective; dressed in a hand-sewn brown checked dress. Used in the inter-war period.


122.

Doll / celluloid / h. = 10 cm / neg. no. 19740 / inv. no. 15537.

Torso without arms or legs. Used in the inter-war period.


123.

Doll / rubber, textile / h. = 29 cm / neg. no. 21574 / inv. no. 15579.

Doll with rubber head; body, arms and legs made of cloth; fingers sewn on; on the feet white shoes are indicated, made of cloth; dressed in briefs and a blue dress with red apron. On the back is the inscription “Triglav film 1562”. Donated by Triglav Film, Ljubljana.


124.

Peasant with goat / wood / base: l. = 24 cm; figures: h. = 15 cm / neg. no. 19791, slide no. 4023 / inv. no. 15580.

The figures of a peasant and a goat on a leash are carved and painted. They stand on a wooden yellow platform. Made by Janko Trošt as a prototype in 1940. Donated to the Slovene Ethnographic Museum by Dr. Niko Kuret, Ljubljana, 1983.


125.

Hunter with dog / wood / platform: l. = 24 cm; figures: h. = 18 cm / neg. no. 19790, slide no.4022 / inv. no. 15581.

Carved and painted figure of a hunter and a dog on a leash which jumps in front of the hunter. They stand on a wooden, yellow platform. Made by Janko Trošt as a prototype in 1940. Donated to the Slovene Ethnographic Museum by Dr. Niko Kuret, Ljubljana, 1983.


126.

Horse and rider / wood / h. = 13 cm; l. = 11 cm / neg. no. 21756 / inv. no. 15582.

Carved and painted figure of a young boy and a grey horse. The horse has red wheels attached to its legs, on which it can be pulled around. Made by Janko Trošt as a prototype in 1940. Donated to the Slovene Ethnographic Museum by Dr. Niko Kuret, Ljubljana, 1983.


127.

Butcher with pig / wood / platform: l. = 24 cm; figures: h. = 14.5 cm / neg. no. slide 4021 / inv. no. 15583.

Carved and painted figure of a fat butcher and a little pig with a tied rear leg. The butcher is dragging the pig. The figures are fixed to a yellow wooden platform with two legs in front and two in the rear. Made by Janko Trošt as a prototype in 1940. Donated to the Slovene Ethnographic Museum by Dr. Niko Kuret, Ljubljana, 1983.


128.

Elephant / wood / h. = 14.5 cm; l. = 15 cm / neg. no. 21575 / inv. no. 15584.

Carved and painted black figures of an elephant on red wheels. Tail made of string. Made by Janko Trošt as a prototype in 1940. Donated to the Slovene Ethnographic Museum by Dr. Niko Kuret, Ljubljana, 1983.


129.

Soldier on a horse / wood / frame: l. = 15 cm; figures: h. = 16 cm / neg. no. slide no.4025 / inv. no. 15585.

Carved and painted figures of a soldier on a horse. The horse is fixed to four solid red wheels connected to a wooden frame. Made by Janko Trošt as a prototype in 1940. Donated to the Slovene Ethnographic Museum by Dr. Niko Kuret, Ljubljana, 1983.


130.

Soldier on a horse / wood / h. = 16 cm; l. = 10 cm; / neg. no. 19751, slide no.4020 / inv. no. 15586.

Carved and painted figure of a soldier on a horse. The horse is fixed to four solid red wheels that are connected to a wooden frame. Made by Janko Trošt as a prototype in 1940. Donated to the Slovene Ethnographic Museum by Dr. Niko Kuret, Ljubljana, 1983.


131.

Rattle / sheet metal, celluloid / handle : l. = 11 cm; bell: diam. = 7 cm / neg. no. 20490 / inv. no. 15670.

Rattle with celluloid handle and sheet metal bell. The bell contains pebbles which rattle when it is shaken. At the opposite end of the bell the handle is bitten and shows traces of baby teeth. Bought in 1908 in Novo Mesto. Donated to the Slovene Ethnographic Museum by Marija Rozman, Ljubljana.


132.

Head / sheet metal / h. = 10 cm / neg. no. 19738 / inv. no. 15806.

Head of a doll, painted sheet metal, hollow, baby face with curled hair. On the breast is the inscription “MINERVA”, on the back the inscription “Germany”. The head was connected (sewn) to the body through the holes at its bottom. The object was bought at the Leipzig fair in the inter-war period.


133.

Head / sheet metal / h. = 8 cm / neg. no. 19738 / inv. no. 15807.

Head of a doll, painted sheet metal, hollow, baby face with curled hair. On the breast is the inscription “MINERVA”, on the back the inscription “Germany”. The head was connected (sewn) to the body through the holes at its bottom. The object was bought at the Leipzig fair in the inter-war period.


134.

Head / sheet metal / h. = 6 cm / neg. no. 19738 / inv. no. 15808.

Head of a doll, painted sheet metal, hollow, baby face with curled hair. On the breast is the inscription “MINERVA”, on the back the inscription “Germany”. The head was attached (sewn) to the body through the holes at its bottom. The object was bought at the Leipzig fair in the inter-war period.


135.

Picture puzzle / cardboard / box: h. = 27 cm; l. = 37 cm / neg. no. 20497, 21393 / inv. no. 15819.

Puzzle published by “Otto Maier Verlag, Ravensburg”. The puzzle consists of 1000 pieces; the picture is on the lid of the box. Donated to the Slovene Ethnographic Museum by Dr. Lydia Bayer, Spielzeugmuseum Nürnberg, 1985.


136.

Baby elephant / synthetic material / l. = 27 cm; h. = 15 cm / neg. no. 20462, 21394 / inv. no. 15820.

The plastic figure stands on four red wheels and has a yellow hub; the ears are damaged. Product of Jugoplastika, Split, 1970s.


137.

Electric train / metal and plastics / car: l. = 20 cm / neg. no. 20458 / inv. no. 15821.

Electric railway set in original box. Locomotive and 3 cars, set of tracks (16 parts in all), plate with barriers. Donated to the Slovene Ethnographic Museum by Mehanotehnika, Izola, 1980.


138.

Dominoes / wood / 1. = 4 cm; w. = 2 cm / neg. no. 20468 / inv. no. 16001.

Home-made dominoes, unpainted wood, burned-out holes. Incomplete, 41 pieces. Žiri in the Poljanska Valley. Used in the 1930s.


139.

Doll / papier-mâché, fabric / h. = 40 cm / neg. no. 20470 / inv. no. 16422.

Body and limbs made of cloth, head of papier-mâché; painted face, human hair; head, fingers and toes sewn to the body. Used after 1925 in Ljubljana.


140.

Two sawyers / wood, cardboard, celluloid / base: l. = 30 cm; windrose: h. = 25 cm; figures: h. = 16 cm / neg. no. 21503, 21613, slide 4024 / inv. no. 16838.

Two figures (bearded men with caps with pompon, and pipes in their mouths are holding a saw and sawing) stand on a wooden platform. Beside the platform are two spruces. The spruces and the men are sawn from plasticised cardboard. To one of the spruces a windrose is attached and, when moved by the wind, it makes the saw and the two men move. The figures are painted. Donated to the Slovene Ethnographic Museum by engineer Marjan Loboda, Begunje near Cerknica.


141.

Tennis racket / wood, waxed gut / l. = 69 cm / neg. no. 20537 / inv. no. 16839.

The racket has a wooden frame and handle; the mesh is made of waxed gut. Trade mark “SLAZENGERS LTD, no.. 13 1/2”. The mesh is torn. Used in the 1930s.


142.

Tennis racket / wood, waxed gut / l. = 69 cm / neg. no. 20570, 20571 / inv. no. 16840.

The racket has a wooden frame and handle; the mesh is made of waxed gut. Trade mark “SLAZENGERS LTD, no.. 13 1/2”. The mesh is torn. It is set into a rectangular wooden frame for handling the racket. Used in the 1930s.


143.

Doll / papier-mâché / h. = 79 cm / neg. no. 19763 / inv. no. 16890.

The doll is made of papier-mâché and opens and closes its eyes; the voice mechanism is defective. Large wig made of light coloured artificial hair. The legs and arms are not movable. Belongs to the type of Triestian bambole from the 1950s. Donated to the Slovene Ethnographic Museum by Milena Petje, Ljubljana.


144.

Doll / papier-mâché, textile / h. = 50 cm / neg. no. 20472, 20554 / inv. no. 16907.

The doll consists of a papier-mâché head and a plush body with arms and legs. The head is a serial factory product, the hair is modelled into a short hairstyle, the cheeks and brown eyes are painted. The body is sewn from white unbleached cotton fabric, the arms and legs of flesh-coloured silk. The doll is dressed in a striped dress and a black velvet waistcoat. To the neck a label is fixed with the inscription “ONBREEKBAAR” (Dutch = unbreakable). Used in the inter-war period.


145.

Bear / synthetic material / h. = 38 cm / neg. no. 19757 / inv. no. 16908.

Artificial plush bear with movable head, arms and legs. The claws are plush of a different colour. Probably produced by Mehanotehnika, Izola in the 1970s.


146.

Puppy / synthetic material / h. = 30 cm / neg. no. 19744 / inv. no. 16910.

Puppy made of artificial plush. Imitation of a sitting pug; the back part of the head is of dark plush, the other parts of the body in light plush; the head is inserted and fixed to the body, the body is in one piece; the puppy has a dark plush tail and across the body are sewn-on patches of cloth; one ear has been re-attached. Used in the 1930s.


147.

Doll / synthetic material / h. = 28.5 cm / neg. no. 19778, 20575, 20576 / inv. no. 16911.

Plastic doll of the Barbie type. Imported from Hong Kong. The doll represents an adult person with long legs and arms, movable in the knees and elbows; blond artificial hair; a number of dresses belonging to the doll. Used in the 1980s.


148.

Baby / synthetic material / h. = 8.5 cm / neg. no. 19794 / inv. no. 16912.

Plastic doll of the baby type. Movable arms and legs; blond artificial hair; original dress; original box with inscription “Little Friends, El Greco (1977 Hallmark Cands Inc.)”, 1980s.


149.

Baby / synthetic material / h. = 7.5 cm / neg. no. 19793 / inv. no. 16913.

Plastic doll of the baby type. Movable arms and legs; blond artificial hair; original dress; original box with inscription “Little Friends, El Greco (1977 Hallmark Cands Inc.)”, 1980s.


150.

Roller-skates / metal, wood, leather / l. = 26 cm / neg. no. 20567, 20568, 20569 / inv. no. 16914.

The roller-skates have a metal base in which the shoes are set; they can be adjusted to the length of the shoes; four wooden wheels; along the heel is a leather strap which is fastened to the leg. Imported article, produced by “SWALLOW, Made in Belgium”. Used in the village of Sora near Ljubljana in the 1960s.


151.

Pencil holder / wood / l. = 23.5 cm; h. = 5.3 cm; g - 3.8 cm / neg. no. 20475 / inv. no. 16976.

School accessory. Made of wood, lengthy, two levels and lid; the bottom level has three compartments, the top one big and a small compartment; wooden right-hand lid with carved ornament; stained with ink, otherwise well preserved. Though primarily a school accessory, the pencil holder was later used as a toy. 1950s.


152.

Bank / sheet metal / h. = 12 cm / neg. no. 20553 / inv. no. 17013.

Bank in the form of a box with a semi-circular edge. Made of sheet metal and imprinted like a house; red-plated roof, narrow side windows of the Gorenjska type with roses and carnations; wooden door. On the front a peasant in national dress from Gorenjska is carrying a bag of flour on the stairs leading to the barn, while three figures are approaching: a boy in Croatian national dress, another boy in Serbian national dress and a girl in a short white dress and sandals. All three are carrying beehives in their arms. The coin slot is on this side, while the door with the lock is on the other side, as well as an opening to hang the bank on a nail in the wall. Used in the inter-war period.


153.

Cart / wood / h. = 35 cm; l. = 42.5 cm; w. = 34 cm / neg. no. 21395 / inv. no. 17027.

