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N UMB E R 4 



Diogenes from Antwerp 
A publisher of Kubasta books in Belgium 

Francis de Geest 
Adding another chapter to the modest history of pop- 
up publishing in Belgium, after my contribution on Jos. 
Lefebvre published in the last issue of the Movable 
Stationery 1 , I write now about another series of pop-up 
books that were published here at the same time in the 
early 1960s. Again it concerns titles designed by the 
beloved Czech illustrator and paper engineer Vojtech 
Kubasta. This time they are the ones that were published 
in the Dutch versions under the imprint of the Antwerp 
publisher Diogenes p.v.b.a. 2 

Tekeningen door V, Kubasta 

voor DIOGENES p. v. b. a., Antwerpen 

© 1962 ARTlA Prague 

By good fortune I succeeded in locating the publisher 
of Diogenes, Ms. Marie-Louise Neirinck, who still lives in 
Antwerp. She had to be convinced to tell the story of her 
publishing activities in the field of pop-up books since she 
thought that part of her life to be of a bygone age. Unlike 
Mr. Lefebvre, who only wondered who on earth would be 
interested in the story of his life as a publisher of movable 
books, Ms. Neirinck had to be called several times before 
she agreed to see me for an interview. Once I finally met 
her, she proved to be a vivid and self-assured elderly lady 
gifted with a phenomenal memory. 3 

Although Ms. Neirinck spent almost all of her working 
life in Antwerp, she was born in 1923 in Lokeren, a small 
town in the province of East-Flanders. Having been an 
avid reader as a child, she knew early in her life that she 
wanted to make a living out of her love, the book business. 
Unfortunately, the second world war broke out before she 
finished high school so she had to wait until the war 
finished before she got the opportunity to realize that 
desire. To get the best professional education she left 
Belgium for Holland and worked for two years, from mid- 
1945 onward, in two well-established bookstores in The 
Hague: Mensing & Visser and Van Stockum. She then 
returned to Lokeren and started her own bookstore 
"Uilenspiegel" (Owlglass), named after the protagonist 


Tijl Uilenspiegel 

known for his 

beloved pieces of 

knavery as told in 

traditional Flemish 

folktales. Lokeren, 

however, appears 

not to have been 

that interested in 

the kind of literary 

bookshop Ms. 


established and, as a result, she decided after a try of three 

years, to move to the city of Antwerp. She there opened her 

new bookshop, changing the name from the popular Flemish 

rascal to that of the solid classical Greek philosopher 

"Diogenes." But changing the place alone did not prove to 

solve her inner needs: just selling the books that publishers 

offered, didn't bring her enough satisfaction. What she 

wanted was to offer good books to the public herself. So in 

March 1951 she started the publishing house of Diogenes 

located at 5 Lange Leemstraat (near the National Bank) in 

Antwerp. Other publishers were kindly disposed towards the 

lady just starting out, especially the large Dutch publishing 

house of Meulenhoff Amsterdam that helped her overcome 

the usual problems of a new publisher. 

Where or how 
Ms. Neirinck was 
first confronted with 
the - for Belgium 
new - phenomenon 
of pop-up books 
(then mostly called 
"panorama books" 
here), she doesn't 
remember. However, 
she does remember 
that she happened to 
contact, through 
colleagues in the publishing business, the same 
representative of Artia, Prague that we met before in our 
interviews with Mr. Lefebvre (unfortunately neither of them 
remember the man's name). This mysterious "man from 
Utrecht in the Netherlands," appears to have been a clever 
salesman as in the very same year (1960) he is known to 
have sold a series of the same Kubasta titles to both 
Lefebvre and later that year to Diogenes. 

Continued on page 2 

Hansel and Gretel 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of the 
Movable Book Society. Letters and articles from members 
on relevant subjects are welcome. The annual membership 
fee for the society is $20.00. For more information 
contact: Ann Montanaro, Movable Book Society, P.O. Box 
1 1654, New Brunswick, New Jersey 08906 USA. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 


Fax: 732-445-5888 

The deadline for the next issue is February 15. 
Diogenes, continued from page 1 

Even more remarkable since the sales conditions of Artia 
were lucrative only for Artia themselves: they only 
accepted orders for large quantities, they had to be paid 
cash on delivery, etc. Nevertheless, Ms. Neirinck decided 
to take the risk and she ordered six titles from the fairy 
tale series: Little Red Riding Hood, Snow White, Hansel 
and Gretel, The Sleeping Beauty, Puss in Boots, and 
Cinderella. They all appeared with the Diogenes imprint 
in 1960. In the early versions they had linen spines, a 
movable element in the front covers and eight double 
spreads inside. All these first Diogenes editions are in my 

Roodkapje 1960 |Nr.j 721/5 

Sneeuwwitje 1960 722/6 

Hans en Grietje 1960 723/4 

Doornroosje 1960 724/4 

De Gelaarsde Kat 1960 725/5 

Assepoester 1960 726/4 

When we 
look at the list of 
numbers and the 
codes of the 
editions we learn 
a lot about the 
way the Prague- 
based publisher 
of Artia worked. 
The first figure 
of the number 
(here 7 for the 
700s) marks the language in which the book was 
published, in this case the Dutch. For the German editions 
the 200s were in use; for the English the 300s; for the 
French ones the 400s, etc. The next are a kind of book 
number, for example, in any language Little Red Riding 

Sleeping Beauty 

Hood, has number 23, etc. The figure after the forward slash 
counts the printings of the title within the same language. 

