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Volume 1 3 
Number 2 



Raphael Tuck & Sons 

Ann Montanaro 

East Brunswick, New Jersey 

This article is based on a paper presented 
in September, 2005 at The Movable Book 
Society Conference in San Diego, 

The movable books produced by Raphael Tuck & Sons 
represent a very small segment of the vast printing output 
of the company so it is useful to have understanding of the 
variety of work they produced to put their movable books 
into perspective. The primary source of the biographical 
information about the Tuck family and history of the 
company came from The Romance of the House of 
Raphael Tuck & Sons Ltd published in 1966 on the 
occasion of the company's 100" 1 anniversary. 

Raphael Tuck 
was born in 
1821 in a small 
village in 
Eastern Prussia, 
an area that is 
now Poland. He 
worked as a 
carpenter and at 
age 27 married 
Lissner. To 
improve their 
opportunity to 
increase their 
income, the 
Tucks moved to 
Breslau. The 
family grew 
and by the 
earlyl860s they had seven children, four sons and three 
daughters. Their lives were disrupted by the Prusso- 
Danish and Austrian War (1864-1866) and the decision 
was made to move again. Raphael went to London in 1865 
and found work and housing; his family soon followed. 

Within a year or two after arriving in London, Raphael 
and Ernestine opened a small shop where they sold prints 

Raphael Tuck & Sons 

and frames. The shop flourished and the business expanded 
rapidly. Ernestine proved to be a good business woman, an 
organizer by nature and a perfect administrator. Raphael was 
very creative, skilled technically, and also a perfectionist. 

In 1 869 they moved to larger premises and sons Herman, 
Adolph and Gustave joined the business. In addition to the 
selling and framing of pictures they entered the field of 
publishing, producing black and white lithographs, 
oleographs, and chromolithographs. Special attention was 
paid to color reproductions. 

By 1 870 the contribution of the three sons to the business 
success was obvious. Adolph, who worked directly with his 
father, had the same business instinct and strived for the 
same level of perfection. In the official company history it is 
noted that Gustave and Herman were salesman, encouraged 
by their mother who, at the end of the day would have them 
"compare notes, and the one who had achieved the best sales 
would have the biggest egg for breakfast the next morning!" 
In a print ad from the 1870s the company promotes their 
specialization in "Oleography, chromos, prints, and coloured 
scraps in sheets and relief. Christmas and New Year cards, 
birthday, wedding and text cards." 1 

I brief discussion of 19 th century printing may help 
contribute to an understanding of the influence of Raphael 
Tuck & Sons as a publisher. The company listed "chromos" 
or chromolithographed pictures as one of their specialities. 
It is the process of chromolithography that resulted in the 
beautiful books, cards, and prints produced in the mid- 19th 
century. A chromolithograph is a color lithograph. 
Lithography was invented in at the end of the 1 8 ,h century 
and originally it was a printing process achieved by etching 
an image into stone with nitric acid to create either slightly 
elevated or slightly depressed image areas. Eventually, as 
workers began to fully understand the chemical nature of the 
process, designs were drawn or painted with greasy inks 
onto water-absorbing limestone. The non-image areas were 
treated with gum arabic and were well moistened with water, 
after which ink was applied with a roller. The oily ink 
adhered only to the greasy image area and was repelled by 
the water-saturated, non-image area. The image was then 
printed with a special press in which a scraper bar was 
drawn across a sheet of paper laid over the inked-up stone. 
Lithographic stones were heavy, cumbersome, difficult to 
register, and subject to breakage. Lithographs were printed 
in one color, usually black, and any color was added to the 
print by hand. 2 Continued on page 2 

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 11654, New Brunswick, New Jersey 08906 USA. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 

e-mail: montanar@rci. rutgers. edu 

Fax: 732-445-5888 

The deadline for the next issue is August 15. 

Continued from page 1 

Chromolithography is a color process in which each of 
many colors are printed by separate stones. This requires 
both a number of stones and a very precise method of 
placing the stones so that each color is properly applied 
over the previous color. To be a classified a 
chromolithograph at least three stones have to be used but 
sometimes as many as 15 were used. In the 19' h century 
the Germans developed the most sophisticated printing 
processes using chromolithography. The far less costly 
advances of photomechanical methods made 
chromolithography all but obsolete by the turn of the 20* 
century. Yet, no other technique has come close to 
capturing the deep and rich oil based colors of the original 
chomolithographs. It is interesting to note that both paper 
embossing and die-cutting, used extensively by Tuck, were 
also mid- 19th century inventions. 3 

enterprise, new ideas, and advancement. In 1880 he took a 
step that was to mark the beginning of Christmas cards as a 
British custom. Adolph offered prizes worth a total of 500 
guineas (estimated to be more than $ 1 0,000 today) for new 
Christmas cards designs. Five thousand designs were 
submitted and they were judged by members of the Royal 
Academy. An exhibition was held in London and 
newspapers around the world reported the enormous success. 
The Saturday Review, reporting on the exhibition, said that 
"Mr. Raphael Tuck awoke to find himself famous." This 
pioneering event marked the turning point of Christmas 
cards being the accepted way of expressing sentiment and 
goodwill at Christmas time. Christmas cards were in 
common use thereafter and it is reported that in 1910 Tuck 
had over 4,000 card designs. 4 

Many of the 
Christmas cards from the 
late 19 ,h century did not 
feature the art work 
usually associated with 
contemporary Christmas 
cards. These following 
examples are Christmas 
cards from the 1 880s and 
1890s from the Lilly 
Library collection at 
Indiana University. 

In 1881, at age 60, 
Raphael Tuck retired 
from the business. A 
partnership had been 

created with sons Adolph, Herman, and Gustave who were 
determined to carry on and expand the business. 

Christmas card 


Christmas card 

Greeting cards of all 
kinds were an important 
part of Tuck's business. 
Christmas cards were 
particularly successful; 
the first of them was 
issued in 1871 and their 
popularity increased 
every year. Adolph Tuck 
was very influential in 
promoting this side of 
the business. He was 
described as having a 
"dynamic personality, 
possessing both a 
business and creative 
genius supported by 

untiring energy." He was a firm believer in 

Adolph Tuck, who led the company after his 
father's retirement, was constantly looking for new artists 
and new ideas. In 1895, he again offered prizes, this time 
especially for amateur writers and painters. There were more 
than 4,000 prizes in money and "judges' diplomas" for the 
winners in the different groups, including a children's 
group. Members of the Royal Academy were again the 
judges and there were about 10,000 contributions and 2,500 
of the entries were exhibited in the Galleries of the Royal 
Institute of Painters in Water Colours in London. 5 

Prior to the 1895 competition, Adolph had offered 
compensation to the renowned British poet Alfred, Lord 
Tennyson to write twelve verses of 8 lines to be used in 
Tuck's cards. Tennyson, who was then 80 years old and in 
poor health, reluctantly declined the offer. 