This “extension” is a fragment of a cart, made by wooden lathes, which resembles an open-frame cart. To the rectangular bottom board five short lathes are fixed at each long side. The top lathes are connected to the wooden frame. The cart is yellow. Home-made for a child of the family. Paradišče near Kapela, 1950s.


154.

Puppy / synthetic material, stuffing / l. = 17 cm / neg. no. 19765 / inv. no. 17180

Puppy made of cloth, a stylised sitting terrier. Painted eyes and mouth; body and long ears made of white cloth with red hearts; tuft made of pink threads; stuffed with synthetic material. Kept in a bag with the inscription: “Sem Timi, kuža plah, a s tabo me ni strah”. (“My name’s Timmy, I’m a timid puppy but not afraid when you’re there”). Product of Unika in Pivka. Sold in 1991-1992.


155.

Puppy / synthetic material, stuffing / l. = 30 cm / neg. no. 19764 / inv. no. 17181.

Puppy made of cloth, a stylised sitting terrier. Painted eyes and mouth; tuft made of threads; white printed cloth with motif of a snow-covered forest and Christmas trees; stuffed with synthetic material. Kept in a bag with the inscription: “Sem Timi, kuža plah, a s tabo me ni strah”.(“My name’s Timmy, I’m a timid puppy, but not afraid when you’re there”). Product of Unika in Pivka. Sold in 1991-1992.


156.

Wash tub / wood, sheet metal / h. = 20 cm; w. = 14 cm / neg. no. 20476, 20556, 20557 / inv. no. 17182.

Toy wash tub. Wooden frame with two long and two short sides and rectangular piece of corrugated sheet metal. The object is a small-scale copy of a wash tub used by adults. Used in Gorenjska in the inter-war period.


157.

Lead soldier / lead / h. = 8 cm / neg. no. 20504 / inv. no. 17183.

Set of painted lead soldiers. The top part of the uniform is blue, the trousers are red, the shoes black, and the arms brown. One of the soldiers is a horseman. They all stand on green bases. They are flat figures and attached to the cardboard in the box; 8 figures in all. Made after old models in Ljubljana in the 1980s.


158.

Puppy / fabric / h. = 10 cm; l. = 16 cm / neg. no. 20473 / inv. no. 17434.

Puppy with glass eyes and hanging ears. The bottom side of the mouth is in white plush; the bottom ends of the legs are in white plush, resembling boots; short tail; on one side of the back is an opening that can be closed with two buttons; stuffed head (woodwool?), sewn together; the body is stuffed with paper; the original colour of the plush was green. Bought in Zagreb, used in Ljubljana in the inter-war period.


159.

Doll / celluloid / h. = 54 cm / neg. no. 20534 / inv. no. 17527.

Celluloid doll. Light hair, standard haircut with hair curled at the back of the neck; movable arms and legs but only in the shoulders and knees; figure of a child with pronounced belly; imprinted turtle-shaped sign and no. “55 1/2” on the neck; red nails on fingers and toes, and red lips, apparently a later “treatment”; rigid eyes. Used in Ljubljana in the interwar period.


160.

Doll / celluloid / h. = 10 cm / neg. no. 20572 / inv. no. 17528.

Miniature celluloid doll. Movable head, arms, legs and set eyes; standard hairstyle curled at the back of the neck and a baby’s pronounced belly; damaged nose; trade mark imprinted at the back of the neck: a tree and the letters “M = Q”. Used in the inter-war period.


161.

Doll / celluloid / h. = 10 cm / neg. no. 19795 / inv. no. 17530.

Miniature doll. The head is not movable; movable arms and legs; dark brown hair, not curled at the back of the neck; set eyes, not movable; trade mark imprinted on the back: triangle with inscription “ARI”, below it “GERMANY 1922”. Dressed in rags.


162.

Doll / celluloid / h. = 7 cm / neg. no. 20573 / inv. no. 17531.

Miniature doll. The head is not movable; set movable eyes, arms and legs; short baby hair; at the top of the back a printed “K” (in a circle) “360”. Dressed in a rag skirt. Used in the inter-war period.


163.

Doll / celluloid / h. = 7 cm / neg. no. 21582 / inv. no. 17532.

Miniature doll. The head is not movable. The eyes are set and movable, and so are the arms and legs. Short baby hair. At the top of the back a printed “K” (in a circle) “360”. Dressed in a rag skirt. Used in the inter-war period.


164.

Doll / celluloid / h. = 7 cm / neg. no. 20574 / inv. no. 17533.

Miniature doll. Head and eyes are not movable; short baby hair; dressed in a rag skirt. Used in the inter-war period.


165.

Bear / fabric, stuffing / h. = 50 cm / neg. no. 20552 / inv. no. 17534.

Bear made of brown plush, stuffed with straw. Movable head and straight swinging arms and legs attached to the body; the bottom parts of the claws and the soles are in a light brown fabric; glass button eyes; sewn-on red-thread muzzle; bow sewn to the head, apparently to imitate a bear; the dress probably first belonged to a baby. Bought immediately before 1940 in Zalog near Ljubljana.


166.

Doll / wool, cotton wool / h. = 13 cm / neg. no. 21603 / inv. no. 17535.

Doll knitted from wool of different colours, in one piece. Stuffed with cotton wool; sewn-on eyes, nose and mouth, buttons on the jacket and cylinder-like hair. The doll was meant as a toy or as a car pendant. Made in Ljubljana, 1980s.


167.

“Faraon” (Pharaoh) puzzle / cardboard / box: l. = 29 cm; w. = 20 cm / neg. no. 20516 / inv. no. 17537.

Game made of printed paper triangles, consisting of equilateral pyramids. Every side has a different colour: yellow, orange, blue, light-blue; 47 pyramids in all; printed instructions for playing. Inscription on box: Design Andreja Peklar, author: Borko Tepina. Game for children and adults. The creator donated the game to the Slovene Ethnographic Museum in 1992, the year it was made.


168.

“Babel” puzzle / cardboard / box: l. = 15 cm; w. = 10 cm / neg. no. 20499 / inv. no. 17538.

Paper squares printed in different colours. Instructions enclosed; on the lid of the box the name and text: BABEL - the lost treasure. Design Andreja Peklar, author: Borko Tepina. The creator donated the game to the Slovene Ethnographic Museum in 1992, the year it was made.


169.

“Mozaik - Babel 1” puzzle / cardboard / box: l. = 16 cm; w. = 10,5 cm / neg. no. 20365, 20517 / inv. no. 17539.

Game consisting of paper squares, printed in different colours and in different ways. There are 14+14+14+15 squares. Name on box: MOZAIK - BABEL - 1; on the bottom side are 11 examples of the game. Printed instructions enclosed. The creator, Borko Tepina. donated the game to the Slovene Ethnographic Museum in 1992, the year it was made.


170.

“Mozaik - Babel 2” puzzle / cardboard / l. = 16 cm; w. = 10,5 cm / neg. no. 20501 / inv. no. 17540.

The puzzle consists of paper squares printed in different colours and in different ways. There are four groups of squares: 14+14+14+14. On the top side of the box is the title: MOZAIK - BABEL - 2; on the bottom side are 11 examples of the game. Donated to the Slovene Ethnographic Museum by its creator Borko Tepina in 1992, the year it was made.


171.

“Mozaik - Babel 3” puzzle / cardboard / box: l. = 16 cm; w. = 10,5 cm / neg. no. 20498 / inv. no. 17541.

The puzzle consists of paper squares printed in different colours and different ways. There are four groups of squares: 14+14+14+14.. Title on top side: MOZAIK - BABEL - 3; on the bottom side are 11 examples of the game. Printed instructions enclosed. Donated to the Slovene Ethnographic Museum by its creator Borko Tepina in 1992, the year it was made.


172.

“Elektro vseved” (“Electric all-round”) puzzle / synthetic material / box: h. = 24 cm; l. = 19 cm / neg. no. 20538 / inv. no. 17542.

Red light mounted in a plastic box. Next to the light is a recess for batteries and electric wiring. Includes 6 boards with 15 pictures and legends each. When a picture and legend are connected correctly, the light lights up. The texts are in Slovene and Serbo-Croatian. Product of DORO-PLASTIKA-IZOLA. Further text on the board: For children from 8 to 14. The game was used in the early 1980s in Ljubljana.


173.

Miniature model of household utensils - several objects / wood / l. = from 2 to 9 cm / neg. no. 21596 / inv. no. 17544.

19 objects in a lidded box: 2 long-handled paddles, 1 billhook, 3 axes, 1 saw, 2 shovels, 1 meat axe, 1 oven fork, 1 hammer, 2 knives, 2 axes with toothed edge, 1 hoe, 1 sickle, 1 vessel. Made by Johana Žontar, a maid who served with a family in Trnovo (Ljubljana) for the daughter of her employer, around 1900. Donated to the Slovene Ethnographic Museum by Nuša Lobnikar in 1991.


174.

“I love Snoopy” album / paper / h. = 32 cm; l. = 24 cm / neg. no. 20529 / inv. no. 17546.

Album entitled “I love Snoopy” in the form of a large exercise-book. In the boxes for stickers are different messages and consecutive numbers. The album is not completed; some empty packets are enclosed. Printed in Gornji Milanovac, Serbia. The aim of the game was for children to buy chewing gum packets (or other things such as candy bars) containing stickers with running numbers. As a rule, the factory promised rewards for a full album. Children used to buy these chewing gum packets with pictures in candy shops and kiosks. In the 1980s the Slovene market was largely supplied by companies from the south of Yugoslavia. Licensed by Disney.


175.

Puzzle / paper, cardboard / h. = 24 cm; l. = 35 cm / neg. no. 20528 / inv. no. 17547.

Pieces of paper cut in different shapes are used to compose pictures accordin to a model. This puzzle has two pictures: “Puss in Boots” and “Snow White and the Seven Dwarfs”. The picture carries the creator’s signature: “B. VÖLTZKE”. On the lid of the paper box is the picture of Puss in Boots and the inscription: “2 Märchen, PUZZLES”, and the “SPIKA” mark. Imported from the GDR. Bought and used in the early 1980s in Ljubljana.


176.

Rocking horse / wood, synthetic material / h. = 75 cm; l. = 87 cm / neg. no. 21396 / inv. no. 17626.

Wooden, painted rocking horse. The central part consists of the horse’s body and head (width 20 cm). At both end two legs are attached. The front and rear legs are fixed to a little green, semi-circular board. The horse does not move now because the bottom bent board is missing. On one side of the head tiny grooves are cut to imitate manes. On the horse’s back a saddle made of red PVC is fixed. Origin unknown. Used in the 1950s.


177.

Rocking chair - horse / wood / h. = 59 cm; l. = 102 cm / neg. no. 21397 / inv. no. 17627.

Wooden, highly-stylised horse. Two bent narrow planks carry a cross-board at the front; in the centre is a wooden seat with a narrow back; at the rear there is another narrow cross-board. At the front on the cross-boards are the stylised head and neck of a horse. Colour: white, drawn reins and eyes. Assumed to be from the workshop of Marija Novak, Spodnji Kašelj. Used in the 1950s.


178.

Man turning a wheel / wood / h. = 17 cm; l. = 47 cm / neg. no. 21505, slide 4018 / inv. no. 17914.

Carved and painted figure of a man who stands on a platform and holds a long stick with both hands to which a big red solid wheel is fixed. The platform on which he stands is hollowed out and long wooden stick is set into it. When the stick is pushed forward, the wheel turns and so do the man’s arms. He wears a checked cap and a long apron. Made by Janko Trošt as a prototype in 1940. Donated to the Slovene Ethnographic Museum as a prototype by Dr. Niko Kuret, 1980.


179.

Turk / wood / horse: h. = 18 cm; l. = 24 cm; figures: h. = 20 cm; l. = 24 cm / neg. no. slide 4019 / inv. no. 17915.

Carved and painted figure of a man. Dressed in wide red trousers and a turban to represent a Turk. The body consists of three wooden plates stuck together; the head is inserted and the man sits on a horse. The horse is set into an elliptical base with two big solid wheels underneath. When the horse is moved, the wheel starts turning. Made by Janko Trošt in 1940, donated to the Slovene Ethnographic Museum by Dr. Niko Kuret in 1980.


180.