When we compare the list of these Diogenes editions 
with the list of 1960 editions published by Lefebvre, we see, 
that the Little Red Riding Hood has the number 72 1/2 with 
Lefebvre where it has 721/5 with Diogenes. It means both 
that no title appears to have been given exclusively to one 
publisher in the country or language area; and that in the 
same year there were at least two more editions (721/3 and 
721/4) printed for the Dutch market! Hansel and Gretel by 
Diogenes has the number 723/4 where the Lefebvre printing 
had 723/2, proving there were at least three printings of this 
title in I960. 4 Thus we get a glimpse of the huge success the 
Kubasta books had in those early days of their appearance. 5 

How many copies 
of one title Diogenes 
had to order Mrs. 
Neirinck doesn't 
remember anymore 
and the remaining 
parts of her 
publisher's archive 
do not give a 
decisive answer. 
There also is no 
external evidence 
since there never 
has been, so far as I know, anything published about the 
number of copies in a printing of the Kubasta books. She 
remembers, however, that she needed to rent an extra 
storage shed in the Antwerp harbor area to stock the 
delivered quantity of copies before their distribution. 6 

The books were retailed partly through the regular 
bookshops, but a larger part were sold through newsstands, 
railway bookstalls, and other outlets of newspapers and 
magazines. Diogenes, therefore, worked with 
Persagentschap (Press-agency) a company that was 
responsible for the countrywide distribution of the books to 
these selling points. Ms. Neirinck was not clear whether she 
contracted with this company before deciding to take the 
large orders from Artia, or whether Diogenes had to take the 
risk (and the investments) on its own. The books sold for 45 
Belgian franks (nowadays the equivalent of one Euro or 
about $1.15) a copy, and they sold very well! The sales 
success increased further when the then young national 
television BRT featured the new phenomenon of pop-up 
books during the national Antwerp Book fair that year. 

Continued on page 12 

Little Red Riding Hood 

Ted Naos: Artist and Designer 

Eleanor Heldrich 
Lutherville, Maryland 

Our interview began in a nondescript building in 
southwest Baltimore, Maryland. Nondescript except for a 
large arched doorway, painted bright blue. The building, 
it turned out, had been the home of a two-story, 1920s era 
Kresge's Five and Ten Cent Store, a location that works 
perfectly for its current owner, Ted Naos. We entered a 
very long open room stacked with boxes on both sides. 
There were boxes with printing paper, cards and card 
parts, envelopes, acetate, metallic moire paper sheets, 
there were even boxes to hold boxes. Stacks of printing 
papers with future movable parts printed on them were 
stored with mailing supplies, and piles of die cut sheets 
waiting to be trimmed. 

In the front of the room were tables where three young 
women were working at three different jobs. One was 
pulling off the trims from die-cut lengths of paper. 
Another was packaging calendars in clear plastic boxes 
and the other was answering the phone. At the very back 
of the room was an offset printing machine. The wall 
behind the press was floor-to-ceiling shelving with cans of 
printing inks. Sounds of a machine starting up came 
through a window in the door at the back of the room. As 
we walked in to watch an operator running the die-cut 
machine was cranking out sheets of white paper with the 
skyline of Chicago stamped out along the top edge. Also 
in this room were hundreds of dies stacked against the 
wall in layers, each die approximately 18" by 12" to fit the 

Christmas Cards by Ted Naos 

You may have seen some of Ted Naos' work in 
museum shops and catalogs. He produces many movable 
Christmas cards for the Art Institute of Chicago, The 
Museum of Modern Art and many other museums and 
specialty catalogs. He recently designed a popular stand- 
up Nativity Scene for the Art Institute. This scene and all 
of his cards are printed on high quality white cover stock 
with a vellum finish. All of the paper he uses is re-cycled. 

Among his other works is a three-fold card of the wise 
men arriving in Bethlehem with two free-moving metallic 
silvery stars inserted into the scene. Another card appears as 
a cathedral window with an angel inside, but it opens to a 
dome with the angel flying in the center. A new card for this 
year has a blue background with flying white doves on fold- 
out acetates. In another very complicated one, an entire town 
opens up with inset gold and silver trees. Several cards have 
cut out skylines of different cities - Chicago, San Francisco, 

- T3 

i ■! 

H n if i -III R V n nnn: 


-* li r ;i * [ j * * i 

Die cutting block 
with blade side showing 

Ted also produces mobiles, calendars with adjustable 
color backgrounds, and small puzzle games for children. 
One game called the Color Game has 20 brightly colored 
cards with die-cut patterns to be arranged and rearranged 
into different color combinations, reminiscent of the Marilyn 
Eastus' book Woof. 