Continued on pagelO 

Danish Record Label 
Presents Movable LP Album Covers 

Anton Johannes Hejl 
Arhus, Denmark 

I am proud to present a project that is more than a bit 
out of the ordinary - a vinyl LP that is an object of art. I 
am a musician and the owner of the Fabulous 
Gramophone Record Company. This is the story of how a 
project involving audiophile recording techniques, Half- 
Speed vinyl mastering and 300 year old paper engineering 
came about. 

I have been fascinated by pop-up books for a long time 
and this eventually led me to join The Movable Book 
Society in 2003. Eager to meet other people in Denmark 
with this interest, I searched the web and came in contact 
with Kristine Suhr, who is the only professional paper 
engineer in this country. We exchanged stories of how we 
had stumbled upon pop-up books, and didn't talk again 
until a year later when I began working on this project. 

The release of the first LP in the ONE MIC series from 
Fabulous Gramophone combines the efforts of three 
specialists who each in their own way built upon past 
tradition while expanding the frontiers of new technology. 

Claus Carlsen, who 

plays on the LP, uses 
instruments built by 
himself out of 
cowhorns, snailshells 
and forks. On some 
tracks I join him on 
arco Double-bass. This 
music has a fragile, 
intimate quality, like a 
sound poem. 

Claus Carlsen 

Stan Ricker is the no. 1 expert in transferring sound to 
a vinyl LP. Rather than reducing the music to fit a 
confining technology, Stan pushes the technology to fit the 
music. As an example, he developed The Half-Speed 
Mastering process, which created the birth of super high- 
quality labels such as: Mobile Fidelity Sound Lab, 
Reference Recordings and Windham Hill. We chose to 
record using a single stereo-Ribbon Microphone. A 
recording technique that is challenging because no editing 
is possible, but is magnificent for conveying the feel of 
being in the room with the musicians. 

I have always loved the magical qualities of optical 
illusions, pop-up books, 8 mm films and vinyl LPs. To me 
the magic of analog technology is very poetic. The idea of 
creating a movable album cover struck me while working on 
the music, and I immediately contacted Kristine Suhr 

Kristine's career has taken her from steady work doing art 
conservation at the National Museum to unsteady, but very 
creative, work as a freelance paper engineer. The first craft 
she learned was copper printing. She later moved on to 
conservation, specializing in old books. During her studies 
she came in contact with Ampersand Books and was so 
captivated that she felt she had to construct a book herself. 
Eventually this led her to quit her job at the National 
Museum, and move from the big city of Copenhagen to the 
small island of Men. Here she began cutting and glueing 
paper - learning by doing. She is today an experienced paper 
engineer who has designed four pop-up and carousel books 
(printed in China) for popular children's TV-series and 
several pop-up cards. In 2000 she was part of a team who 
won the Danish design award for a Business presentation 
including pop-ups. 

When I presented 
my idea for creating a 
movable album cover, 
Kristine accepted the 
job right off, even 
though she was busy 
working on an 
exhibition of her own: 
"Movable paintings" 
(the traditional gold 
frames include a lever 
which you pull to start 
some kind of action in 
the painting!). We 
discussed how to best 
communicate the moods 
of the music through 
paper-art. She then constructed four sketches - all strong 
ideas. The one we chose is inspired by a 300 hundred year 
old pop-up card. It is very simple and elegant. You lift a tab 
in the center to open a room where a musician rises up - 
blowing his horns. 

500 LPs are being manufactured in Germany. The 
movable parts are printed in Copenhagen, and the album 
covers will be hand-assembled in Arhus, Denmark. We will 
be looking into possibilities for distribution of this type of 
product to specialty shops and galleries rather than 
traditional record stores. 

Read more at 

Kristine Suhr 

The Australian Pop-up Book Connection 

Corrie Allegro 

This is an abbreviated essay first published in 
The Dromkeen Society Bulletin this year. Tlte 
Society is Australia 's leading organization in 
the promotion and presentation of Australian 
children 's literature and houses a unique 
collection of original artwork, manuscripts and 
published works. 

You might query the heading and say what Australian 
connection is there with pop-ups? Well, there is just a 
tentacle of history and it won't take long to discuss it. In 
the thousands of movable and pop-up books published 
there have only been four Australian books in this genre 
and one of these was a pirated version! 

We claim Dorothy Wall 
as an honorary Australian 
because she came here at 
age 20 from New Zealand 
and later created the great 
Aussie character called 
Blinky Bill while living in 
the Blue Mountains. Wall 
gave credit to her young son 
for the ideas for the cheeky 
and naughty koala. Blinky 
was so popular that within two years after the first story 
was published in Australia a pop-up book version was 
published in America. This book never appeared in 
Australia because it was published illegally and then 
protected by copyright by the U.S. publisher and two 
separate patents for the pop-ups. Whitman Publishing Co. 
in 1935 released Blinky Bill "Magic Action " Book. The 
small book, 18.5cm. square, 26 pages, full color covers 



; ; 



and three color pop-up plates located in the front, middle 
and back of the book, gives no credit to Dorothy Wall nor 
any mention of an Australian connection. The first pop-up 
illustrates Blinky falling into the frog pond; the second one 
shows Blinky approaching Miss Prom's lolly shop and the 
last three-dimensional illustration has him raiding the 
peppermint jar! The price has changed to 5 cents (Australia 
had sterling currency at that time) and the unsuspecting 
American audience had no idea that an Australian cultural 
icon had been stolen and shown in a form that would not be 
seen in Australia for another 5 1 years. 

In 1986 Angus & Robertson Australia, published The 
Pop-up Waltzing Matilda illustrated by Patrick Cook, the 
political cartoonist and satirist. It was paper engineered by 
Ron Van der Meer Paper Design Ltd. in London and 
produced in Cali, Columbia. It is a hard-bound book 
12.5x24cm. with five double-page pop-up spreads with 
multiple tabs that pull up various elements of the story in 
very graphic form. The blurb on the back cover deserves to 
be quoted in full: 

'At last these moving moments in verse are captured in 
pictures that move! To celebrate this momentous occasion, 
we present a guide for the benefit of those previously 
excluded by accident of birth from sharing the mysteries of 
this mythic Australian classic" 

Then there is a list of Aussie terms and translations for 
words covering billabongs to tuckerbags. Of course this book 
is out of print and hard to find (ISBNO-207-15170-9). 