Baby / synthetic material / h. = 50 cm / neg. no. 20533 / inv. no. 17916.

The head has relief-like hair. The set eyes open and close when the doll is lifted and moved. In the mouth is a hole for a dummy (missing). Composition body, head and limbs. Bought in the 1980s in Austria and used in Ljubljana.


181.

Doll / synthetic material / h. = 33 cm / neg. no. 19745 / inv. no. 17917.

The head is covered with light curled hair. Set eyes with long eyelashes which open and close; freckles on the cheeks; composition body, head and limbs. The arms are spread out, the legs are straight. Both arms and legs are movable. On the feet little black shoes with black stockings, all in plastic. Product of Jugoplastika, Split, 1980s. Used in Ljubljana. Donated to the Slovene Ethnographic Museum by Agata Tomažič, Ljubljana.


182.

Doll / synthetic material / h. = 36 cm / neg. no. 18986 / inv. no. 17919.

The head is covered with light brown hair, and the neck is tied into a ponytail with a bow. Set eyes with long dark eyelashes. The head is attached to the body and can be moved in all directions. Similarly attached are the arms and legs. The arms are slightly bent in the elbows and held to the body. The legs are stretched. The doll is dressed in a pink-and-white checked dress and briefs. Origin unknown.


183.

Bear / textile / h. = 42 cm / neg. no. 19747 / inv. no. 17920.

Bear made of cotton plush. Stuffed with wood-wool. The head with glass eyes and red yarn muzzle is attached to the body and can be turned left and right. Movable straight legs and arms. Both arms have claws and soles made of plush of a lighter colour. Origin unknown. Used in the 1940s.


184.

Doll / ceramics, textile / h. = 40 cm / neg. no. 20525 / inv. no. 17967.

Doll with ceramic head. Head and shoulder in one piece. At the front and back are three holes to sew the head to the body. On the back the name of the manufacturer is printed: “KONJEDIC”. The face is hand-painted. On the head is a remnant of adhesive used to stick the wig (or a cap) to it. The body, arms and legs are made of fabric; the body is white; the arms and legs are flesh coloured. The doll is dressed in a red dress with black fringes. On the feet are shoes in black fabric. The head was made by potter Viktor Konjedic in the 1940s.


185.

Baby / synthetic material / h. = 10 cm / neg. no. 19792 / inv. no. 17968.

Doll with composition body, head and limbs. Set movable eyes. On the back is printed the trade mark and under it the inscription: “Made in Italy”. The baby is dressed in briefs and a home-crocheted jacket. Used in the mid-20th century.


186.

Baby / synthetic material, fabric / h. = 21 cm / neg. no. 19766 / inv. no. 17969.

The head of the baby is made of synthetic material. The body and limbs are made of fabric and stuffed. The arms and legs are fixed to the body and are movable. Used in the 1950s.


187.

Doll / celluloid / h. = 29 cm / neg. no. 19774 / inv. no. 17970.

The head and body are in one piece; the arms and legs are fixed to the body. The head is somewhat damaged and the body even more. On the back the number “18” is printed. Crocheted dress, obviously made by a child. Origin unknown. Used in the inter-war period.


188.

“Boy” doll / papier-mâché, textile / h. = 21 cm / neg. no. 19761 / inv. no. 17971.

The head is made of papier-mâché. The body, arms and legs are made of cloth. The body is stuffed with straw, the arms and legs are sewn into it. The head extends into the shoulders, the rest is obviously the work of an amateur and home-made. Dressed as a boy. The head is quite damaged. Origin unknown, mid-20th century.


189.

Doll / papier-mâché, textile / h. = 21 cm / neg. no. 19762 / inv. no. 17972.

The head is made of papier-mâché. The body, arms and legs are made of cloth. The body is stuffed with straw, the arms and legs are sewn into it. The head extends into the shoulders, the rest is obviously the work of an amateur and home-made. Dressed in white women’s clothes. Formed a pair with the figure of a boy, cat. no. / 17971/. Origin unknown. Used in the mid-20th century.


190.

Horse / synthetic material / h. = 27 cm; l. = 20 cm / neg. no. 19746 / inv. no. 17973.

Horse made of synthetic brown plush. The manes and tail are made of white wool. The attached elements are made of white PVC; stylised saddle and hoofs. Origin unknown. Used in the second half of the 20th century.


191.

Bunny / metal, synthetic material / h. = 15 cm / neg. no. 19786 / inv. no. 17974.

Bunny made of synthetic plush, broken white, set eyes, black plastic muzzle, red tongue made of cloth. The bunny is sitting on its rear legs and rests on its tail. The legs are straight and very long, the front paws are held up in the air. The frame is metal and the bunny can be wound up with a mechanism, but the key is missing. Probably used in the 1960s-1970s. Mechanical toy of Asian origin.


192.

Puppy / synthetic material / h. = 11.5 cm / neg. no. 19789 / inv. no. 17975.

Puppy made of artificial fur. The head shows two colours: broken white and brown; the body, legs and tail are light brown; the eyes and muzzle are made of black plastic, the tongue of red felt. The puppy is stuffed. Used in the 1970s.


193.

Puppy / synthetic material / h. = 10 cm / neg. no. 19742 / inv. no. 17976.

Puppy made of artificial fur. The head shows two colours (white and brown), the body, legs and tail are dark brown; black plastic eyes; the muzzle is missing; remnant of red felt tongue. The puppy is stuffed and has no frame. Used in the 1960s and 70s.


194.

Puppy / metal, textile / h. = 16 cm / neg. no. 19743 / inv. no. 17977.

The puppy is made of artificial fur. The ears and tail are brown, the rest a lighter colour which may have been white. The eyes are two glass buttons; the muzzle is made of black plastic. Around the neck is a steel string; at the other end of the string a spring can be pressed to make the puppy open its mouth and jump. All four legs are on wheels. Mechanical toy of Asian origin. Used in the 1960s and 70s.


195.

Bear / synthetic material / h. = 6.5 cm / neg. no. 19753 / inv. no. 17978.

Bear made of rubber-like plastic. Visible remnant of polychrome treatment, black waistcoat, red bow under the chin. Product of Jugoplastika, Split; belongs to the Disney characters range. Used in the 1960s and 70s.


196.

Doll / textile, wool / h. = 35 cm / neg. no. 21586 / inv. no. 17979.

Head, body and limbs of a “rag doll”, each separately made from white canvas and manually sewn on to the body. Stuffed with cotton wool. The face is dotted with threads of different colours to make the eyes, eyebrows, nose, mouth and cheek. The hair consists of a bunch of yellow woollen thread sewn on to the head. Dressed in a white long dress, on the head a multi-coloured scarf with the same design as on the apron. The doll was made by Marija Petek in 1995 as a copy of a toy produced in Tržič around 1925.


197.

Stool / wood / h. = 6.5 cm / neg. no. 19755 / inv. no. 17980.

Wooden kitchen stool without backrest. Painted green and apparently part of a toy kitchen. Used in the inter-war period.


198.

Stool / wood / h. = 6.5 cm / neg. no. 19755 / inv. no. 17981.

Wooden kitchen stool without backrest. Painted green and apparently part of a toy kitchen. Used in the inter-war period.


199.

Pot / sheet metal, enamel / h. = 4.8 cm / neg. no. 19754 / inv. no. 17982.

Enamelled pot with handle. Small-scale copy of a cooking pot. Top edge and bottom heavily damaged. Painted yellow. The pot was apparently part of a larger kitchen set. Used in the inter-war period.


200.

Frying pan / sheet metal, enamel / l. = 2.3 cm / neg. no. 19754 / inv. no. 17983.

Enamelled frying pan with long handle with a hole in it. Miniature copy of a frying pan; heavily damaged; painted blue. The pot was apparently part of a larger kitchen set. Used in the inter-war period.


201.

Plate / sheet metal, enamel / diam. = 8 cm / neg. no. 19754 / inv. no. 17984.

Enamelled plate. Miniature blue copy of a plate. The plate was apparently part of a kitchen set. Used in the inter-war period.


202.

Plate / sheet metal, enamel / diam. = 8 cm / neg. no. 19754 / inv. no. 17985.

Enamelled plate. Miniature green copy of a plate. The plate was apparently part of a kitchen set. Used in the inter-war period.


203.

Soldier / papier-mâché / h. = 12.5 cm / neg. no. 20555, slide no.4026 / inv. no. 17987.

Figure of a soldier in uniform, made of papier-mâché. Painted with oil paint. The soldier stands with his legs apart, holding both arms to his legs. He wears a black shako with a gold mark on the front. Brown jacket, gold buttons, belt, red trousers, black boots. Origin unknown.


204.

Puppy / synthetic material, stuffing / l. = 26 cm / neg. no. 19785 / inv. no. 17988

Puppy made of artificial white fur with black spots on the body and yellow ears. The puppy is sitting. The body is stuffed with straw. Around the neck is a red leather belt with bell. Set glass eyes, black muzzle, sewn with yarn. Used in the 1960s.


205.

Pussy-cat / textile, stuffing / h. = 17 cm / neg. no. 21583 / inv. no. 17989.

The top part of the pussy-cat’s body with tail, legs and head is made of checked cloth, grey and black; on the top of the head and the ears tucks of dotted cloth are sewn. On the belly and the palms of the paws are tucks of beige cloth with black dots. The pussy-cat was firmly stuffed but the stuffing has become loose and the toy cannot stand securely. Black button eyes. Home-made toy, origin and period unknown.


206.

Donkey / synthetic material, stuffing / h. = 18 cm / neg. no. 19787 / inv. no. 17990.

The donkey is made of a light-grey artificial plush. Stylised saddle made of blue PVC, black PVC hoofs. The donkey has long ears; the remnants of manes on the back are woollen threads. The eyes and muzzle are missing. A red PVC ribbon is tied around the mouth. Second half of the 20th century.


207.

Bear / textile, stuffed wadding / h. = 51 cm / neg. no. 21601 / inv. no. 17991.

Bear made of light yellow cotton plush. The head, front and rear claws are attached to the body and are all movable. Glass eyes, sewn-on muzzle. Stuffing probably straw. Origin unknown. Probably used before the 1940s.


208.

Doll / synthetic material / h. = 60 cm / neg. no. 19781 / inv. no. 17992.

Composition body, head and limbs. The belly contains a voice mechanism which is defective. Blond hair; set blue glass eyes with long eyelashes, movable. The doll is dressed in the original dress; the skirt reaches down to the knees. On top of a white vest and white briefs it has a green skirt with a sewn-on apron. Trimmed all over with lace and twill flounces. The doll belongs to the range of decorative “bed dolls”. No shoes. The doll is obviously an Italian product, fashionable in Slovenia after the Second World War. Owned by a woman from Loče near Poljčane. Donated to the Slovene Ethnographic Museum by Dr. Boris Kuhar, 1982.


209.

Scooter / wood / h. = 60 cm; l. = 55 cm / neg. no. 19772 / inv. no. 17993.

Folding children’s vehicle on three wheels consisting of two parts. The front part with the handlebar has one wheel with a rubber tyre. To this part a platform is mounted vertically and at the other end are two wheels with rubber rings. Inscription on front board: “A-B-C Baby, VERO”, Italian product. Used in the 1950s.


210.

Car / metal / l. = 110 cm; w. = 48 cm / neg. no. 21400 / inv. no. 18003.

Open cabriolet. Has only one seat and a steering wheel at the front. Driven by pedals: a child can sit on the seat and push the pedals with its feet. The fascia is missing. The wheels have rubber rings. Green metal chassis. Some parts are made of plastic. Imported product from the Soviet Union. Used in the 1960s.


211.

Rocking horse / papier-mâché / h. = 60 cm; l. = 60 cm / neg. no. 21398 / inv. no. 18004.

The horse is made of papier-mâché and painted. It stands on two wooden cross-pieces which are set on to two bent wooden boards on which the horse can be rocked. The horse has a drawn saddle; the reins are made of leather. According to the seller, the horse was painted over in brown with a red saddle, based on the remnants of the original paint. Used in Ljubljana in the mid-20th century.


212.

