Toys from East Germany

Toys produced in East Germany (official name: German Democratic Republic, or GDR for short) can also be found in various other sections of the virtual museum. On the one hand, a great many toys manufactured in the socialist GDR found their way into “capitalist foreign countries” as a welcome source of foreign currency, so they ended up intermingling anyway; on the other hand, a girl in West Germany would have cooked a “little soup” for her doll on her toy stove just as a girl in East Germany would have. These pages therefore primarily feature toys that existed in this form only in the “workers’ and peasants’ state.”

It is certainly interesting to see the extent to which the ideologies of the various systems are reflected in children’s rooms. What stands out in the capitalist West, for example, is the presence of many well-known companies in the toy industry, whether in the form of a wide variety of play store sets from well-known brand manufacturers or cars and trains featuring corresponding advertising prints. In the East, on the other hand, greater emphasis was placed on conveying political messages. So here are a few typical GDR toys.

©Text/Photos: Jörg Bohn / VG Wort Wissenschaft

The Palace of the Republic Building Set

Long sought after and finally part of the collection: the extremely rare Palast der Republik (Palace of the Republic) building set by FORMO (VEB Gothaer Kunststoffverarbeitung), dated 1977 according to its assembly manual. It was likely available for purchase in the souvenir shop of the “real” Palace.

As successful as many East German toys were in terms of design and play value, this particular set falls short on the latter. Some individual pieces fit together loosely, while others are extraordinarily difficult to assemble because the plastic is far too rigid and tolerances leave much to be desired. When my fingertips were nearly bleeding, I finally resorted to using a small hammer… I wonder whether the material hardened over time or if it was like this from the start. If anyone played with it back in the GDR era, I would love to hear your experiences!

Special thanks to Silvio for his response: “It was completely normal that the pieces were hard to snap together—that’s probably why they included extra parts, to compensate for the ones that didn’t fit at all.”

Inge also shared her memories: “I played with Formo bricks as early as the beginning of the 1960s. I was born in 1956. Before the business became a state-owned enterprise (VEB), my uncle Werner Wind was the owner. It first became semi-state-owned before being forcibly fully converted into ‘people’s property.’ He brought me bricks by the bagful, and I built models for his stand at the Leipzig Trade Fair. He even brought me along once, and I did a sort of live demonstration. They were certainly difficult to snap together, especially pressing the red roof tiles onto the wooden pegs. The windows were all blue and the bricks yellow back when I built with them, with green baseplates. But I thought they were fantastic and spent countless hours playing with them. Perhaps it laid the foundation for my career choice, as I went on to study architecture and civil engineering.”

Dimensions of the finished PdR model: 38 x 15.5 x 9.5 cm (approx. 15 x 6.1 x 3.7 inches).

Finally, many thanks to Henrik from Aarhus, Denmark, who responded to a request in my “wanted” section via email with the crucial tip on where to find the set: fittingly, in a shop on Berlin’s Karl-Marx-Allee!

What was the Palast der Republik

To understand the significance of this toy set, it helps to know what the actual building represented in East Germany (GDR):

What It Was: Constructed in East Berlin between 1973 and 1976 on the site of the former Prussian City Palace, the Palast der Republik served as the seat of the East German parliament (Volkskammer). However, it was primarily a grand public community hub, featuring concert halls, restaurants, art galleries, a theater, a bowling alley, and a disco.
Symbolic & Cultural Impact: It was the architectural showcase of East German state pride and modernism. Citizens affectionately (and humorously) dubbed it “Erich’s Lamp Shop” (Erichs Lampenladen) because of the thousands of glowing glass globes illuminating its main foyer.
Demolition & Legacy: Following German reunification, the building was closed in 1990 due to asbestos contamination and ultimately demolished between 2006 and 2008—a decision that sparked intense debate over Cold War heritage and memory. Today, the reconstructed Humboldt Forum (Prussian City Palace) stands in its place.

Packaging Variations of the “Palast der Republik” Set

The original packaging variations of the Palast der Republik building set reveal a few puzzles of their own.