Blinky Bill 

The Pop-up Waltzing Matilda 

We must thank the Australian illustrator Graeme Base 
for his international success with Animalia in 1987, which 
gave the impetus to the next two publications. Penguin 
Books Australia and Harry N. Abrams in the U.S. in 1995 

issued Base's My Grandma Lived in Gooligulch. First 
issued as a standard hardback in 1 983 by Thomas Nelson, 
it became viable for the publishers to repackage previously 
published Base works to a fresh audience and ride on the 
back of the resurgence in the popularity of movable books 
worldwide. New companies from book packagers to third 
world printing firms, producing print runs of up to 

10 0,000 for 
individual books at 
low cost, quickly 
found a niche. Export 
workforces of quality 
craft people created 
hand-made books 
from printers in South 
America, Singapore 
and China. My 
Grandma Lived in 
Gooligulch was 
produced by Compass 
Productions, a book 
packager, and Keith 
Moseley was the 
senior paper engineer 
in designing the 
special effects. 
Moseley, at one time 
called the "grandfather of the new phase of pop-up 
creations" is a superb designer and artist/illustrator in his 
own right and in this publication has given Graeme Base's 
original text and art a fresh life. In this abridged version, 
20x28cm.,with 16 pages with covers, there are five 
double-page pop-up scenes enhanced with three tab- 
activated movables. It all comes together to delight 
children and adults in this poetic tale of an eccentric 
grandma who rides a kangaroo and dines with emus. Tall 
tales from the Australian bush are blended with realism to 
complement the poem's humor. 

In 1996 Penguin Books 
Australia and Abrams followed 
with Lewis Carroll's 
Jabberwocky, a Book ofBrillag 
Dioramas. First published in 
1987 by The Macmillan 
Company, Graeme Base 
redesigned his original version 
as seven multi-layered, three- 
dimensional diorama fold-outs 
so that, when the covers are 
back to back, they form a 
carousel effect in a book 
21x27cm. Produced again by 
Compass Productions in 
California and printed in 
Singapore, the color separations and retouching were done 
by Ross McCartney & Associates in Melbourne. This classic 
nonsense poem taken from Through the Looking Glass and 
set in medieval times has a new lease on life as an inventive 
and ingenious stage-like enactment. These are the books 
with a direct connection with Australia through writers and 

Lewis Carroll's 

My Grandmother Lived in Gooligulch 

Lewis Carroll's Jabberwocky 

I have two pop-up books with an indirect Australian 
angle and both are outstanding examples of pop-up and 
movable art. In 1990 National Geographic published 
Wonderful Animals of Australia. Within a compact size of 
22x24cm. and in six double-page spreads, this volume 
became one of 23 movable pop-up books published by the 
Society from 1985 to 1995. Prepared by The Special 
Publications Division and with literally unlimited resources 
to produce the finest series of educational and entertaining 
books for all ages, the quality remains outstanding. 
Packaged by White Heat Limited and paper engineered by 
James Roger Diaz and Rick Morrison it was printed in Cali, 
Columbia by Carvajal S.A. Pop-ups, tabs, and the folded 
page were all used to explain, enhance and enthral the 
reader in experiencing the unique fauna of Australia. Each 
movement, each motion was calculated to give extra 
dimension to the words and illustrations. The art of three- 
dimensional representation had reached a high plateau that 

was thought to be the pinnacle, but over the next 1 5 years 
it became clear that there is no limit to the imagination of 
the human mind, ingenuity and skills of a dedicated 

workforce and the 
dreams of artists. 

Ron Van der 
Meer, first discussed 
above with Patrick 
Cook's book, is a 
Dutchman working 
outside of London. 
His studio in the 
1990s and early 2 1st 
century produced a 
stunning number of 
innovative and 
publications that set a very high standard for the next 
generation of paper engineers. Monster Island made its 
debut in 198 land this quaint early pop-up book sold over 
300,000 copies; Van der Meer was on his way. The next 
year saw Raymond Briggs' classic, Fungus the Bogeyman 
a risque 3D pop-up, sell 150,000 copies in Britain alone. 
It was the first contemporary movable book commissioned 
by any publishing firm. These huge, successful editions 
gave Van der Meer the chance to broaden the horizon and 
he was the first designer/paper engineer/packager to 
realize there was an adult market ready to purchase 
beautifully made pop-up books. In 1992 the first of his 
"pack" series, the Art Pack, hit the market place. The 
large, three-dimensional, multi-layered Art Pack was 
quickly followed by The Maths Pack, The Brain Pack and 
the Australian interest is found in The Architecture Pack 
of 1997. Full with pop-ups, pullouts and interactive paper 
models, the generous size of a 28cm. square book with 
seven double-page spreads has the capability of giving the 
reader a tour of architecture history in an irresistible and 

informative manner. 

As you open the fourth 
double-page spread the 
Sydney Opera House 
literally soars over twelve 
centimeters high from the 
center fold pages. In stark 
black and white, the 
scalloped sails represented 
here in exquisite complicated paper modeling, reflect in 
accurate detail the timeless elegance of architect Jorn 
Utzon's vision. The book's chapter is called "New 
materials, New shapes," and in discussing steel, concrete 
and plastic, the age-old media of paper utilized by creative 
designers can explain and educate the lay person using 
methods dating back centuries. Designed with only paper, 
clever folding, and strategically placed glue spots, the 

strength of this construction has to be felt and studied. This 
tactile element is one of the senses actively involved when 
you handle a great pop-up book. Your first thought usually 
is, how did they make this? Why doesn't it fall apart? Of 
course the attrition rate is high for pop-up books are to be 
read and enjoyed by all. Glance at the antiquarian bookseller 
lists and you can see how hard it is to find older stock. 

Sydney Opera House in The Architecture Pack 

Why have there not been more Australian movable/pop- 
up books or Australian content discussed in other 
publications? The simple anecdotal answer is where we are 
located and our miniscule presence in the publishing world. 
Until recently we were divided and carved up between the 
English and American publishers. To play on the world 
stage for bidding rights, justification comes through sales 
and even though Australians per capita are one of the 
world's prolific book buyers, we sit at the back of the queue 
to receive the leftovers and remainders. 