Elephant / synthetic material, stuffing / h. = 40 cm; l. = 54 cm / neg. no. 19777 / inv. no. 18061.

Baby elephant made of pink artificial fur. Long trunk, big ears and tail, all of the same colour and material. The tusks are made of a different cloth and are white. The toy is stuffed. Found in a dustbin in Ljubljana, 1995. Product of Mehanotehnika, Izola.


213.

Puppy / synthetic material, stuffing / h. = 60 cm / neg. no. 19779 / inv. no. 18062.

Puppy made of artificial fur. Part of the head, front paws, body and part of the rear paws are white. One part of the head, including one whole hanging ear, the tail and the bottom of the rear paws, are brown. The puppy’s paws are attached to the body and are movable. The head has big eyes, a black muzzle and a red tongue. The toy is stuffed. Product of Mehanotehnika, Izola. Disney character. The puppy was found in a dustbin in Ljubljana in 1995.


214.

Piggybank / ceramic / h. = 14.5 cm / neg. no. 18987 / inv. no. 18063.

Ceramic piggybank. Coin slot at the top. Stands on a meadow with flowers and four-leaf clovers. Around the neck is a red bow with four-leaf clovers. Black dots over the body and a black tail. Origin unknown. Used in the 1950s.


215.

Baby / synthetic material / h. = 19.5 cm / neg. no. 19767 / inv. no. 18064.

Baby made of rubber-like plastic. Movable head, arms and legs. Blue painted eyes. Short hair indicated. Used in the 1960s.


216.

Cock / wood / platform: l. = 36.3 cm; cock: h. = 14 cm / neg. no. 21577 / inv. no. 18065.

Figure of a cock eating grain. Through a metal stick the figure of the cock is fixed to the platform. When both side boards are pressed, the cock moves and raises the opposite board. The cup at the other end of the platform is missing. The cock is painted, mainly red. Unknown origin, apparently not a serial product.


217.

Abacus / wood, wire / h. = 23 cm; l. = 18 cm / neg. no. 19752 / inv. no. 18066.

Vertical abacus. 10 metal wires are set in a red wooden frame that is wider at the bottom. On every wire 10 wooden beads are arranged: 5 yellow and 5 red ones, or 5 brown and 5 green ones. The beads can be moved along the wire. Origin unknown.


218.

Abacus / wood, wire / h. = 19 cm; l. = 15 cm / neg. no. 18988 / inv. no. 18067.

Vertical abacus. 10 metal wires are set in a wooden frame. On every wire 10 wooden beads are arranged, which can be moved. The beads are red and yellow in the following order: 9 yellow - 1 red, 8 yellow - 2 red, etc. The frame is painted on one side with stylised flowers and a heart underneath them. The base consists of two little cross lathes. Origin unknown.


219.

Gun / wood / l. = 45 cm; wheel: diam. = 15 cm / neg. no. 18989 / inv. no. 18068.

Wooden gun on wheels. Solid wheels with 6 little holes at the sides. They are set in a cross-shaft to which the gun is mounted higher up in the horizontal section. A long board in the same direction as the gun can be used to drive the gun around. The gun also had an elastic string for shooting but it is torn. Origin unknown, apparently not a serial product.


220.

Car / wood / h. = 11 cm; l. = 27.5 cm / neg. no. 18991 / inv. no. 18069.

“Topolino” car. Two side windows, front and rear openings. Inside hollow. 4 little movable wheels, at the front metal loop and string to draw the automobile. The basic colour is yellow with red and black straight, winding and smeared lines. Very similar to the wooden toys from Zagorje, Croatia. Origin and period of use unknown.


221.

Bank / wood / h. = 10 cm; l. = 10,5 cm; w. = 6.5 / neg. no. 18990 / inv. no. 18070.

Wooden bank in the form of a two-storey house from Gorenjska. The house is painted, and has a gable roof and a wooden balcony running along three sides. On the back of the roof is a coin slot. On the bottom is a carved lathe which can be moved to take money out of the bank. Origin unknown. Used in the inter-war period.


222.

Dwarf / metal / h. = 28.5 cm / neg. no. 21585 / inv. no. 18071.

Figure of a dwarf rocking on a base. The dwarf is sitting and smoking a big yellow pipe. He is wearing a long red cap with white dots. Under the seat is a metal element by which the dwarf is attached to the base. On one of his black boots a heavy ballast is attached for balance. The base is also made of sheet metal. Made by a locksmith from the area around Sevnica for his daughter in 1960.


223.

Open-frame cart / wood / h. = 12 cm; l. = 31 cm / neg. no. 19770 / inv. no. 18072.

Open-frame cart on four wheels. At the front is a wooden, perforated board to which a stick is fixed to move the cart about. On both sides are six wooden pins (forming the “ladders”); the bottom is of solid wood - to the front and rear two cross lathes are attached. The “ladders” (the side frames) are painted red; the bottom and rear boards are blue. On the bottom the name “MONIKA” is written with a pencil. Wooden article from Ribnica, made around 1960.


224.

Cart / wood / h. = 20,3 cm; l. = 45 cm; stick: l. = 67 cm / o. neg. 19771 / inv. no. 18073.

Wooden cart on 4 solid wheels. The axle of the rear wheels is fixed; the front axle can be moved and turned with a long stick. The frame consists of two sticks on each side and solid boards at the front and rear. Very nice execution. Unpainted. Apparently a non-serial product. Origin and time unknown.


225.

Pinball game / wood, synthetic material, paper / 1. = 61 cm; w. = 31 cm / neg. no. 19776 / inv. no. 18074.

Flat board with one semi-circular side. Closed off with an approx. 2-5-cm-high plastic border. On the base, which depicts a coloured drawing of a forest and various forest animals, several metal obstacles are set (nails, metal plates, barriers etc.). The holes in which the ball must fall have different values. The numbers are written beside the animals next to the holes, from 10 (bunny and skunk) to 500 (tiger). Imported from the Soviet Union; inscription printed on the back: “Minsk 1974”.


226.

Pinball game / wood / l. = 65 cm; w. = 28 cm / neg. no. 19773 / inv. no. 18075.

Flat board with one straight end and one semi-circular side. Painted green and red. Bordered by a 4-cm-high wooden fence. To the right is a covered wooden tunnel with a spring mounted on a handle. The ball is sent to the surface by pulling and releasing the handle. There are seven recesses in the surface surrounded by obstacles and nails. Every hole or recess has a value between 5 and 500 printed in the wood. At the bottom end of the board are 5 limited spaces -5-10-15-10-5. Origin unknown, probably made in the inter-war period, perhaps to be used in inns.


227.

Pinball game / wood / l. = 56 cm; w. = 27.5 cm / neg. no. 19775 / inv. no. 18076.

Flat board with one straight end and one semi-circular side. A 4-cm-high wooden border. On the right side is a partially-covered tunnel through which, over a length of 11 cm, a spring is mounted on a handle. The ball is sent to the surface by pulling and releasing the handle. The surface is dotted with nails obstacles for the 6 recesses. In the centre of the surface is the lid of a bell. Every recess has a value, from 5 to 300, written on the surface. Origin unknown. Probably made between the wars, perhaps for use in inns.


228.

Bear / textile, stuffing / h. = 31.5 cm / neg. no. 19788 / inv. no. 18078.

Bear made of yellow plush cloth; movable arms, legs and head; soles on the bottom of the claws are of a non-furry cloth; the claws and muzzle are made of thick black thread; the eyes are missing; stuffed. Origin unknown. Used in the mid-20th century.


229.

Bank / sheet metal / h. = 17 cm; l. = 15 cm / neg. no. 19737 / inv. no. 18083.

A boy stands on a high box of a slightly elliptical form and holds in his right hand an axe, while his left hand rests on a block. The block has a coin slot. A key (now missing) was used to release the axle, which then pushed the coin through the slot into the box. The box is printed green, with flowers, grass, rabbits and hedgehogs. The boy is wearing a dotted cap, a checked shirt and brown shorts. Imported from Poland, 1970s.


230.

Motor-cyclist / sheet metal / l. = 18 cm / neg. no. 19736, slide 4028 / inv. no. 18087.

Metal printed figure of a motor-cyclist on a motor-cycle The front wheels turn, the rear one is just painted. Two auxiliary, smaller wheels can be wound-up with a key. The motorcyclist moves by means of a spring. On the petrol tank is the sign “MS-702”, beneath it the inscription “Made in China 602”. Used in the 1970s.


231.

Doll / synthetic material / h. = 28 cm / neg. no. 20536 / inv. no. 18088.

The doll’s body is cast in one piece; composition head and limbs. Stylised child’s face, embedded strands of hair on the head, imitation human hair. Blue eyes, black eyebrows and eyelashes. Short, sleeveless, original dress with printed design. One white shoe is missing. Product of Jugoplastika, Split, 1980s. Donated to the Slovene Ethnographic Museum by Tanja Benigar, Ljubljana.


232.

Donald Duck / synthetic material / h. = 35 cm / neg. no. 20530 / inv. no. 18089.

Disney’s Donald Duck stands on large webbed feet, wears gloves and a sailor’s cap. Colours: blue cap, bluejacket, yellow head feathers, yellow legs, yellow rear feathers. The sailor’s collar is imprinted with the trade mark “C WALT DISNEY PROD 1963 ART 110”. Product of Jugoplastika, Split, 1980s. Donated to the Slovene Ethnographic Museum by Tanja Benigar, Ljubljana.


233.

Fly / cardboard, string, elastic band / l. = 14 cm / neg. no. 20489 / inv. no. 18090.

Figure of a fly cut from a printed board. To the bottom side a lath is stuck. String attached to one end. An elastic band is stretched on the wooden lathe. When the string is twisted quickly, a humming sound is produced. Made by I. Premelč from Ljubljana after 1950.


234.

“Barbie” painting-book / paper, printed / h. = 30 cm; l. = 21 cm / neg. no. 20532 / inv. no. 18091.

Book consisting of 28 unnumbered pages of drawings showing Barbie and her friends. The soft cardboard covers show a colour photograph of Barbie. The painting-book was first printed in America in 1993. Slovene edition: Egmont d.o.o, Ljubljana, 1996.


235.

Helicopter / synthetic material / figure: h. = 6.5 cm / neg. no. 20513 / inv.no. 18092.

The helicopter and pilot are made of coloured Lego blocks. A toy from the Danish “LEGO SYSTEM”; has the label “Good Toy” (in Slovene). Instructions for the building set are enclosed. Used in the 1980s. Donated to the Slovene Ethnographic Museum by Matic Grgič, Ljubljana.


236.

“Ninja Turtle” building set / synthetic material / h. = 12 cm / neg. no. 20512 / inv. no. 18093.

Figure called Michelangelo. Belongs to a group of four figures. Represents a skier racing on white skis, holding metal sticks. The head is that of a turtle, the body human. Colourful dress. Imprinted on the back: “C 1992 MIRAGE STUDIOS PLAYMATES TOYS 542 TURTLE GAMES 1992”. Donated to the Slovene Ethnographic Museum by Matic Grgič, Ljubljana.


237.

Building blocks / wood, paper / l. = 26.5 cm; w. = 20,4 cm / neg. no. 20580, 20581 / inv. no. 18094.

The blocks are wooden, painted white and red. Some blocks have pictures of windows, a clock, etc, and are of different sizes. The blocks are parts of buildings, 88 pieces in all. Some are probably missing. There are 7 individual sheets with pictures; every sheet has 2 to 4 colour drawings of houses on either side which can be built with the blocks. The box also contains a part of a book with 8 sheets and plans of houses, but they do not belong to these blocks. On the lid is a picture of possible arrangements; inscription: München - Kindl - Baukasten, D.R.G.M. Used in the 1920s.


238.

Horse on wheels / wood, synthetic material, textile / h. = 62 cm; l. = 43 cm / neg. no. 21399 / inv. no. 18096.

The horse stands on a platform. The head is made of a pink plastic substance, cast in a mould. The body and legs are made of wood. Dressed in cloth. Some parts are wooden. The 4 wooden hoofs, painted black, are not dressed. The cloth the horse is dressed with was once furry but is now worn and shows fur only on the legs. The manes are also worn, but the ribbons around the head and front legs are preserved. The horse is fixed to a wooden platform on four wheels. A string attached to the platform is used for pulling it around. Origin unknown. Probably a serial product, 1960s.