Ted Naos is first and foremost an architect but he is also 
a designer. Born in Athens, Greece, he came to the United 
States when he was 18 years old. He attended college in 
Texas and finished up at Columbia in New York. Today he 
is a professor of Architecture at The Catholic University of 
America in Washington, D.C., teaching the design of 
architecture. It is because of his architectural training that he 
sees the designs of his three-dimensional greeting cards as 
another way of dealing with space — the composition of 
space and the beauty of space. All of his greeting cards and 
paper constructions have elements that design space and 
communicate a message. 

His first cards were all white on white in order to use the 
beauty of the paper and to define the spaces, but he continues 
to add other materials and colors — not to detract from the 
beauty of the paper, but to see how to integrate these new 
materials into the designs. He wants to see what develops, 
not to become stagnant, but to continue to discover new 
relationships and images. With his paper sculptures, as he 
adds background panels, see-through planes, colors and 
interlocking parts, he is using these new elements, like 
instruments in an orchestra, to create beautiful visual 

Continued on page 4 

Naos, continued from page 3 

We had an enjoyable visit. I took a few movable books 
from my collection to show him what the Movable Book 
Society is all about. "She has an obsession for these 
books," he told his staff who also came to see them. He is 
familiar with the work of many paper engineers and was 
interested to see an artists' book created by Ed Hutchins. 
I found it fascinating, and possibly unique, that his entire 
operation is done in one building — design, drawing the 
schematic plans, building the dies, working the printing 

Die cut card by Ted Naos 

press, trimming, folding, packaging the products, and 
mailing them out to the customers. 

A Pop-up Mystery and Its Solution 

Roy C. Dicks 

A few weeks ago, while indulging in one of my other 
obsessions - movies on DVD - I was just settling in to 
watch "Sunday, Bloody Sunday," the 1971 John 
Schlesinger drama about a modern love triangle, when, 
about 18 minutes into the film, I had the sudden shock of 
seeing a pop-up book as part of the scene. Glenda Jackson 
is questioning her lover (Murray Head) about his activities 
outside their relationship. While he is listening to her, he 
casually picks up a book (they have been baby-sitting for 
the weekend for friends) and flips it open to a center 
double-spread pop, examines it, plays with it and then 
closes the book back. 

Of course, I was curious about which book it might be. 
The scene is shot so that the viewer sees face of the actor 
as he holds the book up; thus the viewer is seeing the pop- 
up from the back. The pop-up is a large, fanciful castle 
with several layers of towers and turrets. 

I did not recognize it, so I used the handy pause and 
frame-by-frame functions of the DVD player to try reading 

motion examinations (complete with a Sherlockian 
magnifying glass up against the TV screen), I could not 
make out the title, as the film's focus was not on the book 
but the actor. I tried watching the credits for some reference 
to the book (thanking the publisher for allowing its use) but 
there was none. 

I assumed the book was one that actually had been 
published, as it seemed so well done and intricate (why go to 
the trouble to make up a pop-up book for such a minor 
moment?) I could just make out a big circle on the front 
cover that surrounded the outline of a big castle. So I started 
thinking, what standard stories featuring a big castle would 
have been a likely candidate for a pop-up, especially pre- 
1971? Sleeping Beauty? King Arthur? Beauty and the Beast? 

I went to my copies of Ann Montanaro's pop-up 
bibliographies to see if I could come across titles that might 
be right, but to no avail. Undaunted, and determined to 
figure it out (by myself), I looked once more at the images on 
the DVD. It was then that I noticed that the castle was 
mostly green in color - and then it hit me: Oz and the 
Emerald City. 

I went back to Ann's bibliographies and found there were 
only a few Wizard of Oz pop-ups before 1971. The most 
likely suspect was the 1968 Random House edition authored 
by Albert G. Miller and designed by Paul Taylor. When I 
looked at the book's image on screen once again, I 

immediately recognized 
the shape and pattern of 
the Random House 
bindings of that era and 
was 90% certain I had 
found the right one. 

On a hunch, I went 
online to MBS member 
Carolyn Lily's website, 
The Wonderful World of 
Pop-up and Animated 
and found the title (by 
the author index) and 
there it was: the cover 
and a picture of the pop-up castle, exactly as it is in the film! 

Besides being smug about my detection skills (and, yes, 
I know many of you would have recognized it right away 
from having it in your collections), I was once again struck 
by the wonderful resources we have about pop-ups and 
movables, both in print and online. 

the cover and/or the spine. Even with a number of slow- 

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Do-it-yourself Movables: 
An Instruction From 1869 

Theo Gielen 
The Netherlands 
When studying the history of movable books one 
sometimes finds things that only obliquely touch the 
researched subject. Catchpenny prints by Meggendorfer 
are recognized to mirror plates in his movable books; an 
unfolding paper toy cradle by Nister; a plain picture book 
as a later edition of an earlier movable book; an 
illustration of a bookshop in a picture book showing 
almost hidden advertising for Dean's movable books; the 
description, in a textbook, of the presents that a child is 
given at Christmas and amongst them a pop-up book 
(published by the same publisher), etc. I gather them in a 
file named "movable curios." One of them, however, I 
would like to share here with the readership of Movable 
Stationery since it gives a nice look into early paper 
engineering to make movable pictures. 