But what we and every other society through the ages 
have had are collectors, those intrepid individuals who 
gather, collate, enthuse and then pass on to the next 
generation of unofficial hoarders their booty. Nicholas A. 
Basbanes, in his wonderful book ,4 Gentle Madness profiles 
" ...bibliophiles and bibliomanes past and present, and sets 
them off against an eternal passion for books that has been 
apparent over the past twenty-five centuries. " It is the 
illogical, extravagant and, yes, selfish collector who 
maintains beyond common sense the desire and need of the 
hunt for the never-ending gap in any collection. 

I may only have four Australian related pop-up books out 
of many thousands, but all together they are samples of an 
art in book-making that is sublime, soothing for the mind 
and incredibly exciting. My 25 years of collecting these 
wonderful books has been a labor of discovery and 
enjoyment for all the combined skills needed in creating 
hand-made ephemeral that simply says "open up and be 

Movable Reviews 

Marilyn Olin 
Livingston, New Jersey 

1 = AWFUL 2 = POOR 

3 = O.K. 4 = GOOD 


Rating: 4H 

m\°J^BS^<J a By 


FLY. Illustrated by Claudia Rueda. Designed by Treesha 

Runnells. Paper engineering by Bruce Reifel and Rodger 

Smith. Published 

by Piggy Toes 

Press in 2004 in 

Los Angeles. 

ISBN 1-58117- 

267-2. S12.95. 

About 8" x 11". 

14 pages. 7 


double-page pop- 

ups + a movable 

cover illustration. 

This funny children's song has found a wonderfully 

amusing illustrator in Claudia Rueda and the perfect paper 

engineers to make her illustrations come alive. The pop- 

ups are original and absolutely delightful. The old lady is 

warm, witty and full of whimsy. This is a charming book. 

Paper Eng.: Original and amusing. 



Rating: D 

AMERICA THE BEAUTIFUL. Paper engineering, 
design and illustrations by Robert Sabuda. Published by 

Little Simon, an imprint of 
Simon & Schuster 
Children's Publishing 
Division in Oct., 2004. 
ISBN 0-689-84744-0. 
$26.95. 26 x 21 cm. 14 
pages. 7 phenomenal 
double-page pop-ups. 
These intricate pop-ups are 
tied to the words of the 
song, "America the 
Beautiful". They are 
unbelievably complex and 
lovely. All of the pop-ups 
are in white, except for the Golden Gate Bridge, and this 
adds an elegance and dignity to the book. The bridge is 
really an architectural masterpiece of paper engineering. 
Each pop-up is more exciting than the previous one. A 
must own for any collector. Paper Eng.: Magnificent! 







Rating: 4H 


Original concept, paper 
engineering, and pop- 
up illustrations by 
Anton Radevsky. Art 
director: Krassimira 
Despotova. Created by 
Kibea Publishing 
Company. Published by 
Universe Publishing, a 

division of Rizzoli International Publications, Inc. in New 
York City. Published Dec, 2004. ISBN 0-7893-1188-7. 
$39.95. HVi" x 1 VA". 6 double-page pop-ups. There are 12 
pages with large side flaps, within which 21 additional 
pop-ups are contained. This elaborate pop-up book features 
world-wide architectural constructions, both historical and 
contemporary. In some cases it does so in an ingenious way, 
such as the Chrysler Building which keeps telescoping. 
There is also an intricate Notre-Dame Cathedral, on which 
you attach the main facade, and a 3D tunnel view of its 
interior through the main door. From the Taj Mahal to the 
Guggenheim Museum in Bilboa, you have a pop-up of each 
building, but also some history about it and its impact on 
architecture through time. Paper Eng: This is complex 
book, but it works well. 


Written by Judy 
Revenson. Illustrations 
and paper engineering by 
Tanya Roitman. 
Designed by On the Fly 
International, LLC. 
Published by Disney 
Enterprises, Inc. in June 
2004. ISBN 0-7868- 
5423-5. $24.95. 5 large 
double-page pop-ups and a few smaller ones. Younger 
children will enjoy the pop-ups of Walt Disney World, 
especially if they have been there. Older children and adults 
will find the many facts given about the park fascinating. 
The pop-up of Epcot is well-done and works perfectly. I also 
liked the way the borders were utilized for additional facts. 
This is a more intricate pop-up book than previous ones by 
Disney. I hope this is a forecast of those we may see in the 
future. Paper Eng: Colorful and fun. 

Rating: 4 

Rating: 3H 

SPEED MACHINES. Illustrations by Keith Robinson. 
Design by Melanie Random. Paper engineering by Matt 
Powers. Published by Piggy Toes Press, which is a 
trademark of Intervisual Books, Inc. that produced this 
book. ISBN 1-581 17-323-7. $14.95. 21 x 26 cm. 8pages 
+ movable cover. 4 double-page spreads. This is not really 
a pop-up, but mainly a lift-the-flap book with working 
gears which turn by twisting a wheel for each of the four 
machines. There is a racing car, a jet plane, a 
motorcycle, and a train shown within the book. The fact 
that this book calls itself a pop-up because each machine 
lifts itself slightly off the page as you turn to it bothers me. 
Young children enamored of machines will enjoy it. 
Paper Eng: Well done, but more mechanical than pop-up. 

Rating: 4H 


By Derek Gallagher. 
Illustrated by Sally 
Blakemore. Paper 
engineering by E. 
Banashek, S. 
Blakemore, A. 
Esparsen. Designed 
by Arty Projects 
Studio, Ltd. Published by Western National Parks 
Association in 2004. ISBN 1-58369-048-4. $16.95. 9%" 
x 8 3 /4 M . 10 pages. 5 double-page pop-ups and many smaller 
ones and lots of pull-tabs. All the large pop-ups in this 
book are double-sided and fascinating. Not enough use is 
made of this possibility in most books. The people who 
were involved in this book tried to add interest in every 
way. Unlike many pop-up books where expense is an 
important consideration, nothing was eliminated that adds 
to its visual impact. This book is about some of our 
national parks and monuments and is full of wonderful 
illustrations and facts. This is a lovely book. 
Paper Eng.: Terrific. 

scene. This book is lovely. A child would be delighted to 
see these stories come alive while someone is reading the 
stories to them. Paper Eng.: Complex and works well. 