239.

Skittles / wood / skittle: h. = 13.5 cm; stick: l. = 20,5 cm; board: diam. = 10,5 cm / neg. no. 21581 / inv. no. 18097.

In the centre of a round wooden base a wooden stick is set with a metal ring at the top. Wooden skittles are set, at the edge of the wooden base 9 in all. Two wooden balls are attached under the metal ring of a round stick in the centre. Every skittle had two red lines. Origin unknown. Used in the 1950s.


240.

“Yugoslavia” board game / board / l. = 46 cm; w. = 36 cm / neg. no. 21597/inv. no. 18099.

On the board the contours of (the former) Yugoslavia are printed in colour. Along the border runs a path marked with coloured circles similar to stations. The major towns (Ljubljana, Zagreb, Belgrade, Skopje, Sarajevo, Cetinje, Mostar, Dubrovnik, Split, Plitvice and Pula - a quite unusual selection!) are represented by pictures in a circle. In the right corner of the board are 16 coloured circles: 4 red, 4 yellow, 4 blue and 4 black. This is also the number of cars the players use in the game. The instructions are on separate cards, for instance: Go to Split (in Slovene and Serbo-Croatian). The game is played like ludo with an educational purpose: get to know your homeland. Used in the 1970s.


241.

Blocks / paper, wood / box: l. = 14; w. = 10,5 cm; block - 3.5 x 3.5 cm / neg. no. 21584 / inv. no. 18101.

Box with 6 blocks. Every block has 6 surfaces and on each of them a different part of the image is printed. The pictures can be composed: 6 options, 6 different pictures. All pictures are farm scenes and represent different domestic animals. Wooden blocks, covered with coloured paper prints. The blocks are kept in a wooden box covered with paper. Used in the 1930s.


242.

Badminton racket / wood, synthetic material / l. = 65 cm / neg. no. 21513 / inv. no. 18102.

Wooden racket and plastic mesh. Wrapped in artificial leather. On both rackets is the inscription “ARTIS”. Product of Elan, Begunje, 1970s. Donated to the Slovene Ethnographic Museum by Igor Omahen, Ljubljana.


243.

Pram / metal, synthetic material / h. = 61 cm; w. = 29 cm; / neg. no. 21455 / inv. no. 18103.

Folding doll’s pushchair. Metal frame set on four wheels. In the frame a purple fabric is stretched. The canopy can be folded back. The frame is white. Used in the 1990s. Imported.


244.

Car / synthetic material / h. = 41 cm; l. = 46 cm; w. = 22 cm / neg. no. 21401 / inv. no. 18104.

Yellow body, red seat-back and steering wheel, green seats and wheels. The vehicle allows a child to sit and drive. There is a printed inscription on the bottom: “CE. - JOUETS FAVRE - 39260 MOIRANS - EN - MONTAGNE FRANCE (MODELE DEPOSÉ)”. Used in the 1990s.


245.

“Fly my hat” board game / paper, synthetic material / l. = 24; w. = 33 cm / neg. no. 21592 / inv. no. 18105.

The game is in a box with the inscription “Flieg mein Hütchen” (German = “Fly my hat”): 1 board with cut-out circles in the centre and at both ends along the edges; 2 plastic blue cones and two light brown rackets. On the board there are numbers next to every hole. On the box is the drawing of a girl and an inscription in German (in 6 other languages on the sides) and on one side the inscription: “Made in GDR”. Imported from the German Democratic Republic. Used in the 1960s.


246.

Raffle / paper, synthetic material / discs: diam. = 2 cm / neg. no. 21591 / inv. no. 18106.

The raffle consists of sheets with numbers in white fields. The sheets are numbered starting with 1, but some are missing; 29 sheets are preserved and the last number is 38. 64 discs with yellow numbers and 6 blue discs. Origin unknown. Used in the second half of the 20th century.


247.

“Elektropionir” (“Electric pioneer”) building set / metal, cardboard, synthetic material / box: h. = 41.5 cm; l. = 24.5 / neg. no. 21595 / inv. no. 18107.

The box contains a set for technical education called ELEKTROPIONIR. Different metal objects and coils for “160 interesting experiments from the field of electricity and magnetism for practical work at home and school”. The set is not complete; a lot of items are missing judging from the empty plastic recesses in the box. Product of Mehanotehnika, Izola, “ART.E. 60”. Used in the 1970s.


248.

“Elektropionir” (“Electric pioneer”) building set / paper, metal / box: h. = 43 cm; l. = 31.5 / neg. no. 21594 / inv. no. 18108.

Set of objects for technical education in a cardboard box. The objects are kept in recesses in two plastic inserts. The set is not complete. The objects are made of metal in the form of metal perforated plates of different sizes, and there are also wheels, screws, nuts and the like. The “Mehanotehnika 4” printed instructions contain 22 pictures of devices which can be built. There is also a printed sheet showing objects for set no. 4, the most advanced level, for a total of 200 objects. The year printed in the instructions is 1973. Product of Mehanotehnika, Izola.


249.

Doll / porcelain, papier-mâché / h. = 33 cm / neg. no. 21454, slide no.4032 / inv.no. 18109.

Doll with porcelain head, body and limbs made of papier-mâché. Set glass eyes, without eyelids, drawn eyebrows, eyelashes, open mouth, no teeth. Remnants of blond human hair, now cut. On the doll’s neck is a printed inscription which reads: “Made in Germany, Armand Marseille, 560 a, A.2M., D.R.M., R232/1”. Pink dress with short sleeves and underskirt. The dress reaches down to the knees. According to information given by the women who sold the doll, it was owned by a wealthy family from Škofja Loka before the First World War.


250.

“Kinderjajčka” building set / synthetic material, paper / thickness approx. 3 cm, 4 cm / neg. no. 21571 / inv. no. 18110.

Mainly plastic miniature toys of different sizes, inserted into little plastic boxes inside chocolate eggs. Huge quantities of these eggs were sold to children. The toy had to be assembled according to the enclosed instructions. The toys are a combination of imaginary objects (space ships, etc.) and contemporary movie or cartoon heroes. Used in the early 1980s.


251.

“Nestlé” album / paper / h. = 14 cm; l. = 29 / neg. no. 21506, 21507, 21612, slide no.4034 / inv. no. 18111.

The album contains three sheets (6 pages) on which black-and-white photographs are printed. To these photographs stickers have to be stuck; they come with candy bars. On every page are 12 stickers. The instructions for the game are printed on the back of the cover, in Serbian (in Cyrillic script) and in Croatian and Slovene (in the Latin alphabet). For a full album, prizes are promised (“silver Swiss watches, cameras and Swiss gramophones “). The album is not complete. Text on the green covers: “ALBUM NESTLÉ - GRAND CONCOURS CHOCOLAT NESTLÉ”. Used in the 1930s.


252.

Board game / cardboard, printed / l. = 48; w. = 33 cm / neg. no. 21508, 21572 / inv. no. 18112 a+b.

a) The following game is printed on a rectangular board: in each of the four corners is a drawing of the Smurfs, called respectively: Greedies (yellow), Sleepwalkers (green), Spies (blue) and Naughties (red). The path of the game runs through the centre of the board.

b) The rather intricate path of the game is printed on a rectangular folding board: from the top left corner a Smurf goes to the school in the centre of the board by various stations and here the game ends. Both boards are without figurines. On the back side is an evenly printed design of red cubes and the name “HRIBAR”. Product of the cardboard factory Kocka Hribar, Domžale, 1990s.


253.

Board game / cardboard / l. = 42.5 cm; w. = 28 cm / neg. no. 21589 / inv. no. 18117.

A green field is drawn on a rectangular board. On two opposite sides are 2 fenced-off spaces (the goals); in the centre is a circle. On the field, red and yellow circles are drawn- and are interconnected by lines and numbers. The dices are preserved, but an unknown number of circles are probably missing. Used in the 1950s.


254.

Blocks / wood, paper / box: l. = 25.5; w. = 26.3; block - 3.8 x 3.8 cm / neg. no. 21402, 21608 / inv. no. 18123.

Box with 30 blocks. Every block has 6 surfaces and on each surface a different part of a different picture is printed. The game thus consists of 6 different pictures. The pictures show children and animals. The blocks are wooden and covered with colour prints. Four separate pictures-two further pictures are on the outside and inside of the box’s cover. The blocks are kept in a covered cardboard box. On the outside of the box a partially legible stamp is imprinted: “SED n.p. Stara Paka... Kčs 15”. Imported from Czechoslovakia, 1950s.


255.

Bedroom / wood, paper / bed: l. = 18; w. = 17 cm; bedside cabinet: h. = 6.5 cm; š - 4; l. = 6 cm; dressing table: h. = 13.2 cm; l. = 11.5 cm; wardrobe: h. = 14 cm; width = 5.5 cm; l. = 16 cm / neg. no. 21415, 21411, 21410, 21414, 21412, 21413 / inv. no. 18124/1, 2, 3, 4, 5.

The furniture consists of 1 big double bed, two bedside cabinets, 1 dressing table, 1 double wardrobe. Every piece of furniture stands on 2 to 4 red wooden legs. The wardrobe has two handles, the dressing table and bedside cabinets one each. The furniture is made of soft spruce, lined with paper. Made in Bukovica in the Selce Valley after 1954.


256.

Car / wood / h. = 15 cm; l. = 30 cm / neg. no. 21403 / inv. no. 18125.

Unfinished truck. Made in one piece. Green cabin, red wings, black chassis. In the cabin there are visible remnants of a pencil drawing as if for carving. Origin unknown.


257.

“Metka in njena lepa pripovedka” (Metka’s Nice story) picture-book / paper / h. = 17.7 cm; l. = 16 / neg. no. 21404 / inv. no. 18126.

The booklet, entitled “Metka’s Nice Story” (“Movable picture-book no. 2”), has six sheets. On each of the 8 pages a two-colour illustration is printed with a four-line poem. On seven pages a figure is printed in a dress, but without head or legs. Apparently there should also be the figure of a doll that could be placed under the individual outfits. The booklet was published by “Štamparski zavod Ognjen Prica, Zagreb”. Used in the 1950s.


258.

Glove puppet / synthetic material / l. = 20 cm / neg. no. 21405 / inv. no. 18127.

Glove puppet of a monkey. On the head the “glove” is attached in the form of a dress with two arms. The dress is made of a brown synthetic plush. The monkey had hands and a face made of yellow felt, big ears and glass eyes (one is missing). The toy was made in Czechoslovakia and brought to Ljubljana after 1960. Donated to the Slovene Ethnographic Museum by Janja Žagar, Ljubljana.


259.

Glove puppet / synthetic material / l. = 20 cm / neg. no. 21406 / inv. no. 18128.

Glove puppet of a monkey. On the head the “glove” is attached in the form of a dress with two arms. The dress is made of a brown synthetic plush. The monkey had hands and a face made of yellow felt, big ears and glass eyes (one is missing). The toy was made in Czechoslovakia and brought to Ljubljana after 1960. Donated to the Slovene Ethnographic Museum by Janja Žagar, Ljubljana.


260.

“Smučar Marko gre na olimpijske igre” (“Skier Marko Goes to the Olympic Games”) cut-out game / paper / h. = 37; l. = 18 cm / neg. no. 21590 / inv. no. 18129.

Map made of thick paper with 11 sheets. On every sheet there are individual clothing items. On the inside of the map is the drawn figure of a boy in underwear. This figure is already cut out, while the others have yet to be cut out. They are then wrapped and put on the figure. Two further sheets with drawn skies. Title on the front page: “Skier Marko Goes to the Olympic Games”. Printed by: “NIŠRO Varaždin 1983” Donated to the Slovene Ethnographic Museum by Kaja Klobas, Ljubljana.


261.

Electric (multiplication) tables/ paper, metal, light-bulbs / box: h. = 21 cm; l. = 15 / neg. no. 21408 / inv. no. 18130.