DE KL1PE mUniKrxiME 

imsmsukjs. in: nr s.vrtros-EK ivHtwuroti'stii 


*rsvni> iii: i W.AIU1. khaiTKXfiKlGin. 

urn** r«: iiqatirtl 
t'4jmi iv -.1'inil.Ti'i ir\, kMlljii7ha»i MJMirjitfc 

\LfMst.mi »i.nii>«. Fmumifiin rishwim. h<i»*4i*. iiua.e 


'.!. \ A?f S^M)«'|tK, 

r. itEti 

*IT It t)KIMIN mtlv 


r nwiievts >rawqi. 

It was found in a Dutch book with the extremely long 
title De Kleine Natuurkundige of Uitspanningen, die op 
natuur- en werktuigkunde gegrondzijn, benevens kunstjes 
met water, licht en geluid, waaraan zijn toegevoegd 
bordspelen, goocheltoeren, onderhoudende bezigheden, 
vermakelijke rekenkunst, strikvragen, pandspelen, 
raadsels, aardige uitspraak, rijmpjes voor het qftellen, 
kniespelen en kinderliedjes. ' Written -or better: compiled 
- by Mr. P. Beets who adds that he has brought all this 
together for Mr. G. van Sandwijk's "Prentenmagazijn," a 
well-known children's magazine. The book was published 

in Leiden by Dirk Noothoven van Goor in 1869 and had 16 
color plates printed on one side only. It is in a short chapter 
on "The cutting of figures" that first instructs how to cut and 
fold little paper furniture and a colorful flower out of paper 
of different colors and then continues: 

"In the old time, before the invention of the art of 
photography, some people made a profession out of the 
imitation of the contours of the faces of other people 
(shadow-graphs, silhouettes). Cut out of black paper by 
means of scissors they were glued with gum on a white 
paper. By occasion you may have seen such portraits, for 
example of your grandparents or great-aunts. However, the 
photography art has pushed aside that industry of earlier 
times completely by now. At the stationer's the so-called 
shadow-graphs can be bought for little money. They are, as 
you may know, black figures on a white background that can 
be cut out. Will these little puppets have to be moveable, the 
arms and legs will have to be cut out separately and 
subsequently attached to the required places of the body by 
means of a string. On both sides of the paper one then ties a 
well connecting knot. Just a little behind the string around 
which the limb now moves, there shall be fastened either a 
bit of string or a slip of stiff paper; by these the arms, legs 
and head, or the complete figure can be moved to and fro. 
Instead of giving here a circumstantial description of these 
moveable figures it will be better for you to have a close look 
at the images that show such figures both from the front and 
from the back." 2 

Continued on page 6 

My Three Favorites 

Roy C. Dicks 

Raleigh, North Carolina 

In the August 2003 issue of Movable Stationery, Adie 
Pefia threw out the challenge to me to write the next 
column on "My Three Favorite Pop-ups." I gladly accept 
but assert the right to change it a bit to make it easier, not 
only for me but for other members in future columns. 


C&JC lilti^ohn 

Poems from a Child's 
Garden of Verses 

I do this because, in the 
four columns published so 
far, each of the writers 
(Henk Sikkema, Carolyn 
Lilly, Ellen Rubin and 
Adie) have all had to go 
through great soul- 
searching and self- 
limitation before listing 
their three choices. The 
general form of this angst 
has been to discuss the 
numerous titles the writer 
is NOT going to talk 
about, often in great detail, 
and then to set up strict 
guidelines for the choices 
(only paper mechanicals, 
only those you first show to visitors, etc.) In addition, 
when listing the three (or in Ellen's case 10!), the writer 
still finds it necessary to name others within each choice. 

Of course, we can all sympathize with these writers' 
dilemmas in trying to narrow down from such a wide 
range. So I hereby change the rules to make the challenge 
be the selection of three favorite (fill in the appropriate 
category) pop-ups. This will allow a writer to focus on 
aspect or type, such as Christmas, dinosaurs, circuses, 
Disney, Mother Goose, etc. Since I am going to be brief 
and only write about three books in a category, I am 
choosing two groups to set the example. 

My Three Favorites to Show Newbies 

Whenever I tell anyone that I collect pop-up books and 
then see them register signs of doubt or disdain, I show 
them the following three books: 

1 . Sailing Ships - Concept, design and layout by Ron van 
der Meer, paper engineering by John Strejan and David 
Rosendale (1 984). This is the book that first got me started 
collecting pop-ups as an adult. The whole book is 
beautifully illustrated, with informative texts, but it's the 
wonderful way that each ship's pop is conceived 
differently that really impresses. Of course, I always start 
with the galleon pop because it never fails to get a reaction 

- 10" tall, 10" wide, with three full sails, rigging and flags. 
Since it stands up out of the center, it is fully three- 
dimensional and can be viewed from all sides. Magnificent. 

2. The Earth in Three Dimensions - by Keith Lye, conceived 
and designed by Electric Paper, paper engineering by David 
Hawcock (1994). Yes, it's somewhat of a one-trick pony, but 
when people see the totally round globe of the world pop-up 
and SPIN, free-floating, there are always gasps. The "wow" 
factor is about as high as its gets. 