The large blue box (47 x 25 x 10 cm) contains a generous surplus of building bricks—estimating roughly, building the PdR model requires barely two-thirds of the total contents. Interestingly, the photo on the cover illustrates a larger-scale version of the Palace than the one detailed in the included instructions. Yet, ironically, the set still doesn’t contain enough bricks to replicate the larger model pictured on the box…

While those questions remain unanswered, new ones emerge: I recently managed to acquire the set in the smaller, brightly printed alternative box (35 x 25 x 4,5 cm) pictured alongside it, which contains fewer pieces.

While the blue “Souvenir aus Berlin” box retailed at an official consumer price of 49.00 M (East German Marks), the smaller printed box was available for just 22.00 M. Perhaps the pricier blue set was specifically targeted at well-to-do tourists looking for a grand keepsake?

Annaberg Puzzles: Modern Motifs in East German Playrooms

Two iconic 500-piece jigsaws manufactured by VEB Annaberger Pappe highlight how East German pop culture and state achievements were brought into everyday domestic life.

“Sandmann im Palast der Republik” (Sandman in the Palace of the Republic): This set depicts Unser Sandmännchen—the beloved East German stop-motion bedtime character—visiting the grand foyer of the Palast der Republik. By placing a gentle, cherished children’s figure inside the state’s modern architectural crown jewel, the illustration seamlessly blended popular children’s entertainment with civic pride.
Annaberger Puzzle No. 6707 – “Palast der Republik”: A classic photo puzzle capturing the building’s distinctive bronze-tinted glass façade and modern design against the East Berlin skyline, showcasing the complex as a symbol of socialist progress and architectural ambition.

“Das schöne sozialistische Dorf – 10 Modellbogen mit 23 Bauten für unsere Jugend” (“The Beautiful Socialist Village – 10 model sheets with 23 structures for our youth”), VEB Postkarten Verlag Berlin, 1962:

“With the establishment of the Agricultural Production Collectives (LPG) in our workers’ and peasants’ state, the prerequisites have been created to carry out the transformation of our villages, thereby securing a better life and a higher standard of living for the rural population.”

“Wer malt mit? Täglich schöner wird unsere Republik” (“Who’s coloring along? Our Republic grows more beautiful by the day”) – “A coloring book for children ages 6 and up” (likely 1970):

This activity book integrated East German civic propaganda into early childhood recreation, encouraging young children to color scenes illustrating state modernization, infrastructure progress, and collective achievements across the GDR.

The Image of Women in East Germany

The girl does it herself! – In the GDR, the push for emancipation began as early as childhood (Why and how this came about—and whether the state did so out of altruistic concerns for gender equality or with the ulterior motive of training as many workers as possible to achieve the highest possible productivity—is a topic we won’t delve into further here). In any case, on a similar toy box in West Germany, a girl holding a screwdriver would have been unthinkable. There, “big brother” would certainly have been the one to wire the dollhouse. – In the dice-based board game “Wir bauen ein Haus” (“We’re Building a House”) from 1954, women in “typical men’s jobs” are a matter of course. For example, on the game board, you encounter “Erika the glazier, who is already installing windows” as you pass by, and on space 73, “Hilde, who is installing a stove.”

Gender Equality in East German Play

From “Spielzeug richtig ausgewählt” (“Selecting Toys Correctly”), 1964:

“Today, we can by no means make a distinction between special play materials for boys or for girls. In the GDR, women enjoy equal rights. (…) You must take this into account in your educational work if you do not want your children to face difficulties later in their careers or in their own families. Our girls have the same career opportunities as boys. Thus, parents have the duty to awaken and foster technical interest in their daughters as well.”This excerpt reflects the official East German state doctrine on gender equality during the 1960s, which actively discouraged traditional gender-segregated play in favor of encouraging girls toward technical skills and STEM-related careers vital to the socialist economy.