In a cardboard box a battery is set with two wires connected to small battery light-bulb. Above it is a board with metal holes. On this board individual cards with tables are laid and if both wires are inserted into the right holes the light-bulb lights up. There are 100 cards. Used in the 1970s. Donated to the Slovene Ethnographic Museum by Kaja Klobas, Ljubljana.


262.

Doll / synthetic material / h. = 27 cm / neg. no. 21409 / inv. no. 18131.

Doll made of brown synthetic threads. The head widens into four bunches - two at the sides representing the arms, and two downward ones representing the legs. The doll’s eyes are stuck to the head; pink dress, made on a sewing machine. Origin unknown. Used in the 1960s.


263.

“Barbie” album / paper / h. = 22 cm; l. = 24 cm / neg. no. 21416, 21417 / inv. no. 18132.

The album contains 12 sheets in cardboard covers. On the sheets are empty frames with numbers for stickers from chewing gum packets. Issued by: “Dečje Novine, Gornji Milanovac”. Serbian text in the Latin alphabet. License: “Matell Inc. 1976”, sold in the 1980s.


264.

“Tarzan” album / paper, printed / h. = 27.5 cm; l. = 24 cm / neg. no. 21418, 21419 / inv. no. 18133.

The album is bound in cardboard covers and contains 48 numbered sheets. A Tarzan story (Tarzan and the Golden Castle) is told in 400 subtitles. The empty boxes are for sticking stickers with the matching number. The stickers come in packets of chewing gum. Text on the last inside page: “100 packets win a notebook and a pencil from Dečje Novine; 300 packets win a bag from Dečje Novine, 500 packets win the Master Mind game”. Serbian text in the Latin alphabet. Licensed by” 1976 Edgar Rice Burroughs, Inc.” Published by: “Dečje Novine, Gornji Milanovac”. Used in the 1980s.


265.

Clown on wheels / wood / h. = 16 cm / neg. no. 21420 / inv. no. 18134.

Wooden, stylised Pierrot figure. Drawn face, conical cap, golden collar and three buttons on the body. The body is quite long and set between two wheels. The wheels are so big that the puppet can ride them and swing his body. Turned toy. The wheels and cap are blue, the clown’s body is red. Origin unknown.


266.

“Mladi crtač” (The Young Drawer) educational manual / paper / h. = 20 cm, l. = 30 cm / neg. no. 21422, 21421 / inv. no. 18135.

In a map entitled “France Kunaver: Mladi crtač” there are five exercise-books with illustrations. Every exercise-book has a few sheets with drawings of people, animals, automobiles, etc. On the last page is a text which reads: “Franc Kunaver: Mladi crtač. Cover design: Rudi Gorjup, Izdavačko poduzeče Mladost, Zagreb. Printed by: Tiskarna ljudske pravice, Ljubljana. Lithography: Učne delavnice Zavoda za gluho mladino, Ljubljana”. Used in the 1950s.


267.

Car / wood, metal / h. = 10 cm; l. = 20 cm / neg. no. 21423 / inv. no. 18136.

Wooden truck, green and red, metal mask up front and metal wings over the four wheels. The cabin has four openings but no door. The tonneau has no cover. Non-serial product, found in a house in Prule, Ljubljana. Probably after 1950.


268.

Doll / synthetic material / h. = 27 cm / neg. no. 21424, 21511 / inv. no. 18137.

Doll made of a rubber-like substance, hollow. Modelled after pre-war celluloid dolls. The hair is curled behind the ears. Movable arms and legs. Painted face. Hand-sewn dress. Origin unknown.


269.

Roller-skates / synthetic material / no.38/39 / neg. no. 21425, 21426 / inv. no. 18138.

Four wheels are fixed to the (ankle-high) shoe: two at the front and two at the back. At the front a round plug is mounted for braking. The shoes are made of a white artificial leather and rubber and are lined with green fabric. The wheels and brake are the same green colour. Inscription on the wheels: “Roller Skates, Made in Germany”. Used in Ljubljana in the 1990s. The roller-skates were donated to the Slovene Ethnographic Museum by Nataša Keršič, Ljubljana.


270.

Skies / synthetic material / l. = 38.5 cm; w. = 8.7 cm / neg. no. 21427 / inv.no. 18139.

Pair of very short skies which are bent upwards at the front. Every ski has two straps with clasps used to fix the ski to the shoe. The skis are red, the straps white. Used in the 1990s. Donated to the Slovene Ethnographic Museum by Miha Keršič, Ljubljana.


271.

“Mitten im Verkehr” painting-book / paper / h. = 25.2 cm; l. = 22 cm / neg. no. 21428, 21509 / inv. no. 18140.

The booklet is entitled “Mitten im Verkehr”. It has 18 pictures: some are coloured, others are black-and-white outlines ready to be painted. In between there are empty pages ready for copying drawings. On one of the empty sheets is an inscription: “Črmelj Marjan, pupil of the II.b class, Devica Marija v Polju”. According to information provided by the seller, the painting book was in use during and after the Second World War.


272.

Picture-book / cardboard / h. = 14 cm; l. = 9.5 cm; / neg. no. 21429 / inv. no. 18141.

Part of a children’s picture book. Four cardboard sheets with colour pictures: 1st sheet: picture of geese and two bears; 2nd sheet: two donkeys, hens and a cock; 3rd sheet: sheep and a bee on a flower, a horse; 4th sheet: a pussy-cat with a pot of milk in front of it. Origin unknown.


273.

“The Golden Goose” picture book / paper / h. = 26 cm; l. = 20,5 cm / neg. no. 21430 / inv. no. 18142.

The picture book represents an incomplete fairy tale by the Grimm Brothers, “The Golden Goose”, in 5 illustrations; the text is printed in Gothic script. Front page text: “Wiener Bilderbücher No.3, Die Golden Gans, Künstler-Steinzeichnungen von C. KRENEK, KONEGENS JUGENDSCHRIFTEN - VERLAG. G.M.B.W. WIEN”. Presumably used in Gorenjska during the Second World War.


274.

Picture book / cardboard / h. = 29.5 cm; l. = 22 cm / neg. no. 21431 / inv. no. 18143.

Leporello book, “Alfred Hahn Verlag, Leipzig”. Printed poems and illustrations on 9 pages. The illustrations are the work of Gertrud and Walther Caspari. The picture-book is damaged and an unknown number of pages are missing. Presumably used in Gorenjska during the Second World War.


275.

Picture-book / cardboard / h. = 25 cm; l. = 19 cm / neg. no. 21432, 21433 / inv. no. 18144.

Verses and colour illustrations on cardboard sheets. The text is printed in Gothic script. Illustrations by Gertrud Caspari, “Alfred Hahn Verlag, Leipzig”. 22 pages with illustrations in all. Individual sheets have been torn out. Presumably used in Gorenjska during the Second World War.


276.

Doll / textile, padding / h. = 49 cm / neg. no. 21434, slide no. 4030 / inv. no. 18145.

The arms, legs and head of the doll are sewn on to the body and are stuffed with rags. The hands, feet and face are made of a different cloth. The doll is wearing a cap of the same cloth as the limbs and body. The face has two trimmed holes and a glass set which give it a rather frightening look. Dressed in briefs and a smock with push-buttons. Only one slipper is preserved. The doll was found in a house in Podlehnik, 1970s.


277.

“Namišljeni ljubljenček Rexi” (Rexi, the Imaginary Pet) computer game / synthetic material, batteries / h. = 5 cm / neg. no. 21435 / inv. no. 18146.

The computer game consists of a plastic house with a screen on the front side, a picture of a puppy on it, and four buttons under the screen. The user pushes these buttons when he wants to activate the image of the puppy. Extensive instructions in Slovene. The house hangs on a metal string. Product imported from China, 1990s.


278.

“Monopoly” board game / wood, board / boxa: l. = 50 cm; w. = 34 cm / neg. no. 21436 / inv. no. 18147.

Postcard shots with values printed on a large board. The geographical names are world-famous tourist places: Nigeria, Zambia, Cannes, St. Tropez, Andorra, Schladming, Florida, etc. There are also squares with penalties. The game is based on buying and selling real estate. Cards with values for paying and cards with the same geographical names as on the large board. The game is played with small wooden houses in two colours, red and yellow, and with a dice. 51 pieces in all. Product of the cardboard factory Kocka (Hribar), Domžale, 1990s.


279.

“Monopoly” board game / cardboard, metal, synthetic material / box: l. = 40 cm; w. = 27 cm / neg. no. 21437 / inv. no. 18148.

This version of “Monopoly” is subtitled: “real estate trading game”. On a big board lined with red plastic there are rectangles representing places and values. In this case the places are from Slovenia: Bogenšperk, Mokrice, Otočec, Fiesa, Ljutomerske Gorice, Portorož, Piran, Bled, etc. There are also other values and places. The game is based on buying and selling (losing) property or real estate. The game further contains extensive instructions in Slovene and little plastic houses, various metal figures, a packet of Monopoly money, etc. The game was printed in Ireland for the Slovene importer and distributor Spectra Int. through the American company Hasbro in 1996. In Slovenia it obtained the “Good Toy” mark.


280.

Car / wood, metal / h. = 4.5 cm; l. = 16 cm; w. = 6 cm / neg. no. 21512 / inv. no. 18149.

Wooden car on 4 wheels. The wheels have metal caps; at the front is a metal bumper and two metal plates representing the lights. The roof, and front and rear parts of the car are in red wood. The side parts and the interior of the car are in blue wood. The chassis is unpainted. Presumed to have been found in Štajerska, homemade product, 1950s.


281.

Car / wood, metal / h. = 5.5 cm, l. = 12.2 cm / neg. no. 21510 / inv. no. 18150.

Wooden car on 4 wheels. The wheels have metal caps; at the front a metal bumper is mounted and two metal plates represent the headlamps. The car has a white roof, a green front and rear, blue sides and a red interior. The chassis is unpainted. Presumed to have been found in Štajerska, home-made product, 1950s.


282.

Tractor / wood, metal / h. = 11 cm, l. = 11 cm / neg. no. 21438 / inv. no. 18354.

Wooden green tractor on 4 wheels. The front wheels are attached to a rotating board and are smaller; the rear wheels are bigger and do not rotate. Up front is a high exhaust pipe, metal wheel caps and a steering wheel. The toy was presumably found in Štajerska, 1950s.


283.

Easter egg / wood / h. = 11 cm; l. = 81 cm; diam. = 6 cm / neg. no. 21439, 21440 / inv. no. 18355.

Turned Easter egg, made like a box; hollow interior, consists of two halves. Stands on 3 small bases in the form of Easter eggs; on the lid is another Easter egg. Decorated with burned ornaments; the top egg is red. Lacquered surface. On the inside a green and black inscription: 1947 - Easter - t.L. The toy was donated to the Slovene Ethnographic Museum by Marjeta Čampa from Kranj in 1996. It was given to her by her aunt as an Easter present.


284.

Pushchair / wood, textile, metal wheels with rubber tyres rings / h. = 97 cm / neg. no. 21441 / inv. no. 18356.

Folding pushchair, shaped like an armchair with high back and leg support. Two wheels are mounted on to two boards at the sides. When the front part is lifted, the pushchair can be moved on two wheels. The seatback consists of two pieces of red rubberised canvas. The seat consists of eight lathes. Inscription on the leg support “ELAN”. The pushchair was at first intended for babies and later used as toy. Product of the Elan factory, Begunje, 1950s.


285.

Sleigh / wood, metal / h. = 20 cm; l. = 81 cm / neg. no. 21442 / inv. no. 18357.

Wooden children’s sleigh. The seat consists of seven boards. At the front they are connected by a metal bar. The sleigh is reinforced with a metal plate. Bought in Ljubljana in 1962. Donated to the Slovene Ethnographic Museum by Zoran Grgič, Ljubljana.


286.

Puzzle / wood / board’s thickness = 12.4 cm; w. = 2 cm / no. neg. 21443 / inv. no. 18358.

A game consisting of 6 boards which are carved in different ways and can be assembled into a rod-shaped flower. The game was made by Viktor Prezelj (born 1921) from Cerkno, based on recollections of his childhood. He made it from discarded pieces of mahogany. This were the kinds of things children pasturing cattle used to make from linden or oak.