3 . Greg Hildebrandt 's Book of Three-Dimensional Dragons 

- Design and paper engineering by Keith Moseley (1994). 
The vivid colors, the fanciful drawing, and above all, the 
dramatic movement and size of each dragon pop always 
draws oohs and aahs. I especially like the head and tail of 
the Chinese Dragon (the final pop) which extend well 
beyond the top and bottom of the book. 

If these don't turn the doubters around, nothing will. 

My Three Favorite Pop-ups with Unusual Perspectives 

I find that one of things that really catches my eye in a 
pop-up book is when the designer puts my gaze into an 
unexpected perspective. Here are three that always grab me: 

1. Poems From A Child's Garden of Verses - illustrations 
and paper engineering by Claire Littlejohn (1987). This is a 
small, relatively simple book and yet there are two pops in 
it that always delight me. The first is the one where the little 
boy has climbed up into a cherry tree to see beyond his own 
little world. The pop that has him sitting at the top of the 
tree puts the viewer hovering directly above him, so all you 
see is the top of his head as you look down and out from his 
vantage point - enchanting. The other is the last pop, in 
which a little girl is digging in the sand at the beach. When 

you fully unfold the page, 
three sand dunes pop up, but 
to see them in their true 
perspective, you have to hold 
the book flat and up to eye 
level - charming. 

2. Jungle Adventure - 
Concept, illustration and 
paper engineering by Helen 
Balmer (1993). Every pop of 
this humorously illustrated 
book is unusual. I love the 
from-above perspective of the 
first pop with the boy riding a 
giraffe and his grandfather 
riding an elephant, as well as 
the high-in-the-canopy scene 
with the two swinging in the 

Jungle Adventure 

Jack and the Beanstalk 

treetops. But the best two pops are the ones that place the 
viewer at the waterline, such that looking up let's you see 
above water and looking down let's you see under water. 
They really give you the feeling that you are seeing one of 
those nature programs on TV when the diver is filming 
with a waterproof camera 

£ 3. Jack and the Beanstalk - 

I illustration and paper 

I engineering by Chuck 

I Murphy (1998). Besides 

I being beautifully drawn and 

| colored, this book has 

I several forced perspectives 

I that really extend the view 

I into the distance. The one 

s with Jack at the top of the 

beanstalk gazing at the 

giant's castle in the clouds is 

magical, the one of the 

looming giant reaching out 

for Jack as he jumps from 

the table is really quite frightening, and the one where 

Jack is chopping down the stalk with the giant at the far 

end really makes you feel you are looking up into the sky. 

The sensation I get from looking at these three is 
always a heady feeling of flying. 

Ok, folks, now that I've made it easy, there's no 
excuse. Start working on your set(s) for Ann right away. 
Don't make me have to do more of these! 

The Gift 

The Gift is a special 
commemorative book by 
Sandra Magsamen 
produced by Saks Fifth 
Avenue and VH1 to 
celebrate the gift of 
music. It has a simple 
double-page pop-up on 
the final pages. "The 
VH1 Save The Music Foundation is a nonprofit 
organization dedicated to improving the quality of 
education in America's public schools by restoring music 
programs." The holiday windows of the New York Saks 
Fifth Avenue store feature the book and the artwork of 
Sandra Magsamen. The book is available at and costs $35.00 for the regular 
hardcover edition (ISBN: 0-9721 152-6-9) or $120.00 for 
the deluxe, boxed edition (ISBN: 0-9721 152-7-7.) 

Awards for The Night Before Christmas 

Theo Gielen 

In their company magazine C&C Bulletin, issue 1, 
2003 (October) the Hong Kong based Chinese company of 
C&C Printing Ltd. proudly describes how they have won 
several prestigious U.S. awards for the printing qualities of 
Robert Sabuda's The Night Before Christmas that was 
produced by them. 


The book is defined as "... a work of ingenious 
handicraft comprising 162 accessories of dynamic pop-ups 
and unique folds, with every page hand-made and fitted with 
interactive open-and-close mechanisms full of innovation 
and vividness" and has been pictured in full color on three 
(out of 1 4) pages of the magazine, celebrating the number of 
"overseas," i.e. American, print awards won in 2003. In two 
categories of the PIA's Premier Print Awards there was the 
highest recognition of a Benny Award: the best of 2003 
both in the category of" Die-cuts, pop-ups, unique folds, and 
involvement devices" and in this of "Special Innovations - 

The book got a further "Honorable Mention" in the 
category oVConventional Books - Juvenile pop-up 4 color " 
of the "International Gallery of Superb Printing Awards" 
that are given yearly by the IAPHC, a worldwide association 
of printing companies. Really sensational however proved its 
choice as the Best of Show in this same IAPHC competition. 
By this the exquisite craftsmanship of The Night Before 
Christmas has successfully beaten more than 3,100 pieces of 
other entries from all over the world....! This prestigious 
election caused the CEO of C&C Joint Printing, Mr. Lo Chi 
Hong, to personally travel to the U.S. to receive the Grand 
Prize on August 10. This grand prize is a fine crystal trophy, 
symbolizing excellence and honor for the accomplishment. 

