Since the first figurines were introduced in 1935 by W. Goebel Porzellanfabrik at the Leipzig Trade Fair in Germany, the charming children inspired by Berta Hummel have warmed the hearts of collectors throughout the world.

Berta Hummel was born in 1909, in Massing, a small town in the Bavarian region of Germany, the third of six brothers and sisters. Educated by nuns, her strict Catholic education began at age six, in a one-room, country schoolhouse. Yet even as a small child, her sketches and drawings were recognized as something special. At age 12, a teacher recommended formal artistic training at the Institute of English Sisters in Marienhoehe. It was there that Berta’s artistic abilities thrived as she learned to work with watercolors and pastels.

In 1927, at age 18, Berta left Marienhoehe to study at the Academy of Applied Arts in Munich. Although her artistic studies were traditional – anatomy, portraiture, still life and landscapes – she never stopped sketching scenes from her Massing childhood which included caricatures of Bavarian children going about their daily lives with wide-eyed innocence and unadulterated joy.

During her time in Munich, Berta became increasingly introspective, and after graduating at the top of her class, she entered the Convent of Siessen, a Franciscan order dedicated to education, and supportive of the arts. In 1931, her novitiate complete, Berta Hummel took her vows and selected the name of Sister Maria Innocentia.

In addition to her duties at the convent, Berta taught art at a nearby girl’s school, where she was often asked to paint her student’s portraits. She also continued to sketch caricatures of children. Her artwork was published in books and as art cards, with the proceeds supporting the convent’s teaching and missionary efforts.

As her reputation grew, her artwork found its way to Munich, eventually coming to the attention of Franz Goebel, the owner of W. Goebel Porzellanfabrik. After discussion with his two master sculptors, Arthur Moeller and Reinhold Unger, Goebel decided to create a line of figurines based on Hummel’s captivating drawings. A Goebel representative made the first trip to the convent armed with three sample sculptures. He was well-received by Sister Maria Innocentia, and a period of experimentation with sculpture and paint palettes followed. On Jan. 9, 1935, an agreement was signed by both parties.

Based upon a selection of Sister Hummel’s drawings, the first 10 figurines issued were Puppy Love, Little Fiddler, Book Worm, Strolling Along, Sensitive Hunter, Merry Wanderer, Begging His Share and Flower Madonna. All were cast from earthenware, and all but Flower Madonna were sculpted by Arthur Moeller. Flower Madonna was the work of Reinhold Unger. Both men worked for Goebel for nearly 50 years, remaining active until their deaths in the 1970s. Hummel’s drawings, and the resulting three-dimensional figurines, were a refreshing departure from the ordinary. The display at the Leipzig Trade Fair resulted in a number of orders, and the creation of another 36 figurines before the end of 1935.

Although Berta Hummel died in 1946 at age 37, she left behind an enormous legacy of art, which has allowed the production process to remain much the same as it was during her lifetime. First, a master sculptor will carefully study a drawing or painting before executing his vision in clay. The actual sculpting to produce a new and original work of art can take several weeks. Upon completion, the master model is presented to the Artistic Board at the Convent of Siessen.

Following approval, the sculptor and a master mold maker determine where the figurine should be cut so the mold making process can begin; one figurine may be cut into as many as 40 pieces for ease of production. The figurine creation process takes many weeks and may involve more than 700 hand operations, with many quality checkpoints.

To make the master mold, the pieces are embedded in clay and filled with liquid plaster of paris. From this, a durable acrylic resin working model is made, and plaster working molds are cast from the working model.

Each figurine is fired at least three times during the production process. The first firing at 2100 degrees Fahrenheit transforms the moist figurine into a white bisque state, which is hand-dipped and sprayed with a tinted liquid glaze. The second firing is at 1870 degrees Fahrenheit, which allows the glaze to become a thin, transparent skin of glass.

Next, each figurine is hand painted from a selection of several hundred colors, making each one unique. After painting, the figurine will be fired again at 1407 degrees Fahrenheit, which will permanently bond the color and create a soft matte finish.

Depending on the colors used, this process may be repeated one or two more times.

Not all Hummel collectibles are figurines – there are bells, plaques, plates, candleholders, and even clocks – although equal care to detail and quality is given to any item bearing the Hummel name. While all are of interest, some items command a premium, such as the advertising plaques made for store displays.

Since the 1950s, authorized retailers have been provided with a small ceramic sign stating they sold original Hummel figurines. Until the 1960s, these were produced in a variety of languages, including French, Japanese, German, Swedish and Spanish. After this time, all plaques were in English. The value of advertising plaques can range from about $100 for open editions (those currently in use), to $1,600 for an earlier, rare version.

Rarity is what drives the price of any collectible, and Hummel collector’s plates are no exception. First introduced in 1971 to commemorate the 100th anniversary of W. Goebel Porzellanfabrik, the first in the annual series, Heavenly Angel, retailed for $25. Today, these are valued from $500-$600. Even more valuable are the worker’s plates: each employee was given a plate with a special inscription. Today, these factory worker’s plates can fetch up to $2,500.

Goebel continued to issue dated, annual plates until 1995, with the final issue of the 25 year series entitled Come Back Soon, retailing for $250 – a marked increase from the 1970s, when prices ranged from $30-$90. Unfortunately for collectors, as a general rule, the value of annual collector plates has remained comparable to their original issue price.

Another annual issue was the ceramic bell, which featured motifs of popular figurines. The first in the series was issued in 1978 with the motif of HUM 110, Let’s Sing, and retailed for $50. The 15th and final issue, dated 1992, featured HUM 413, Whistler’s Duet, which retailed for $160. Once again, it’s a buyer’s market. Most of these bells can be found in the $40-$75 range.

Hummel is also known for their limited editions and special series. Most are available at authorized retailers, although there are exclusive editions available only to those belonging to the M.I. Hummel Club. The collector’s group, which started in 1977 as The Goebel Collectors’ Club, has grown from about 100,000 members at its inception, up to about 250,000 members, with representation throughout North America, Europe, Japan and Australia.

One thing to keep in mind is that not everything marked Goebel is a Hummel. Goebel, has made and continues to make, a number of other decorative gift items that are not Hummels. These include dishes, vases and animal figurines, to name just a few. To be considered Hummel, the authorized Hummel stamp must appear somewhere on the piece.