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This early Madonna is named Madonna with crossed arms at breast. She was available in the standard 10 1/2" size and a smaller 8" version which is the "S" designation (for small) on the design number 2002-S. The base mold was created in a larger size without hands. Also found with Christ Child. This bust measures 7 3/4"" tall.
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Larger size than #2002 measuring 9 1/4" tall with no hands. This larger Madonna was also redesigned with more hair hanging in front her neckline. Design number 2058 has not been named as the exact name is yet to be known.
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This Immaculate Heart Madonna in Cypia is the same size as #2058. Her design number is not known. The mold was modified to incorporate the immaculate heart. This piece, like 2058 is still waiting for the official name to be discovered.
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A modification of #2003 to include the Christ Child, halos and a base. She is about 11" tall. The design number and assigned name is unknown. It is assumed this was a prototype never produced. If sold, it was during the mid to late 1950's. If not produced, it may have been due to the abnormal positioning of Mary's left hand attached backwards.
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Here is another Madonna bust holding the child Jesus. The name of this piece is Madonna & Child Bust 6". The sculpture pictured here measures 6 3/4" tall. Made from the early to mid 1950's this is a later example as is evidenced by the halo and absence of any lace or floral adornments. Older editions would likely have no halo, a rose on the base and would be 6" tall.
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This transitional item contains several aspects identifying it as a mid 1950's sculpture. The name is Bust Madonna and Child. The 9" sculpture is decorated with lace and floral adornments. Mary and Jesus both have halos. The base and both halos are trimmed in old coin gold accents. The gold also is applied to the edges of the lace on her sleeves and veil. It is rare to see an item with halos and the Cordey style lace and roses. This piece was likely made with lace, roses and no halos and also made with halos but without the lace and floral accents.
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The number 200 was assigned to this Madonna as the first Religious/Biblical sculpture. This simple mold, purchased from Holland Mold Company, was used for a minimum of three designs, including #201 and later on for #2080. Here, on #200, a simple lace design was applied in a flat, even method following her head covering with the straight edge near her face. (This is reversed for #201 and #2080.) The floral adornment at her neckline initially was a single rose with three leaves. Later this changed to a rose with one or two buds and two leaves. The lace found on individual sculptures varies between items. As lace styles changed or were discontinued other designs were substituted over the years.
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It would appear not much thought went into choosing a name for this sculpture as her official name is Madonna Bust 4 1/2". The studio's early black and white marketing photo (above) shows her attached to an oval shaped brass base similar to those used in the production of Cordey Lamps. This is of no surprise as much of the early Cybis line was produced in tandem with Cordey at the Church Street location in Trenton, NJ. The brass bases were used for only a short time before being discontinued.
The earliest Cybis pieces borrowed heavily from the Cordey style utilizing lace and floral adornments. For a novice it is nearly impossible to tell the two lines apart. Adding to the confusion, Cordey items have been found stamped Cybis along with the incised Cordey marks. So far, no Cybis items have been found dual marked with Cordey markings.
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The same mold as #200 was used to create this piece. The official name given is Madonna Bust, ruffled lace edged veil, 4 1/2". Obviously, the lace was reversed so when gathered the sculpted edges created the highly ruffled veil as seen above. Later copies would have fewer folds creating a more open look that was less intense. Floral decorations remained unchanged over the years.
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This Madonna is also shown in early marketing photos attached to a brass base.
Due to the fragile nature of fired lace, the age of these pieces and lack of caution in handling these items by reckless individuals, it is rare to find an example in mint condition. Every Madonna #201 documented with pictures and offered for sale on the secondary market has at least some damage.
The three examples pictured together above demonstrate several variations. There are three different styles of lace used. These three all have minimal damage compared to most of the items found which often have a majority of the lace showing significant damage. Note the difference in the folds and layers of the lace from one item to the next. Clearly, the colors of the leaves to the left of each rose are painted differently. A subtle but perhaps a more striking difference is found in how her face is painted. The earliest example on the left has flesh tones over her entire face with shades of blue to indicate her eyes are partially open. The middle example has highlights of color on her cheeks and eyes that are full closed. The stark white contrast does not have the gentle softness found in the pieces on either side. While the piece on the far right appears to have reached a balance. Most Madonna #201 examples documented seem to fall in this last group.
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Introduced in the early 1950s and retired in the mid 1950's this piece is found with numerous design and color variations. Design variations range from the width and amount of lace used in Mary's veil to NO lace at all on later pieces. Unfortunately, both examples above have damage to the lace veils. All items found on the secondary market have received at least some damage to the lace. So few copies survive some 70 years later that any copy with any damage is of value to serious collectors. Other variations are noted on the size and placement of the leaves on each side of the rose attached to the base. Later items (without the lace veil) will have no floral decoration on the base. There are several color variations. The most notable are in Mary's clothes, her hair color and the leaves on each side of the rose.
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The early black and white promotional photo (top) shows the companion busts when first issued by the studio, likely 1953 to 1954. The sculptures were originally issued attached to round brass metal bases similar to many used by Cordey China in that company's lamp production. The bases were used for only a short time before being discontinued.
Published measurements are 7" for each sculpture including the base. The examples pictured here are 6 3/4" tall without bases.
While no examples have been sold on the secondary market with brass bases, the set pictured below the studio's promotional picture were obviously attached to bases at one point. Both have felt rings attached to the bottom which the studio used to cushion china sculptures so they would seat easily on the metal once attached. Inside each sculpture scratch marks are observed where the toggle bolts scuffed the unglazed surface when either originally inserted or upon removal. Also both have chips to the openings indicating they were damaged by the toggle bolts upon assembly or removal. The picture above also shows one of the earliest examples of the use of the CYBIS mark in all upper case letters. A mark not often seen until early 1960's.
A note on the name of #206
The actual name issued by the studio was Sacred Heart of Mary. This was in error as "Sacred Heart" is a reference to Jesus alone. "Immaculate Heart" refers to Mary. The name should have been Immaculate Heart of Mary, but the studio's error stands. The official name is Sacred Heart of Mary.
Released in the early 1950's as design number 245, several design and color variations were produced before the sculpture was reintroduced in the mid 1950's as design number 2005 (shown above on left). As #245 this Madonna sculpture has been found with a variety of floral adornments ranging from heavy to minimal. Initial items had larger roses with more leaves. It appears the floral decorations were gradually reduced until the redesign removing them all together. Early copies exist with no floral decorations. These items are in Parian white attached to a brass base similar to others from this period.
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Measuring 6 1/2" tall without a base the Blessed Virgin Mary Bust is not found with significant variations in size. It is however often found with the incised "Holland Mold" mark on its underside. The Madonna was purchased from the Holland Mold Company which had the Holland Mold mark incorporated into the mold. The studio failed to fully remove the Holland Mold mark thereby releasing numerous Cybis items with the mold maker's mark along side the Cybis stamp and hand written design number.