Technical Household Toys and Gender Representation

Excerpt from a 1968 specialist book:“Technical toys that interest boys and girls alike include battery-operated appliances and playthings. A blender, for example, sets both girls’ and boys’ hearts racing. One father told me how his son (in his first year of school) comes home every day and heads straight for the blender and the syrup and juice bottles to whip up the most ‘magical’ milkshakes. Other modern ‘work tools’ in toy size include washing machines, spin dryers, and vacuum cleaners. In kindergartens, one can observe boys and girls using them equally, without any preference given to ‘boys’ toys.’”Despite the progressive ideals promoted in educational literature, actual practice in the GDR often painted a different picture: numerous packaging designs for household toys continued to feature exclusively girls engaged in playful housework, highlighting a clear disconnect between official socialist doctrine and everyday commercial marketing.

Outstanding design in the toy sector

Iconic GDR Design: The “Schaukelwagen”

One of the most famous examples of outstanding East German toy design: The “Schaukelwagen” (Rocking Car), based on a 1950 design by Hans Brockhage. The piece was originally created as a student project at the Academy of Fine Arts Dresden (with structural collaboration by Erwin Andrä) under the supervision of the renowned architect and designer Mart Stam.

(Source: Heinz Hirdina, “Gestalten für die Serie – Design in der DDR 1949 – 1985”)

Context Note for Readers: Brilliant Multifunctionality
What makes Brockhage’s design so celebrated in international design history—and eventually earned it a place in the Museum of Modern Art (MoMA)—is its ingenious dual function:
Two Toys in One: When placed with the curved beechwood frame facing down, it functions as a classic rocking boat/car for young children.
Flip it Over: Turned 180 degrees onto its rubberized wooden wheels, it instantly transforms into a sleek, functional ride-on car (Rutscher).
Timeless Aesthetic: Combining bent plywood with a minimalist frame, it perfectly embodied the Bauhaus principle of functional, durable, and space-saving design for modern living.

GDR Media Criticism of Distribution Bottlenecks

In 1956, the East German magazine “Die Frau von heute” (Today’s Woman) reported on the “Schaukelwagen”:

“During a visit to the ‘Petershof’ trade fair building in Leipzig, we noticed a multi-purpose play item exhibited by the Gottfried Lenz company from Berggießhübel. (…) We considered this device to be highly practical, which is why we inquired with the manufacturer about price and availability. At 41.00 DM, the price is certainly not set too high, and supply prospects would also be satisfactory if the DHZ Kulturwaren were to contractually secure the company’s production. Last year, the DHZ entered into a contract only very hesitantly. This year, they signed no contract at all, claiming the vehicle was allegedly too expensive. We are somewhat astonished by the DHZ’s interpretation. Not to mention that the Lenz company exports 80 percent of its production abroad, where the car is not considered too expensive. (…) It is simply incomprehensible to us that due to the DHZ’s attitude, the rocking car will not reach stores in sufficient quantities—a product many mothers are surely eagerly awaiting, as its versatility makes it virtually ideal given the still very cramped living conditions.”

(Note: DHZ = Deutsche Handelszentrale / German Central Trading Organization)

Context Note for Readers: State Distribution Failure vs. Export Focus

This passage offers a rare and fascinating glimpse into public criticism published in East German media regarding the socialist planned economy:

The Monopoly Bureaucracy (DHZ): The Deutsche Handelszentrale held absolute authority over retail distribution. If bureaucrats deemed an item too expensive or unnecessary, it simply never reached store shelves—regardless of consumer demand.
Export over Domestic Supply: The article highlights a key GDR dilemma: high-quality consumer goods were routinely exported to Western markets for foreign hard currency (the 80% export rate), leaving East German mothers empty-handed.
Housing Reality: The mention of “cramped living conditions” reflects post-war GDR housing shortages, where space-saving, multi-functional furniture and toys were essential for urban families.

The Accordion Cat “LIBA”

This “accordion cat” was a highly popular toy in East Germany. Its body could be pulled apart and compressed just like the bellows of an accordion. Named “Cat LIBA,” it was designed by the renowned Czech designer Libuše Niklová and manufactured by the company Fatra in Czechoslovakia.