It is rather strange to see pictured in the magazine only 
the slip cased (limited?) Chinese edition of The Night Before 
Christmas as published by the Taipei (Taiwan) based Chase 
Publishing Company. It is shown three times, as said, and 
prominently featured on the front cover. Stunning, however, 
is the fact that Sabuda's name has been mentioned not at all 
in any of the contributions....! 

Therefore, right here, congratulations to Robert for the 
series of honors and awards given to his magnificent 2003 
work of art. 


Movable Reviews 

Marilyn Olin 
Livingston, New Jersey 


3=O.K. 4=GOOD 



page pop-ups + 17 small pop-ups which are on the mini- 
pages enclosed within the book. The one wonderful tunnel 
pop-up allows you to look down the rabbit hole. Similar in 
design to Sabuda's Wizard ofOz this is another over-the-top 
success. The illustrations by John Tenniel are delightful. 
Each and every pop-up is glorious. Every page is more 
exciting than the one before. The opening page of the forest, 
the tea party page, the house with Alice in it, the card page, 
etc. are all stunning and the bonus is that everything works 
perfectly. A must have for any collector. Paper Eng.- 

Rating: 4 Vl 

MY GRANNY'S PURSE. By P. Hanson. Publisher: 
Workman Publishing. Pub. 2001 in U.S.A. ISBN 0-7611- 
2978-2. $15.95. 22 x 21 x 9 cm. 14 pages. This is not a 
pop-up but definitely movable. It is a delightful recreation 
of a purse, filled with all the goodies that children love to 
hunt for in grandma's handbag including her polka dot 
hankie. There are belongings that can be removed and 
handled such as sunglasses and keys. Also, there are items 
that can be opened, such as a candy box, a letter and a 
mirror to look into. Young children will adore this purse. 
It is "carryable," imaginative and fun. Paper Eng.-Putting 
this "book" together was a publishing marvel. 

Rating: 4 Vl 


association with The British Museum. By James Putnam. 
I11.:N. Watton, L. Mongomery&N. Wickenden. Designed 
and packaged by David Hawcock Books. Publisher: 
Universe Publishing, A division of Rizzoli International 
Publications, Inc. Pub. Oct., 2003 in U.S.A. ISBN 0-7893- 
0985-8. $29.95. 28 l A x 28 l A cm. 14 pages. 7 double page 
pop-ups + 5 others. In one intriguing pop-up you turn the 
page to remove the mask on the face of a mummy. In 
addition, there is a wonderful tunnel pop-up view of 
Tutankhamun's tomb. The large pop-ups work extremely 
well. This book features many facts about ancient Egypt 
and uses artifacts and art from the British Museum. The 
text is well-written and complements the elaborate pop- 
ups and illustrations. This is a wonderfully engaging book 
for both children and adults. Paper Eng.-Complex. The 
use of the tunnel pop-up is particularly innovative. 



Robert Sabuda. 111. John Tenniel. Paper Eng.:Robert 
Sabuda. Publisher: Little Simon, imprint of Simon & 
Schuster Children's Pub. Div. Pub. 2003 in U.S.A. ISBN 
0-689-84743-2. $24.95. 26 x 21 cm. 12 pages. 6 double 

Rating: 4 

THE POP-UP KAMA SUTRA. By Sir Richard Burton & 
F.F. Arbuthnot. Ill.:Pop-up engineering art by Andy 
Crowson. Paper Eng.:Keith Finch. Publisher: Stewart, 
Tabori & Chang. Pub. 2003 in U.S.A. Produced by PRC 
Pub. Ltd., England. ISBN 1-58479-302-3. $22.50. 26'/ 2 x 26 
cm. 6 large pop-ups + many, many vintage illustrations and 
excerpts. This is a 2000 year old Indian treatise on the art of 
lovemaking in lively pop-up form. Definitely for adults only. 
(There was a completely different Pop-up Kama Sutra 
published in 1984 by Aidan Ellis Pub. Ltd. in England. 
ISBN-0-85628-134-4.) Paper Eng.-Wild! 

Rating: 3 /2 

Paper Eng.:Dennis Meyer. Designer: Treesha Runnells. 
Producer: Intervisual Books. Publisher: Scholastic, Inc. 
Pub.2002 in USA. ISBN 0-439-45193-0. $17.95. 27 l A x 22 
cm. 10 pages. No words. There are quite a few small pop- 
ups, a few larger ones, many lift-fhe-flaps and pull-tabs. 
There is one interesting pop-up of a dragon. Young children 
who are enamored of Harry Potter would enjoy this and the 
other Harry Potter pop-up books which are Harry Potter 
Hogwarts School: A Magical 3-D Carousel and Harry 
Potter and the Sorcerer's Stone: A Deluxe Pop-up Book. 
Paper Eng.-Should be more exciting considering the source. 

Rating: 4 

THAT'S FUNNY. By Sue Whiting and Stuart Martin. 
Production: Leslie Krey and Mary Bjelobrk. Publisher: 
Glenn Johnstone, The Book Company Publishing Pty 
Limited. Pub. 2003 in Australia. ISBN 1740472721. $12.95. 
24 Vz x 30 cm. 12 pages. 6 large double-page pop-ups. 
Delightful, lovely colored pop-ups and a sweet story that 
would make this a great choice for younger children. Paper 
Eng.: Charming and well done. 