The Flip Book Show 

Theo Gielen 
The Netherlands 

Though not really a movable nor a pop-up book, the 
charm of flip books attracts many of the same collectors. I 
sat upright when I saw on German television a short item on 
the May 6 lh opening of the first ever exhibition of flip books 
in the Kunsthalle in Diisseldorf, Germany: "Daumenkino / 
The Flip Book Show." 

The exhibit presents a survey of the history of this pre- 
cinema oddity, from the time British printer John Barnes 
Linnett patented it in 1 868 until our very days. The use of 
the sequential string of pictures by artists and film makers in 
flip books, in experimental movies, and in artists' books is 
shown. Flip books by over 170 artists have been collected 
and displayes in sections like monographic retrospectives 
(Ruth Hayes and George Griffin), surveys of certain forms of 
pictures (portrait, short movie), the history of animation of 
erotic topics, and later historical periods (1960s- 1970s). 

The flip books by modern artists get special attention in 
the exhibition, showing works of, amongst others, John 
Baldessari, Volker Gerling, Gilbert & George, Douglas 
Gordon, Keith Haring, Sigrun Kohler, Eric Lanz, Bruce 
Nauman, Tony Oursler, Dieter Roth, and Andy Warhol. 
Some books with several copies are available, can be flipped 
by the visitors themselves. However, for the historical and 
rarer books, an alternative presentation has been developed. 

The exhibition lasts until July 17, 2005 and is 
accompanied by an extensive publication with DVD, to be 
published by the Snoeck Verlagsgesellschaft in Cologne. 

Kunsthalle Diisseldorf 
Grabbeplatz 4 
D-402 13 Diisseldorf 

Rating 4H 

CAROUSEL BOOK. By Beatrix Potter. Paper 
engineering by Keith Finch. Frederick Warne, published 
by the Penguin Group, Penguin Books Ltd. in 2004. ISBN 
0-7232-4997-0. $18.99. 12" x 10". This book begins with 
the tales of Peter Rabbit, Jeremy Fisher, and then Tom 
Kitten. After that it opens into a carousel book with three 
wonderful 3-D scenes; Peter Rabbit's burrow. Tom 
Kitten's house, and Jeremy Fisher's lily pad. All the 
characters are in a separate envelope to insert into each 

Save the Dates 

The next conference of The Movable Book Society will be 
held in Chicago, Illinois from September 14-16, 2006. More 
information will be available later this year. 

An exhibition of historical English (or mostly English) 
pop-up books is being planned for Birmingham, England in 
June, 2007. 

Raphael Tuck & Sons 

Compiled by Ann Montanaro 
May, 2005 

Note: Unless otherwise specified, the following bibliographic descriptions come from the catalog 
records supplied by one or more of the owning institutions. If no institution follows the citation, the 
title is not listed in OCLC's WorldCat or the RLG Union Catalog, databases of library and museum 
holdings, each recording over 45 million titles. 

Movable Books 

AH Baba and the Forty- Thieves: With "Come to Life" Pictures. Father Tuck "Come-to-Life" Little Books Series. 
1952. (British Library; University of Virginia). 

Alice in Wonderland: With "Come to Life" Panorama. Storyland Treasury. Ada Bowley, illustrator. [1932]. TA" - 
9 3 A". One pop-up. (University of California, Los Angeles). 

Am Meeresstrand: Nach einemlOO Jahre alien Stehaufbilderbuch. Germany, J.F. Schreiber, n.d (1986?). 22 x 30 cm. 
Reproduction of Seaside Pleasures with 20 lh illustrations by Milada Krautmann and text by Hildegarde Krahe. 

Annie Get Your Gun: Seen Through the Eyes of a Child, Adapted from the Metro-Goldwyn-Mayer Technicolor 
Production. [1950]. Four pop-ups. (British Library). 

Arabian Nights Stories with "Come to Life" Panorama. Illustrated by H. G. Theaker and others. [1920-1930]. 156 
pages. "One double-spread pop-up." Bookseller's Description. 

Behind the Curtain in Faiiyland. [1891]. "Five panel panorama with pop-up pictures." Bookseller's Description. 

Christopher: With "Come to Life" Pictures. Father Tuck "Come-to-Life" Little Books Series. 1952. Two pop-ups. 
(British Library). 

Cinderella: With "Come to Life" Pictures. Father Tuck "Come-to-Life" Little Books Series. 1952. (British Library; 
Western Michigan University). 

Comical Kittens and their Frolics. 1 896. "Two movable plates. "(Boston University, Yale University). 

Cosy Cot Farm with Pictures and Verses the Children to Charm. [1 895]. Two double-page pop-ups. (San Francisco 
State University). 

Country Life. 1896. "6 tier color litho dimensional scene." Bookseller's description. 

Days of Delight. 1896. August 18, 2004 

Dick Whittington: With "Come-to-Life" Pictures. Father Tuck "Come-to-Life" Little Books Series. Dinah, illustrator. 
[1952]. 20 pages. Two double-page pop-ups. Bookseller's description. 

The Doll's House. [1890]. "Six fold-out, stand-up pages illustrating five rooms in the doll's house." (Osborne 
Collection, Toronto Public Library). 

Down on the Farm: With "Come to Life " Pictures. Father Tuck "Come-to-Life" Little Books Series. 1 952. (British 

Fairy Tales Adventures: With "Come to Life " Panorama. Storyland Treasury. Illustrated by Molly Benatar. M. and A. 
L. Bowley, et. al. [192-?]. 152 pages. "One double-page, color pop-out with all the nursery characters." Bookseller's 

Family Portraits. Father Tuck's Mechanical Series. [189-?].Two tab-lifted illustrations. (Private collection). 

Father Tuck's ABC Spelling Book. Father Tuck's Little Lesson Series. [189-?]. Two double-page pop-ups. (University 
of Florida). 

Father Tuck's Annual for Little People with "Come to Life " Pictures. London, Paris, New York, n.d. 265x195 mm. 
1 1 1, (1) p. Cloth spine; cover illustration by Beatrice Mallet. Published between 1932 and 1934. Two pop-up 
illustrations: "Fine Fun on the Sands" and "The Animals went in Two by Two." First item: "Something very special." 
Stories with b/w illustrations, two-tone illustrations in blue, green, red or yellow, and four color plates. Information 
supplied by Theo Gielen. 