Context Note: A Mid-Century Plastic Icon
Cross-Border Success: Manufactured in neighboring Czechoslovakia, many of Libuše Niklová’s iconic accordion animals were widely imported into East Germany, becoming staple playthings for a generation of GDR children.
Innovations in Plastic: Niklová (1934–1981) was a pioneer in plastic toy design. Her patented flexible accordion body allowed children to bend, squeeze, and stretch the cat, making a subtle squeaking sound as the air moved through the bellows.
Design Classic: Today, Niklová’s playful, minimalist animal creations are celebrated globally as classics of mid-century modern toy design and are featured in major museums worldwide.

Streamlined GDR Tricycle Design

An example of outstanding East German design: A tricycle featuring a sleek, streamlined aesthetic, as showcased in the Spring/Summer 1966 Konsument mail-order catalog:

“Tricycle, highly sturdy, pleasing design, red-lacquered pressed sheet steel frame, MDN 51.00”

Context Note: Currency and Mail-Order Culture
MDN Currency: “MDN” stands for Mark der Deutschen Notenbank, which was the official name of the East German currency from 1964 to 1967 before being renamed simply Mark der DDR (M).
Konsument Versandhaus: Headquartered in Leipzig, Konsument was the GDR’s state-run mail-order department store. Catalogues allowed citizens across the country to order household goods, clothing, and toys directly to their homes.

Sandmann

The GDR Sandman (Unser Sandmännchen)

Shortly after German reunification, the East German Sandmännchen—a staple of GDR television since 1959—was briefly taken off the air. However, following widespread protests from parents and children alike, it was quickly returned to broadcasting. While the original puppet character famously featured four fingers on each hand, later toy figures were redesigned with five fingers to avoid confusing young children.

Context Note: Cold War TV Rivalry & A Cultural Survivor

The TV War of the Sandmen: In 1959, upon hearing that West German television was developing a bedtime character based on Hans Christian Andersen’s sandman, East German TV rushed its own puppet into production, airing Unser Sandmännchen just days before its Western rival.
Beloved Icon of Modernity: Every evening, the East German Sandman arrived in various futuristic, industrial, or exotic vehicles—from rockets and trabants to hovercrafts—introducing a short stop-motion film before sprinkling gold dust to send children off to sleep.
Outlasting the Regime: While West German television eventually cancelled its version in 1989, the East German Sandman remains on the air to this day as one of the few cultural institutions to survive German reunification intact.

Liliput Dreirad

The “Liliput” Children’s Tricycle

The “Liliput” tricycle—featuring pedal drive and pneumatic (air-filled) tires—was produced by a state-owned enterprise (VEB) in Haldensleben as part of the GDR’s official Konsumgüterproduktion (consumer goods production campaign). Over time, three distinct models were introduced and manufactured continuously until 1990. These sturdy tricycles were a staple of East German childhood, widely available for rent at rental stations in public city parks and recreational centers across the country.

Context Note: Industrial Mandates and Park Rental Culture

Consumer Goods Production Mandate: In the GDR, industrial enterprises primarily focused on heavy manufacturing or specialized machinery were legally required by the state to dedicate a portion of their capacity to producing civilian consumer goods (Konsumgüterproduktion), which is how high-quality items like metal tricycles came to be manufactured by industrial plants.
Park Rental Stations (Vermietstationen): Because durable consumer items were not always readily available for private purchase or suited for small apartments, city parks, youth centers, and holiday resorts operated state-run rental booths where families could rent tricycles, pedal cars, and sports equipment for an afternoon.

Typical toys from East Germany

Distinctive East German Plush Toys: Oversized Heads and “Rubber Faces”

Typically East German: Teddy bears with oversized heads and plastic animals featuring googly eyes (Wackelaugen). Of course, traditional plush bears were produced in the GDR as well. However, they are highlighted as “typically East German” here because this collection specifically focuses on toys that were unique to the GDR and did not exist in West Germany.

This clarification comes in response to a visitor raised in the GDR who missed seeing “the beautiful bears that certainly existed in the East too.” It is worth noting, however, that “beauty” is entirely subjective—a child who grew up with the plush companions shown below undoubtedly found them just as wonderful and endearing. The same holds true for the popular “rubber-face” (Gummigesicht) plush figures.