Diogenes, continued from page 2 

The Snow White proved to be an especially good seller 
and needed a fast reprinting in early 1961, receiving the 
subsequent printing number of 722/7 where the 1960 
printing had number 722/6. Together with this reprint 
came three additional Kubasta titles: Table, Lay Yourself 
(apparently in its first Dutch edition), Tip + Top on the 
Farm and Tip + Top at the Zoo, all three exclusively 
distributed in Belgium by Diogenes: 




Tafeltje dek je 



Tip + Top op de boerderij 



Tip + Top in de dierentuin 



Though Diogenes had nine Kubasta titles on its list in 
their fall 1961 catalog, still present in files of Ms. 
Neirinck, only eight of them show. The The Sleeping 
Beauty had apparently sold out before fall as did Hansel 
andGretel and Cinderella and reprints of the three books 
came out early 1962. It is remarkable to see that The 
Sleeping Beauty and Hansel and Gretel got the printing 
numbers next to the 1960 editions, stating that both books 
had not been reprinted in two years. Had Artia flooded the 
Dutch market in 1960 with that many copies that it took 
time to sell all of them? With the two reprints came two 
more titles from the Tip + Top-series: Tip + Top Build a 
Motorcar and Tip + Top in the Forest, completing the 
quartet that was published with a Belgian imprint. 3 

Hans en Grietje 









Tip + Top in het bos 



Tip + Top als autorijders 



And that was it. Diogenes did not publish any more 
Kubasta pop-up books after that. Neither did the contact 
with the imported pop-up books inspire her to make 
further original ones as was the case with Mr. Lefebvre. In 
the 1964 catalog of Diogenes that I have seen, no 
panorama books at all can be found. Asking Ms. Neirinck 
the reason for it, she remembers that in 1963 or 1964 the 
Persagentschap stopped the distribution of her pop-up 
books to their newspaper and magazine resellers while 
choosing other, cheaper (and for them more profitable) 
panorama books. Most likely they were the books 
published from 1963 onwards, both in Dutch and French, 
by HEMMA, a company from Chevron in Wallony, the 
French speaking part of Belgium . We have already seen in 
our earlier contribution how the Lefebvre company also 
suffered from their rivalry. 

To reduce her remaining stock Ms. Neirinck sold all of 
them to Standaard, the largest chain of bookshops in 

Belgium. To give an indication of the size of the remaining 
stock, copies of the Diogenes Kubasta's could still be 
purchased in Standaard bookshops well into the early 

Although Ms. Neirinck was once invited to visit the Artia 
premises in Prague at their expense, she never went there. 
However, she remembers well being helped out in her 
contacts with the company by a lady who spoke Dutch 
perfectly. An intriguing story: did Artia have a policy to 
employ people who spoke the languages of the countries they 
were dealing with? Or was this particular case just a 

In 1981, when she was 58 years of age, Ms. Neirinck 
retired. Since she was unmarried and didn't have a capable 
successor, she closed down after exactly 30 years running 
the Diogenes p.v.b.a publishing house. Closing down, also, 
is my contribution on this short chapter in the history of 
publishing pop-up books in Belgium. 

Edited and translated from the Dutch by Theo Gielen. 


1 Francois de Geest, "Jos. Lefebvre: Flemish publisher of 
pop-up books with Artia and Carvajal" Movable Stationery, 
volume 1 1, #3 (August, 2003) pages 1-2 and 12-17. 

2 The "p.v.b.a." stands for the legal form of the personen 
vennootschap met beperkte aansprakelijkheid (personal 
partnership with restricted liability). 

3 What follows is based on the notes I made immediately 
after my two visits with her on June 6 and September 9, 
2002. Out of these notes Theo Gielen once more wrote the 
definitive version of this contribution and translated the text 
into English, for which I would like to thank him again. 

4 In the Lefebvre contribution the figures in error changed 
place (there "732"). At the time that contribution was 
published we had not yet seen a copy of the Hansel and 
Gretel but meanwhile a copy has been purchased and it 
proves to have the number 723/2. 

5 See for further comparison of the Lefebvre editions the 
scheme on page 2 of the contribution as mentioned in note 
1 above. 

b Mr. Gielen, however, found an indication on two 
printings of a German title as published at Frink in Vienna: 
a third edition states "50* - 80 th thousand" and a fourth one 
"81 st - 100 th thousand." So, printings of 20,000 or 30,000 
appear to have been normal - at least for the German market. 
For the much smaller Dutch market relative lower numbers 
of copies seem likely. 

7 Dutch editions of four titles from the Tip + Top series 
have only been published in Holland. The ninth title, Tip + 
Top go Camping, was never translated into Dutch. 