Father Tuck's Annual for Little People with "Come to Life" Pictures. London, Paris, New York, n.d. 265x195 mm. 
Cover illustration shows a boy wearing a red shirt and green hat, holding a dog, with golf clubs visible over the boy's 
shoulder. Includes two pop-up illustrations: an urban street scene with people on horseback and an elephant with rider 
in the foreground and a second scene with toys, dolls, and stuffed animals. 

Father Tuck's Annual for Little People with "Come to Life" Pictures. London, Paris, New York, n.d. 265x195 mm. 
1 1 1, (1) p. Cloth spine; cover illustration of two children in clown costumes by Beatrice Mallet. Published between 
1932 and 1934. Two pop-up illustrations: "Birdland" and "Nursery Rhyme Friends." Stories with b/w illustrations, 
two-tone illustrations in blue, green, red or yellow, and four color plates. Information supplied by Theo Gielen. 

Father Tuck's Annual for Little People with "Come to Life" Pictures. London, Paris, New York, n.d. 265x195 mm. 
1 10, (1) p. Cloth spine; cover illustration by Beatrice Mallet featuring two children, one riding on the back of the 
other, in a snowy scene with a snowman in the background. Published between 1932 and 1934. Two pop-up 
illustrations: "At School in Catland" and "Life at the Farm." First item: "Many Happy Returns. " Stories with b/w 
illustrations, two-tone illustrations in blue, green, red or yellow, and four color plates. Information supplied by Theo 

See also Tuck's Annual with Realistic Surprise Panoramas. 

Father Tuck's Book of Surprises. Father Tuck's "Mechanical Series." Printed in Bavaria. (Private collection). 

Father Tuck's Fairy Tales. Father Tuck's Mechanical Series. Printed in Bavaria. [1890], Four tab-operated plates. 

Father Tuck's Holiday Hours. Father Tuck's Mechanical Series. [192-?]. 4 pop-ups. (Private collection). 

Father Tuck's Pets on the Farm ABC. [1900]. "With 4 chromolithographed movable plates with levers." Bookseller's 

Fireside pictures. [1890]. "8 Moveables." Bookseller's description. 

For Freedom! A Panoramic Picture Stoiy Book of Our Navy-Anny & Air Force. [ 1 94-?]. 3 pop-ups. (Private 

Friends in the Countiy. Father Tuck's Mechanical Series. [190-?]. 10 pages. Four tab-operated mechanicals. Private 

Fun at the Circus. Combined Expanding Toy and Painting Book Series #608. [1892]. (Osborne Collection, Toronto 
Public Library; University of California, Los Angeles; University of Florida; University of North Texas). 

Fun for Little Folks. Father Tuck's Mechanical Series.[1890]. Pull-down plates. (Plaining. Movable Books, pp. 36-37). 

The Gingerbread Boy: Animated Pictures. [Julian Wehr images and mechanicals without attribution.] 1950. (British 

Granny 's Stories About Animals. Father Tuck's Mechanical Series. [ 1 890]. "Four full-color movable illustrations 
operated by levers. "(University of Florida). 

In Father Tuck's Playroom. [1900]. "Eight fold-down plates." (Private collection). 

I'll Tell You a Story: With "Come to Life" Panorama. Come to Life Series. [193-?]. 8 'A" x 9Vi". 24 pages. One double- 
page pop-up. (Private collection). 

Isn 't It Funny! 1 895. "4 full-colour, movable illustrations operated by levers." 

Jack and the Beanstalk: Animated Pictures. [Julian Wehr images and mechanicals without attribution.] 1950. [British 
Library; University of Oxford). 

Jolly Companions. [1896]. Two double-page pop-ups showing "The Pleasures of Summer" and "The Pleasures of 
Winter." (Private collection). 

Little Playmates at Work. Father Tuck's Mechanical Series. Text by Clifton Bingham. Illustrated by M. Bowley. 
[1917]. Bookseller's description:"There are four full-page, full color, three-dimensional, pull-down pop-ups which 
make into two separate planes of full color pictures to complete the scene." Renier Collection). 

Little Red Riding Hood. Artistic Series #605. [1900]. "Contains colored picture panels that when pulled to one side 
pop-up to give a 3D appearance." (Utah State University). 

Little Red Riding Hood. The Combined Expanding Toy and Painting Book Series. 605. [1900]. (Kent State University; 
University of Florida). 

Little Red Riding Hood: With "Come to Life " Pictures. Father Tuck's "Come-to-Life" Little Books Series. 1952. 
(British Library). 

Little Red Riding Hood: Animated Pictures. By Julian Wehr. 1950. (British Library; Cotsen Collection, Princeton 
University; University of Florida). 

Merry Times. 1895. "Four transformational slat plates." Bookseller's description. 

The Night Before Christmas: Animated Pictures. [Julian Wehr images without attribution.] 1950. (British Library). 

Nursery Rhymes: With "Come to Life" Pictures. Father Tuck's "Come-to-Life" Little Books Series. 1952. Two fan- 
folded pop-ups. (British Library). 

Old Nurseiy Friends. Father Tuck's Mechanical Series. [1895]. Description from book seller: "4 full-page, colour 
moveable illustrations, operated by levers." 

Our Friends at the Zoo. Combined Expanding Toy and Painting Book Series #609. [1900]. "Six coloured plates with 
manually operated overlays which when raised from the page give depth to the pictures." (Osborne Collection, Toronto 
Public Library; University of Oxford). 

Panoramic Pictures at the Zoo. No. 9910. [189-?]. Folding book: 21 x 162 cm. full size, folds to 21 x 27 cm. 
Panoramic design with each of the 6 panels having a pull-down plate. Each pull-down is of an animal in a cage: lions, 
tigers, camels, zebras, deer, bears. (University of California, Los Angeles). 

Play and Pleasure. 1896. "Children's book with illustrations with movable tabs." (Glendale [California] Public 
Library). 12 pages 25 cm. 

Playtime Pictures: Pictures and Rhymes for Holiday Times. By Clifton Bingham. [1881-1895]. "Four pop-up 
illustrations printed in colour." (Osborne Collection, Toronto Public Library). 

Pleasure Pages. 1890. 9Va" x 12". "Ten pages with four transformation pictures. 1 st transformation: petting donkey to 
picking wild flowers. 2nd transformation: picking blackberries to standing in meadow. 3rd transformation: by the sea 
to picking wild flowers. 4th transformation: playing with rabbits to sleeping in haystack" Bookseller's description. 

Puss in Boots: Animated Pictures . [Julian Wehr images and mechanicals without attribution.] 1950. (British Library). 