Context Note: GDR Toy Aesthetics and Material Choices

Unique Proportion & Design: Plush animals with exaggerated, oversized heads and soft vinyl or hard plastic faces (Gummigesichter) were a defining stylistic trend in East German toy manufacturing from the 1960s through the 1980s.
Synthetic Innovation: To meet high production targets amid material shortages of natural fibers like mohair, East German state enterprises utilized vibrant synthetic furs, soft vinyl molded faces, and snap-in plastic eyes.
Nostalgic Appeal: While these distinct designs differed sharply from classic Western teddy bears, they acquired a unique charm that remains deeply tied to East German childhood nostalgia (Ostalgie).

Der Burattino bzw. Buratino (italienisch: Hampelmann, Kasperle) ist das von Alexei Nikolajewitsch Tolstoi in dem Kinderbuch “Die Abenteuer des Burattino oder das goldene Schlüsselchen” geschaffene russische Gegenstück zu Carlo Collodis Pinocchio.

Raucher-Mäcky

“Smoking Novelty Figures” (Raucher-Scherzfiguren)

Original packaging box of the East German cult toy—many thanks to E.S.! Featuring the Sandman and “Raucher-Mäcky” (Smoking Macky), two beloved children’s icons reimagined as shady characters you wouldn’t want to cross paths with under the moonlight… Standing approximately 5 cm tall each.

Context Note: Miniatures and Incense Traditions

Miniature Novelty Trend: Popular in mid-century Central European toy culture, small novelty figures (Scherzfiguren) often used tiny incense cones (Räucherkerzen) or mini cigarettes to produce real smoke through a hollow mouth opening.
Culture Shift: Transforming gentle, wholesome children’s TV idols like Unser Sandmännchen or popular comic figures into gritty, smoking figurines captures a quirky and humorous edge of East German pop culture product designs.

IFA W50 Kipper

The Beloved IFA W50 Tipper Truck

An exceptionally popular East German toy—and, as vividly documented by cover photos from the magazine “Der deutsche Straßenverkehr” (German Road Traffic) as well as private family snapshots, a constant travel companion even on summer vacations: the IFA W50 tipper truck, boasting an impressive length of approximately 60 cm.

Context Note: The Legendary Workhorse in Miniature

Iconic GDR Truck: The IFA W50 was the quintessential heavy utility vehicle of East Germany, omnipresent on construction sites, farms, and highways across the Eastern Bloc from the mid-1960s onward.
Large-Scale Play: Measuring around two feet long, this heavy-duty toy tipper truck allowed children to load and transport real sand, stones, and earth, making it a prized outdoor and beach toy for GDR families.
Cultural Significance: Being featured on the cover of prominent motoring publications like “Der deutsche Straßenverkehr” underscores how deeply automotive pride and heavy machinery culture were embedded in East German everyday life and childhood recreation.

Ideology

East German Propaganda Songs for Preschoolers

“Sputnik, Sputnik, kreise” (“Sputnik, Sputnik, Circle”): A songbook for East German preschool education. The book’s first section contains “songs about socialist construction in urban and rural areas, about workers’ helpers, about cranes and excavators, about tractors and combine harvesters, about parents’ professions, about the soldiers of our National People’s Army, about cars, fire brigades, railways, and Sputnik…”

“Sputnik, Sputnik, Circle” (Lyrics: Fritz Bachmann [1] / Johanna Neumann [2/3]):

“1) Circle, Sputnik, circle / make the long journey / greet the dear moon / that lives in the sky — 2) Zoom, Vostok, zoom! / Quickly brought home / Gagarin and Titov / Gagarin and Titov — 3) When I grow up later / like Titov and Gagarin / I want to go to the moon / that lives in the sky”

“My Brother is a Soldier” (Lyrics: Manfred Hinrich):

“1) My brother is a soldier in a great armored tank / and I can proudly say / My brother protects the state / My brother protects the state — 3) And if anyone attacks us / they’ll have nothing to laugh about / the people’s soldiers stand watch / and hold their ground”

Context Note for Readers: Ideological Education and Space-Age Ideology

Preschool Indoctrination: In the GDR, state ideology and civic values were introduced at a very early age through music, storytelling, and play in kindergartens (Vorschulerziehung).
Cosmonaut Heroes: The Soviet Space Race successes—celebrating Sputnik, Vostok, and pioneering cosmonauts Yuri Gagarin and Gherman Titov—were heavily integrated into children’s culture as symbols of technological superiority and socialist progress.
Militarization in Childhood: Songs praising the Nationale Volksarmee (NVA / National People’s Army) aimed to foster a sense of patriotic duty, pride in military defense, and early trust in armed forces from early childhood.