Catalogs Received 

New Publications 

Jo Ann Reisler, Ltd. Catalogues 62 and 63. 360 Glyndon 
St.,NE, Vienna VA. Phone:703-938-2967. Fax: 703-938- 
9057. Email: 

Questions and Answers 

A. When I met the publisher of BBC Worldwide at the 
Frankfurt Bookfair, I inquired about the question Ann 
Montanaro posed in the last issue. She wondered if Harry 
Potter: The Flying Car Pop-up Book (0-563-53262-9) as 
announced by BBC Consumer Publishing, was ever 
published. The answer is no, it has not been published 
since it proved "too difficult to get it assembled with the 
available material." The title, therefore, has definitely 
been cancelled. Theo Gielen 

Q. I am trying to identify a book I remember from the 
late 1930s or 1940s. It had a red board cover and was 10 
or 12-inches by 14-inches. The story was told on the left 
hand page and at the bottom of each page you reached a 
cliff-hanger moment. They you were to lift he sheet of red 
plastic that was over the illustration on the right hand 
page and new details were be visible when the plastic was 
folded back. Those details were in red print and were 
hidden until the plastic was lifted. I remember nothing 
about the story but I remember vividly the magic moment 
when the plastic goes up and you see what happens next. 
Any help would be appreciated. 

Betty Anne Reininga 
Oldsmar, Florida 

Q. I have a copy of Dean 's Movable Book of Children 's 
Sports and Pastimes, London 1875. 1 recently purchased 
two movable cards that were issued earlier (1 840s?) With 
finer engravings and watercolor washes. They are a boy 
riding horseback and a boy putting a toy boat in a pond. 
They have different verses than the book version. They 
probably were issued as Valentine cards. I would be 
interested if anyone has other movable cards from this 
book. The remaining six plates are: boy and girl on a 
seesaw, two girls with a doll, girl playing badminton, boy 
pushing a girl on a swing, boy and girl with a dog, and a 
boy riding a hobbyhorse. This is an early example of 
cross-marketing duplicate images! 

Larry Seidman 
Springfield, Virginia 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, internet sources, 
or other advertising. All titles include pop-ups unless 
otherwise noted. 

Bob the Builder: A Pop-up Surprise Book - Bob and the 
Badgers. 16 pages. BBC Consumer Publishing (Books). 
£2.99. 0-563-49143-4. 

Creativity: The Flowering Tornado. 
By Ginny Ruffner. Bruce Foster, 
paper engineer. Montgomery 
Museum of Fine Arts, Montgomery, 
Alabama. $19.95. 0-89280-040-2. 

Jade Moves House: A 
Touch-and-feel Pop-up Book. 
18 pages. Tango Books. 

My First Jumbo Book of 
Christmas: With Sturdy 
Lift-Up Flaps, 
Touch-And-Feels, Movable 
Parts, and a Pop-up, Too! by 
James Diaz. 10 pages. 12" x 
9". $9.95. Cartwheel Books. 


Sp 3 . 

Pop-up Spooky Castle: A 
Bone-rattling Adventure. By 
Nick Denchfield, 12 pages. 
Macmillan Children's Books. 
£14.99. 0-333-96133-1 

Postman Fox: A Pop-up Book 
and Postcards. 20 pages. 
Tango Books. £10.99. 

Santa's Christmas 
Countdown! (Advent calendar) Gingham Dog Press. $15.95. 



3 9088 01629 3052 

The numbering was incorrect in the table that listed the "yellow series" of Disney books that accompanied the article Jos. 
Lefebvre: Flemish Publisher of Pop-up Books with Artia and Carvqjal on page 14 of the August issue. Corrections to the 
numbers have been made in lines 2.1 - 2.2 and lines 4.1 - 4.3. 

1.1 Bambi 

sb - si 

8 pop-ups. Known both in 
Dutch and French Nr: 
Cuttings are different 


1.2 Bambi 

ps - si 

4 pop-ups 


1.3 Bambi 

sb- ws 

4 pop-ups, different cover 

710 A 

1.4 Bambi 

ps - si 

4 pop-ups, different cover, 
different pop-ups 


1.5 Bambi 

ps - si 

4 pop-ups - French 

1.6 De geboorte van Bambi 

4 pop-ups - French 


1.7 La naissance de Bambi 

ps- ws 

4 pop-ups - French 

701 (?) 

2.1 The 101 Dalmatians. De nacht der kouwe neuzen 

sb - si 

8 pop-ups 


2.2 The 101 Dalmatians. De nacht der kouwe neuzen 

ps - si 

4 pop-ups 


2.3 Pongo & Perdita 

sb- ws 

4 pop-ups 


2.4 101 Dalmatiens 

sb - si 

8 pop-ups 


2.5 101 Dalmatiens 

ps - ws 

4 pop-ups - French 


3.1 Saludos Amigos 

sb - si 

8 pop-ups 


3.2 Saludos Amigos 

ps - si 

4 pop-ups 


3.3 Donald Duck en Jose Carioca 

sb - si 

4 pop-ups 


3.4 Donald Duck en Jose Carioca 

ps - ws 

4 pop-ups 

703 A 

3.5 Donald bij de Inca's 

sb- ws 

4 pop-ups 

703 A 

3.6 Donald bij de Inca's 

ps - ws 

4 pop-ups 

703 A 

4.1 Sneeuwwitje en de zeven dwergen 

sb - si 

8 pop-ups 


4.2 Sneeuwwitje en de zeven dwergen 

sb- ws 

4 pop-ups 


4.3 Blanche Neige et les sept Nains/Sneeuwwitje en 
de zeven dwergen 

ps - ws 

4 pop-ups. in Dutch despite 
bilingual title