287.

Puzzle / wood / board’s thickness = 11 cm; w. = 1.7 cm / neg. no. 21444 / inv. no. 18359.

A game consisting of 6 boards which are carved in different ways and can be assembled into a rod-shaped flower. The game was made by Viktor Prezelj (born 1921) from Cerkno, based on recollections of his childhood. He made it from discarded pieces of mahogany. This were the kinds of things children pasturing cattle used to make from linden or oak.


288.

Puzzle / wood / board’s thickness. = 10 cm; w. = 1.8 cm / neg. no. 21445 / inv. no. 18360.

A game consisting of 6 boards which are carved in different ways and can be assembled into a rod-shaped flower. The game was made by Viktor Prezelj (born 1921) from Cerkno, based on recollections of his childhood. He made it from discarded pieces of mahogany. This were the kinds of things children pasturing cattle used to make from linden or oak.


289.

Board game / wood / branch forks: h. = 38 cm; stick: l. = 69 cm / neg. no. 21446 / inv. no. 18361 a+b.

A stripped branch fork stands on three legs. There is also a wooden stick. The toy was made by Rok Skuk from Šentjanž (born 1925) in 1998 according to memories from his childhood. Such toys were made by children pasturing cattle.


290.

Top / wood / l. = 12.9 cm; diam. = 5.5 cm / neg. no. 21447 / inv. no. 18362.

Wooden top. One part of the wooden top is stuck to a stick. The stick is turned between the fingers and the top moves on the surface. The toy was made by Rok Skuk from Šentjanž (born 1925) in 1998 according to memories from his childhood. Such toys were made by children pasturing cattle.


291.

Truck / wood / l. = 63 cm; w. = 42 cm / neg. no. 21448 / inv. no. 18364.

Very simple toy vehicle in the form of a truck. A board is set on four wooden wheels; at the front there are two smaller boards representing the cabin; the freight part is a drawer with the remnants of a lock. At the front and back, rubber-like plugs represent the headlamps and rear lights. A rope is tied to the front to tow the truck. The vehicle is just big enough to drive little children around. Apparently home-made. Origin unknown.


292.

Baby-walker / wood / h. = 38 cm; l. = 70 cm; diam. = 18 cm / neg. no. 21449 / inv. no. 18365.

Very simply-executed baby-walker. The bottom square consists of four boards with wheels under the joints; in the centre of each bottom board is a wooden bar which extends to the top square. This square is fixed with four bars and has a round opening in the centre, lined with bent wood that is of better quality than the rest. Into this opening, which is 18 cm wide, a baby could be placed, support itself on the perimeter and move about pushing the wheels. Presumable origin: Štajerska, home-made.


293.

Tricycle / metal, wood, rubber / h. = 52 cm; l. = 70 cm / neg. no. 21450 / inv. no. 18366.

The tricycle has two front wheels and one bigger rear wheel. The pedals are mounted on the bigger wheel. The tricycle and wheels are made of metal; the rubber ring on the wheels is worn down to the metal edge. The seat is wooden. The handle-bars were welded to it later and have the form of a straight metal bar. The toy presumably originates from the area around of Ljubljana and was used in the 1950s.


294.

Baby-walker / wood / h. = 35 cm; l. = 31 cm; diam. = 20 cm / neg. no. 21451 / inv. no. 18367.

A mesh of turned bars forms the bottom hexagon. At the junction of each pair of bars a turned wooden, cylinder is mounted through which a wooden pin is inserted, and below it a turning wheel. The baby-walker thus moves on six wheels. From the bottom hexagon 12 turned bars are connected to the top wooden hexagon. A baby could be placed in the opening, support itself on the frame, and move thanks to the wheels. Origin unknown.


295.

Baby-walker / wood / h. = 43.5 cm; l. = 46 cm; diam. = 21.5 cm / neg. no. 21452 / inv. no. 18368.

Four wooden turning wheels are mounted on four thick legs. A board carries the leg support, which has a round opening in the centre. Through this opening a baby was placed in the walker and could move about thanks to the wheels. Origin unknown.


296.

Swing / wood / h. = 25.5 cm; l. = 103 cm / neg. no. 21453 / inv. no. 18369.

Two bent bars at either side form two frames. In between them a wooden lathe is mounted as a seat. At the back and front, wooden lathes are mounted for support and grip. Presumed to be from J.J. Naglas’s shop in Ljubljana between the wars.


297.

Bear / synthetic material / h. = 110 cm / neg. no. 21461 / inv. no. 18370.

Light-yellow, sitting, plush bear; stuffed; set dark brown plastic eyes and muzzle; very big - almost a jumbo bear. On the back there is a sewn trade mark (“CE Mehano”), and “Made by Mehano Izola, Slovenia”. Donated to the Slovene Ethnographic Museum by Mehano d.o.o., Izola, 1997.


298.

Electric train / synthetic material / l. = several standard lengths / neg. no. 21467 / inv. no. 18371.

Set of cars, locomotives and tracks and other accessories representing stations, lines etc. - 117 pieces in all. Big printed paper box entitled: “RAILROAD EMPIRE II”. Label on box: “MEHANO - Made by Mehano Izola”. Donated to the Slovene Ethnographic Museum by Mehano d.o.o., Izola, 1997.


299.

Dinosaurs / synthetic material / thickness approx. 10 cm / neg. no. 21460 / inv. no. 18372.

Figurines of dinosaurs and similar reptiles, 10 pieces. Also figurines of bushes and trees. Declaration on label: “Imported by: Mehano d.o.o. Izola. Origin: China. Year of import: 1993. Article: toy”. Donated to the Slovene Ethnographic Museum by Mehano d.o.o., Izola, 1997.


300.

Mother rabbit with baby rabbit / synthetic material, batteries / l. = 17 cm / neg. no. 21459 / inv. no. 18373.

Plastic figure of a rabbit with a vessel in its lap in which a little rabbit sits. The mother rabbit is holding a bottle and feeding the baby rabbit. The big rabbit has, at the back, an electric motor, two batteries and a switch. The figures are very colourful: pink, white, lilac, yellow. Title on box: “Mammy feeding pet. Made in China”. Donated to the Slovene Ethnographic Museum by Mehano d.o.o., Izola, 1997.


301.

Car / synthetic material, electric motor / l. = 25 cm; w. = 10 cm / neg. no. 21461 / inv. no. 18374.

Car made of plastic material, Mercedes C 111 model, with electric motor, connected to a remote control with a wire. The remote control has several functions to open and close the doors of the car, to drive backwards and forwards, to go right and left, and to stop. The toy is a miniature authentic version of a famous racing car. Donated to the Slovene Ethnographic Museum by Mehano d.o.o., Izola, 1997.


302.

Flipper / synthetic material, electric motor / h. = 30 cm; l. = 51 cm; w. = 30 cm / neg. no. 21465, 21466 / inv. no. 18375.

“STAR MISSION, Electric flipper” automaton. The base plate consists of a picture of space warriors who are attacking various targets with their planes. Additional vertical picture with score board. The whole set is equipped with lamps which light for every hit. Donated to the Slovene Ethnographic Museum by Mehano d.o.o., Izola, 1997.


303.

“Barbie” typewriter / synthetic material / l. = 32 cm; w. = 32 cm / neg. no. 21457, 21458 / inv. no. 18376.

Plastic “Barbie” typewriter. Includes sheets of paper and stickers with the name Barbie. The typewriter is painted pink, combined with lilac, the keys are white, 54 characters, English transcription. All inscriptions on the box are in various foreign languages, but not in Slovene. Donated to the Slovene Ethnographic Museum by Mehano d.o.o., Izola, 1997.


304.

Typewriter / synthetic material, electric motor / l. = 32 cm; w. = 32 cm / neg. no. 21462 / inv. no. 18377.

Plastic “FUTURA TRONIC, Electronic Typewriter”. The typewriter is grey with a black plate, blue buttons and yellow keys - it has 90 characters. Uses six batteries. Made by Mehano in Izola, Slovenia. Donated to the Slovene Ethnographic Museum by Mehano d.o.o., Izola, 1997.


305.

Building set / synthetic material, metal, rubber / box: w. = 32.5 cm; 1- = 49 cm / neg. no. 21463 / inv. no. 18378.

Building game consisting of 635 metal pieces. They can be used to build very different objects: cars, lifts, mechanical shovels, windmills and similar technical objects. Building after included pictures and sketches divided into levels of difficulty. According to the instructions, the technical toy is part of a so-called “Talent programme”. Also includes a remote control connected with a wire. The instructions on the box are in different languages, but not in Slovene. Donated to the Slovene Ethnographic Museum by Mehano d.o.o., Izola, 1997.


306.

Electric train / synthetic material, electric motor / cars, tracks - standard dimensions / neg. no. 21464 / inv. no. 18379.

Set of carriages, locomotives and tracks with electric switch, “Hobby Transformer”. Inscription on box: “Mehano Train Line - HO Scale Model Electric Train Set. Art. T 355. Made in Slovenia, Mehano, 66310 Izola, Slovenia”. The toy was made after 1991. Donated to the Slovene Ethnographic Museum by Mehano d.o.o., Izola, 1997.


307.

Elephant / synthetic material / h. = 75 cm / neg. no. 21469 / inv. no. 18380.

Plush bear standing on two legs, stuffed. Basic colour: light-grey; the soles on the front and rear legs, and the inside of the ears are white. Attached synthetic eyes. At the end of the trunk a little pink piece of cloth is sewn. Around the neck is a green bow. Inscription: “CE MEHANO, Made by Mehano, Izola, Slovenia”. Donated to the Slovene Ethnographic Museum by Mehano d.o.o., Izola, 1997.


308.

Bear / synthetic material / h. = 62 cm / neg. no. 21470 / inv. no. 18381.

Plush sitting bear, stuffed. Made in one piece; the head and limbs are not movable. Basic colours: light-blue, the claws and soles are pink, as are the inside of the ears; the muzzle and mouth are white. Synthetic eyes and black synthetic muzzle attached. Around the neck is a yellow bow. The trade mark has the inscription: “CE MEHANO, Made by Mehano, Izola, Slovenia”. Donated to the Slovene Ethnographic Museum by Mehano d.o.o., Izola, 1997.


309.

Bear / synthetic material, padding / h. = 62 cm / neg. no. 21470 / inv. no. 18382.

Sitting stuffed plush bear. Made in one piece, the head and limbs are not movable. Basic colours light-blue; the claws and soles are pink, as are the inside of the ears; the muzzle is white. Around the neck is a yellow bow. The trade mark has the inscription: “CE MEHANO, Made by Mehano, Izola, Slovenia”. Donated to the Slovene Ethnographic Museum by Mehano d.o.o., Izola, 1997


310.

Seal / synthetic material, stuffing / l. = 70 cm / neg. no. 21468 / inv. no. 18383.

Stuffed white plush seal. Front and rear-two fins each. Attached plastic eyes and black plastic muzzle. Trade mark: “CE MEHANO, Made by Mehano, Izola, Slovenia”. Donated to the Slovene Ethnographic Museum by Mehano d.o.o., Izola, 1997.


311.

Miniature models of household (kitchen) utensils - various / wood / casket: h. = 4 cm; l. = 12 cm; w. = 7 cm; candlestick: h. = 2.8 cm; diam. = 1.6 cm; chalice: h. = 2.4 cm; diam. = 1.6 cm; cup: diam. = 1.5 cm; teapot: h. = 3.5 to 4 cm; diam. = 1.5 cm; vase: h. - 4 cm; diam. = 1.7 cm; plate: diam. = 2.5 do 3.3 cm; bowl: diam. = 2.5 cm; vessel pot: diam. = 2.5 cm; pot on base: h. = 1.6 cm; diam. = 2 cm / neg. no. 21542, 21543 / inv. no. 18384.

The lidded casket contains 20 miniature models of kitchen utensils: 2 candlesticks, 1 chalice, 4 cups, 2 teapots, 1 vase, 1 big plate, 3 small plates, 4 bowls, 1 pot and 1 pot on a base. Pencil-written text on lid of the casket: “Vončina Jožefa”. Origin unknown. Used in the inter-war period.