Robinson Crusoe. Father Tuck's Mechanical Series. [1890]. "Four tab-operated color plates follow Crusoe's 
adventures." Bookseller's catalog. 

Robinson Crusoe. The Combined Expanding Toy and Painting Book #604. [1893]. One large double-page pop-up. 
(University of California, Los Angeles). 

Robinson Crusoe: "With come to life panorama." By Defoe Daniel [abridged]. Illustrated by Howard Davie and R. B. 
Ogle. [1932]. One double-page pop-up. Private collection. 

Seaside Pleasures. 1896. "6 page diorama." Bookseller's description. 

Sea stories and other stories: "With come to life panorama. " By Major Charles Gilson, Natalie Joan and others. 
Illustrated by C. E. Brock and T. Cuneo. [1930]. 160 pages. '"Come to Life' panorama is a card cut out of ships which 
stand out against the page." (Buffalo & Erie County [New York] Public Library). Bookseller's description. 

Slovenly Peter. Father Tuck's Mechanical Series. [189-?]. Horizontal tabs. (University of Minnesota, Minneapolis). 
[Haining, pp.38-39] 

Snow-White: With "Come to Life" pictures. Father Tuck "Come-to-Life" Little Books Series. 1952. (British Library). 

Snow White: Animated Pictures. Animations by Julian Wehr. Duenwald Printing Corporation copyright holder. 1949. 
(British Library; University of Florida). 

Stories from Dickens for Boys and Girls: With "Come to Life " Panorama. The Storyland Treasury. [ 1 93-?]. One 
double-page pop-up. (Boston University). 

Summer Surprises. 1 896. Two panoramic, peep-show-style pictures. (Haining, Movable Books, pp. 40-41. ). 

The Three Kittens. The Combined Expanding Toy and Painting Book #607. [1900-?]. Private collection. 

Three Little Bears. The Combined Expanding Toy and Painting Book #606. [190-?]. (Osborne Collection, Toronto 
Public Library). 

To Market We Will Go. Father Tuck's Mechanical Series.[189-?]. "Layered cut-out illustrations are hinged to produce 
a three-dimensional effect. "(University of Delaware). 

To Picture Land: Personally Conducted by Father Tuck. 1895. Two double-page pop-ups: "Friends at the Farm" and 
"Seaside Pleasures." (Boston University. University of California, Los Angeles). 

Told by the Animals: With "Come to Life" Panorama. The Storyland Treasury. [192-?]. One pop-up. (University of 

Tuck's Annual with Realistic Surprise Panoramas. London. Paris. New York. Raphael Tuck & Sons Ltd.. [1932]. 
265x200 mm. 144, (1) p. Cloth spine; cover illustration by Molly Benatar. Three pop-up illustrations: "Travels by 
train," "By sea and air," and "Fun at the circus." Stories with b/w illustrations and yellow: four color plates. Volume 
34 of Tuck's Annual, the first under its new name (since 1899 they were entitled "Father Tuck's Annual") and the 
first to contain pop-up panoramic models - as the preface reads. Information supplied by Theo Gielen. 

Tuck's Annual with Realistic Surprise Panoramas. London, Paris, New York, Raphael Tuck & Sons Ltd., [1933]. 
265x200 mm. 144, (1) p. Cloth spine; cover illustration of a boy and a girl under an umbrella in the snow, by Molly 
Benatar. Three pop-up illustrations: "The Joy of Motoring," "Changing Guard, Whitehall," and "All the Fun of the 
Fair." Volume 35 of the series. First story: "This wonderful world." Stories with b/w illustrations and yellow; four 
color plates. Information supplied by Theo Gielen. 

Tuck's Annual with Realistic Surprise Panoramas. London, Paris, New York, Raphael Tuck & Sons Ltd., [1934]. 
265x195 mm. Ill, (1) p. Cloth spine; cover illustration of a boy and a girl sitting in a carriage, by Molly Benatar. Two 
pop-up illustrations: "The Tower Bridge" and "Glorious Days of Sport". Volume 36 of the series. First story: "The 
Spirit of Progress." Stories with b/w illustrations and four color plates. Information supplied by Theo Gielen. 

Tuck's Annual with Realistic Surprise Panoramas. London, Paris, New York, Raphael Tuck & Sons Ltd., [1935]. 
265x195 mm. 1 11, (1) p. Cloth spine; cover illustration by Molly Benatar. Two pop-up illustrations: "An Indian 
Durbar" and "The Tower of London." The 37th and last volume of annuals in the series. Stories with b/w illustrations 
and four color plates. Information supplied by Theo Gielen. 

See also: Father Tuck 's Annual for Little People with "Come to Life " Pictures. 

Under the Greenwood Tree. Father Tuck's Mechanical Series. [1900]. Bookseller's description: "A six panel 
peepshow with intricate cut-outs showing a grand picnic in the woods." Cataloging record: "Three-dimensional color 
picture at back of book; in slipcase." (Buffalo & Erie County [New York] Public Library). 

A Very Good Book. Father Tuck's Mechanical Series. [1897]. "32 color lithograph illustrations on 8 tabs which are 
pulled to change the illustrations viewed through cut outs."(Cotsen Collection, Princeton University). 

The Water Babies: With "Come to Life" panorama. Come to Life Series. [192-?]. One double-page pop-up. 
(Smithsonian Institution). 

We've Tales to Tell: With "Come to Life" panorama. Come to Life Series. [193-?]. One double-page pop-up. (Private 

With Father Tuck in Playtime. Father Tuck's Mechanical Series with Movable Figures. Text by Clifton Bingham. 
Illustrations by M. Bowley. [1910]. "Four stand-up plates."; August 18, 2004. 

Panorama Books 

Airport Scenic Panorama Book. n.d. [1955]. 12" x 10 14". "Includes more than 30 paper figures. Each of the four 
panels is beautifully illustrated with chromolithographs. There are numbered slats into which the reader inserts the 
corresponding figure to complete the airport scene and most are interchangeable. Typical 50's style illustration and 
nice." Bookseller's description. 

Alice in Wonderland Panorama with Movable Pictures. 1926. Description from Bookseller's catalog:"The rear cover 
has a pocket with a covering flap which houses 15 card figures of Alice and the other Wonderland characters. The 
book folds out panorama style to reveal two pages of story and black and white drawings on the same side as the 
covers. The reverse side is four pages of color lithograph illustrations with 15 numbered slots to pop the 15 characters 
into." (University of Illinois; Princeton University). 