Eyewitness Memories: Were These Propaganda Songs Actually Sung?

In response to whether songs like these were dictated purely “from above” or actually sung in East German kindergartens, three former GDR citizens and educators shared their personal experiences:

Many thanks to Dorit:

“So you’re asking if these songs were really sung. Yes, they were—and with real fervor, too (people knew nothing else, but it was completely fine, because as a counterweight, people watched West German TV).

My husband at the time and I worked in defense manufacturing, so we were completely loyal to the party line (as was expected, though it feels even worse today), but from the cable network came ‘Dallas’ and ‘Dynasty’. We drilled into our children that they must never talk about it at kindergarten or school—it was a matter of survival for us. But of course they did! Anyone who didn’t watch West German TV was an outsider.”

Many thanks also to Cynthia:

“This immediately reminded me of something: I am an educator myself and completed my training in 2010. Back then, there were still several copies of that songbook in my facility. At first, I couldn’t understand why my older colleagues cherished and preserved these books so carefully, but after a short time it became clear to me: the book contains by no means only socialist songs, but also many traditional classics. Time and again, parents are delighted when their children learn a song they still remember from their own childhood.

That’s why I own one of these books today, proving that it was used both back then and is still used today. Even though the title and many of the songs are no longer contemporary, I’m glad these books didn’t end up entirely in the trash compactor.”

Thanks to Franziska:

“I know the pictured songbook very well. It contains not just the ‘propaganda section,’ but also classic folk and children’s songs. In kindergarten, as far as I remember, we only sang the latter. Later in school, we also sang the socialist repertoire—and actually quite enjoyed it because of the catchy melodies; as a child, you didn’t really think about the lyrics.

I was born in 1976, and back then things were already more liberal than in the 1950s or 60s. West German TV was no longer forbidden, and you could openly talk at school about watching ‘Dallas,’ ‘The Black Forest Clinic,’ or ‘The Fall Guy’ at home. As kids, we even sang TV commercial jingles out loud at school and parodied the advertisements.”

Context Note for Readers: The Dual Reality of GDR Everyday Life

These first-hand accounts illustrate a defining hallmark of East German society—the coexistence of official state ideology with private everyday life:

The Pragmatic Use of Material: Songbooks and educational tools produced in the GDR were often hybrid works. Teachers selectively used the timeless folk classics while quietly ignoring the political propaganda sections.
Western Media as a Cultural Counterweight: Despite official state censorship, Western television (Westfernsehen) was widely watched across most of the GDR. It served as a major cultural outlet, shaping popular discourse, playground conversations, and childhood memories.
Generational Shift: While political conformity was strictly enforced during the 1950s and 1960s, the late 1970s and 1980s saw a more relaxed atmosphere where Western pop culture and TV commercials were openly acknowledged among children and young adults.

Political Propaganda in East German Children’s Post Toys

This children’s play post office (Kinderpost)—whose toy ink stamps feature the “Day of the National People’s Army” rather than child-friendly imagery like flowers or teddy bears—serves as striking evidence of how early and directly children in the GDR were exposed to state political propaganda.

Context Note for Readers: Militarization of Childhood Play

Toy Ink Stamps (Kinderpost): Play post office sets were immensely popular pretend-play toys across Europe, allowing children to play cashier, stamp envelopes, and deliver mail.
Political Infiltration of Play: In the GDR, even mundane role-play toys were leveraged for civic education. Featuring the Nationale Volksarmee (NVA / National People’s Army) on a child’s toy stamp subtlely integrated state military institutions into everyday childhood games.
Commemorative Culture: The “Day of the National People’s Army” (celebrated annually on March 1st) was a major state observance in East Germany, designed to foster early respect, pride, and familiarity toward the armed forces among young citizens.

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