312.

“Mill” board game / wood / l. = 17 cm / neg. no. 21605 / inv. no. 18385.

On a square board of softwood, straight and diagonal lines are carved as required by the game. In the central field the letter T is incised. On the other side of the board is an incised picture of five squares. Every square is crossed by straight and diagonal lines. Damaged edges. Origin unknown.


313.

Horse on wheels / wood, synthetic material, textile / h. = 62 cm; l. = 43 cm / neg. no. 21602 / inv. no. 18386.

The horse stands on a platform with a raised right front leg. The head is made of a pink plastic substance, cast in a mould. The body and legs are wooden. Dressed in a new white cloth, felt. Back painted hoofs. No tail or manes, but the original ribbons of red artificial leather are preserved. Platform on 4 wheels. Origin unknown, probably from the 1960s.


314.

Bear / synthetic material, stuffing / h. = 65 cm / neg. no. 21607, slide 4035 / inv. no. 18387.

Plush sitting bear, basic colour honey yellow. The fronts of the ears, mouth, claws and soles are in a lighter yellow colour. The attached eyes are made of dark-brown plastics. The muzzle is made of black fabric. On the bud sewn trade mark “CE Mehano”, on the other side “Made by Mehano Izola Slovenia”. Donated to the Slovene Ethnographic Museum by Mehano d.o.o., Izola, 1997.


315.

Chess / wood / h.: 5 to 8 cm / neg. no. 21613 / inv. no. 18388.

The chess figures are carved from softwood. 16 figures are red, 16 green. Apparently home-made. Origin unknown.





SLIKOVNA PRILOGA / ILLUSTRATIONS





BARVNA SLIKOVNA PRILOGA / COLOUR ILLUSTRATIONS





KAZALO PREDMETOV

Album: 174, 251, 263, 264

Avto: 104, 105, 108, 109, 110, 210, 220, 241, 256, 267, 280, 281, 282, 291, 301

Bat: 2

Didaktični priročnik: 266

Dinozaver: 299

Dojenček: 59, 62, 75, 148, 149, 180, 185, 186, 215

Družabna igra: 50, 73, 78, 138, 240, 245, 246, 252, 253, 278, 279, 289, 312, 315

Držalo s kroglico: 88

Električna poštevanka: 261

Gospodinjsko orodje: 5, 18 – 43, 101, 173, 199, 200 201, 202, 311

Gradilne kocke: 237

Gradilni kamenčki: 69

Gugalni konjiček: 176, 177, 211

Gugalnik: 296

Helikopter: 235

Hojca: 292, 294, 295

Hranilnik: 113, 152, 214, 221, 229

Igra s kegljem: 46

Igralni avtomat: 302

Izrezanka: 77, 260

Jezdec na konju: 126

Keglji: 46, 239

Kmet s kozo: 124

Kocke: 95, 96, 97, 102, 103, 241, 254

Konjiček na kolesih: 54, 238, 313

Konjiček s pavom: 4

Konjiček z vojakom: 45

Konjiček, ki piska: 3

Konjiček: 3, 4, 45, 54, 126, 190, 238, 313

Konstrukcijska igra: 305

Kotalke: 150, 269

Kravica s teličkom: 47

Krogla s klinčkom: 85

Krožnik: 22, 201, 202

Kuža: 146, 154, 155, 158, 192, 193, 194, 204, 213

Ladja – trajekt: 98

Lonec: 199, 311

Lopar za badminton: 242

Lovec s psom: 125

Lutka, ročna: 67, 68, 258, 259

Marjanca: 225, 226, 227

Medvedek: 71, 72, 93, 116, 145, 165, 183, 195, 207, 228, 297, 308, 309, 314

Mesar s prašičem: 127

Mlinček: 17

Motorist: 230

Mož, ki obrača kolo: 178

Mucka: 114, 118, 119, 205

Muha: 233

Osliček: 206

Pajac na kolesih: 265

Palček: 222

Perilnik: 156

Petelinček: 216

Pirh: 283

Pisalni stroj: 303, 304

Piščalka: 3, 16, 53

Pobarvanka: 234, 271

Pohištvo: 197, 198, 255

Ponev: 200

Ptiček na kolesih: 52

Ptiček: 1, 4, 10, 11, 52

Punčka: 9, 12, 60, 61, 63, 65, 66, 74, 79, 115, 120, 121, 122, 123, 132, 133, 134, 139, 143, 144, 147, 159, 160, 161, 162, 163, 164, 166, 181, 182, 184, 187, 188, 189, 196, 208, 231, 249, 262, 268, 276

Racman: 232

Računalniška igrica: 277

Računalo: 217, 218

Ropotuljica: 131

Samokolnica: 15, 56

Sanke: 285

Sestavljanka: 44, 69, 76, 80, 81, 82, 84, 87, 89, 91, 94, 100, 106, 107, 135, 167, 168, 169, 170, 171, 172, 175, 237, 247, 248, 250, 286, 287, 288

Skiro: 209

Slikanica: 234, 257, 271, 272, 273, 274, 275

Slon: 128, 136, 212, 307

Smuči: 270

Spalnica: 255

Stolček: 197, 198

Šivalni stroj: 101

Šolska pušica: 151

Telefon: 99

Telovadno orodje: 5

Teniški lopar: 141, 142

Tjulenj: 310

Tolkalo: 83

Top: 219

Tricikelj: 293

Turek: 179

Vlak: 86, 90, 137, 298, 306

Vojak: 8, 45, 129, 130, 157

Voziček z dvema konjema: 55

Voziček: 51, 55, 58, 64, 111, 112, 153, 223, 224, 243, 284

Vrtavka: 49, 290

Zajček: 92, 191, 300

Zibelka: 7, 48, 57

Žagarja: 140

Žirafa: 117

Živalska figura: 1, 3, 4, 10, 11, 13, 14, 45, 47, 52, 54, 71, 72, 92, 93, 114, 116, 117, 118, 119, 124, 125, 126, 127, 128, 136, 145, 146, 154, 155, 158, 165, 183, 190, 191, 192, 193, 194, 195, 204, 205, 206, 207, 212, 213, 216, 228, 232, 233, 238, 297, 299, 300, 307, 308, 309, 310, 313, 314





INDEX OF OBJECTS

Abacus: 217, 218

Album: 174, 251, 263, 264

Animal figures: 1, 3, 4, 10, 11, 13, 14, 45, 47, 52, 54, 71, 72, 92, 93, 114, 116, 117, 118, 119, 124, 125, 126, 127, 128, 136, 145, 146, 154, 155, 158, 165, 183, 190, 191, 192, 193, 194, 195, 204, 205, 206, 207, 212, 213, 216, 228, 232, 233, 238, 297, 299, 300, 307, 308, 309, 310, 313, 314

Baby-walker: 292, 294, 295

Baby: 59, 62, 75, 148, 149, 180, 185, 186, 215

Badminton racket: 242

Ball with pin: 85

Bank: 113, 152, 214, 221, 229

Bear: 71, 72, 93, 116, 145, 165, 183, 195, 207, 228, 297, 308, 309, 314

Bedroom: 255

Bird on wheels: 52

Bird: 1, 4, 10, 11, 52

Blocks: 95, 96, 97, 102, 103, 241, 254

Board game: 50, 73, 78, 138, 240, 245, 246, 252, 253, 278, 279, 289, 312, 315

Building blocks: 237

Building set: 305

Building set: 44, 69, 76, 80, 81, 82, 84, 87, 89, 91, 94, 100, 106, 107, 135, 167, 168, 169, 170, 171, 172, 175, 237, 247, 248, 250, 286, 287, 288

Building stones: 69

Bunny: 92, 191, 300

Butcher with pig: 127

Automobile: 104, 105, 108, 109, 110, 210, 220, 241, 256, 267, 280, 281, 282, 291, 301

Cart with two horses: 55

Cart: 51, 55, 58, 64, 111, 112, 153, 223, 224, 243, 284

Clown on wheels: 265

Cock: 216

Computer game: 277

Cow with calf: 47

Cradle: 7, 48, 57

Cut-out: 77, 260

Dinosaur: 299

Doll: 9, 12, 60, 61, 63, 65, 66, 74, 79, 115, 120, 121, 122, 123, 132, 133, 134, 139, 143, 144, 147, 159, 160, 161, 162, 163, 164, 166, 181, 182, 184, 187, 188, 189, 196, 208, 231, 249, 262, 268, 276

Donald Duck: 232

Donkey: 206

Drum: 83

Dwarf: 222

Easter egg: 283

Educational manual: 266

Electric (multiplication) tables: 261

Elephant: 128, 136, 212, 307

Flipper: 302

Fly: 233

Frying pan: 200

Giraffe: 117

Gun: 219

Gymnastics apparatus: 5

Handle with ball: 88

Head of a puppet: 67, 68, 258, 259

Helicopter: 235

Horse - whistle: 3

Horse and peacock: 4

Horse and rider: 126

Horse on wheels: 54, 238, 313

Horse with soldier: 45

Horse: 3, 4, 45, 54, 126, 190, 238, 313

Hunter with dog: 125

Kitchen utensils: 5, 18 – 43, 101, 173, 199, 200 201, 202, 311

Mallet: 2

Man turning a wheel: 178

Motor-cyclist: 230

Nut-crackers: 17

Painting-book: 234, 257, 271, 272, 273, 274, 275

Painting-book: 234, 271

Peasant with goat: 124

Pencil holder: 151

Pinball game: 225, 226, 227

Plates: 22, 201, 202

Pot: 199, 311

Puppy: 146, 154, 155, 158, 192, 193, 194, 204, 213

Pussy-cat: 114, 118, 119, 205

Rattle: 131

Rocking horse: 176, 177, 211

Roller-skates: 150, 269

Scooter: 209

Seal: 310

Sewing machine: 101

Ship - ferry: 98

Skies: 270

Skittle game: 46, 239

Sleigh: 285

Soldier: 8, 45, 129, 130, 157

Stool: 197, 198

Stool: 197, 198, 255

Swing: 296

Telephone: 99

Tennis racket: 141, 142

Top: 49, 290

Train: 86, 90, 137, 298, 306

Tricycle: 293

Turk: 179

Two saywers: 140

Typewriter: 303, 304

Wash tub: 156

Wheel-barrow: 15, 56

Whistle: 3, 16, 53





Tanja Tomažič

IGRAČE / TOYS

Zbirka Slovenskega etnografskega muzeja

Collection of the Slovene Ehnographic Museum

Knjižnica Slovenskega etnografskega muzeja 6

Urednici / Editors: dr. Nena Židov, Polona Sketelj

Uredniški odbor / Editorial Board:

dr. Gorazd Makarovič, mag. Jasna Horvat, mag. Janja Žagar, Bojana Rogelj Škafar

Oblikovanje / Design: Jurij Kocbek

Tehnična ureditev, stavek / Layout: Jurij Kocbek

Fotografije / Photographs: Igor Omahen, Boštjan Nučič (31, 38, 99, 123, 128, 313), Tomaž Lauko (9)

Lektura / Proofreading: Majda Juteršek

Prevod / Translation: Franc Smrke

Lektura angleškega prevoda / English language editing: AMIDAS

Recenzenta / Reviewers: dr. Gorazd Makarovič, mag. Branko C. Šuštar

Izdal in založil / Published by:

Slovenski etnografski muzej, Metelkova 2, Ljubljana, Slovenija,

zanj mag. Tanja Roženbergar

Ljubljana 2015





Izdano v okviru projekta





CIP - Kataložni zapis o publikaciji

Narodna in univerzitetna knjižnica, Ljubljana



39:688.7(497.4)(0.034.2)



TOMAŽIČ, Tanja

Igrače [Elektronski vir] : zbirka Slovenskega etnografskega muzeja / Tanja Tomažič ; [fotografije Igor Omahen, Boštjan Nučič, Tomaž Lauko ; prevod Franc Smrke]. - El. knjiga. - Ljubljana : Slovenski etnografski muzej, 2015. - (Knjižnica Slovenskega etnografskega muzeja ; 6)

ISBN 978-961-6388-51-1 (ePub)

1. Slovenski etnografski muzej

282447360