The Army and Navy. [Between 1913 and 1925]. "Plates attached to both sides of four cardboard panels, folded out to 
form a strip 23 x 73 cm. Army uniforms are on one side, navy uniforms on the other." (Osborne Collection. Toronto 
Public Library). 

The Busy Seaport Scenic Panorama Book. Ellis Silas, illustrator, [mid 20* century]. "With Picture Models of Ships 
etc. for arranging in position. Pictorial card wraps, unfolds to show 4 scenes." Bookseller's description. 

The Busy Seaport Scenic Panorama Book. Reproduction. [1990]. 

Buttercup Farm. Father Tuck's "Panorama" Series. [1900]. 3 'A" x 5". "Embossed chromolithographed card cover, 
concertina folded chromolithographed sheet with die-cut figures of animals and stands. Four pages of text about farm 
animals, five pages of fold-out, colorful, glossy stiff animal figures, with two animals on each page." Bookseller's 

Coronation Procession Panorama with Movable Pictures. [1952]. 10" x 12". "A four-fold book, printed on heavy 
paper, colour illustrated background, with many cut-out coloured models to be inserted into numbered slots along the 
route of the procession. Two sides of text describing the event on reverse. Includes: Coach, Horses & Riders, Solders, 
Banners, Buckingham Palace & the Queen Victoria Memorial etc." Bookseller's description. 

Days in Catland with Louis Wain. Father Tuck's Panorama. [1895]. 10" xl2 l A". "Featuring four panels, each showing 
the interior of a different room in the cats' house with Wain's humanized cats and furniture illustrated with 
chromolithographs. Throughout the panels there are 14 numbered slots into which the reader inserts the corresponding 
figure to complete the scene. There are 14 fabulous color cat cut-outs by Wain showing this family of cats playing, 
eating, cooking, fighting etc., plus there is an amazing chromolithographed cover." Bookseller's description. (Cotsen 
Collection, Princeton University). 

Days in Catland with Louis Wain. New York, Shackman & Co., 1991. Includes 14 cut-out figures of individual cats 
and groups of cats to place within the 4 scenes of the panorama. Reproduction of Days in Catland with Louis Wain. 

A Day in the Forest: To Myrtle Grove Farm. 1895. "A book-like folding panorama containing three double-page pop- 
ups." Whitton. Cataloging record: "Six leaves (covers included) pasted together as to open in a straight line, as well as 
a regular book; movable cut-out leaves, pasted to each larger leaf, complete the scenes; smaller board (77 x 88 mm.) 
pasted on front cover reveals color scene when lifted." (Indiana University). 

Father Tuck's Alice in Wonderland. New York, Shackman & Co., 2000. Reproduction of Father Tuck's Alice in 
Wonderland, Panorama. (University of Southern California). 

Father Tuck's Alice in Wonderland, Panorama. [1900?]. "Folded mounted pages." (Cleveland [Ohio] Public Library; 
University of Virginia). 

Father Tuck's Express Train Panorama. [1890?].; August 18, 2004 

Father Tuck's Express Train Panorama With Movable Pictures. New York, Shackman & Co., 1995. Includes 15 cut- 
out figures - passengers, workers, train parts - to be displayed within the 4 scenes of the panorama. Reproduction of 
Father Tuck's Express Train Panorama. 

Father Tuck 's Meadowsweet Farm. n.d. "Panorama book opening out to show four full-colour scenes in which you can 
place the 15 farm animals and figures. These are contained in envelope at the back of the book." Bookseller's 

Father Tuck's Noah 's Ark Panorama. No record found for the original edition. 

Father Tuck's Noah 's Ark Panorama. New York, Shackman & Co., 1997. Includes 15 cut-out pairs of animals place 
within the 4 scenes of the panorama. Reproduction of Father Tuck 's Noah 's Ark Panorama. 

Father Tuck 's Nursery Rhyme Panorama with Movable Pictures. "Ca. 1910. 14 characters to insert in slots." 
Bookseller's description. 

Father Tuck's World's Circus Panorama with Movable Pictures. New York. Shackman & Co., 1998. Includes 14 
different die-cut pieces to arrange within the 4 scenes of the panorama. Reproduction of World's Circus Panorama 
with Movable Pictures. (Private collection). 

Feathered Friends. Father Tuck's Panorama Series, n.d. V/z" x 5". "Illustrated color wrapper on front. Back cover is a 
sheet of punch-out pieces to make the figures stand, four pages of text about bird figures, five pages of fold-out glossy 
color stiff bird figures, two birds to each page." Bookseller's description. 

Fun at the Seaside Panorama Book. n.d. [1955]. lO'/i " x 12". Illustrated by Dinah. "From the back cover: 'HOW TO 
MAKE UP THIS SCENIC PANORAMA. Unseal the flap above, and you will find an envelope in which are a number 
[48] of cut-out models. These are for you to fit into their places in the background of this Panorama to make up a 
fascinating, realistic scene. To guide you, each cut-out model is numbered, and there are corresponding numbers by 
the slots in the background into which the models are to be fitted. The Panorama can be opened out to stand firmly: or 
if closed it forms a handsome book with a charming full-colour cover. When you have fixed the models in their slots, 
bend them outwards, when a realistic THIRD DIMENSIONAL effect is produced.'" Bookseller's description. 

Little Red Riding Hood. Father Tuck's Panorama Series. [1908?]. At head of title: Hutzler Brothers Co. "There are 
Five 3" by 5" color pages of Little Red Riding Hood paper doll-like cut-outs with a page of cardboard pieces to act as 
bases or stands for the figures. There is a beautiful front cover that has Hutzler Brothers Co., a Baltimore based 
Department Store, imprinted across the top edge. So this was more than likely an advertising premium for the store." 
Bookseller's description. 

Little Snow-White. Father Tuck's Panorama Series. 1900. 3" x 4'A ". "Consisting of 1 page of instructions and four 
pages of story, after which are attached five chromolithographed panels of paper doll figures folded accordion style 
and opening to 15". Also included is 1 page of die-cut stands that the reader uses to mount the figures on after cutting 
them out." (Pennsylvania State University). 

RAF Fighter Station Scenic Panorama. "46 picture models of planes, etc. for arranging in position. To give a three- 
dimensional effect." Bookseller's description. 

Road Travel. Roland Towers, illustrator. [1950]. "Scenic panorama book with 51 picture models of cars, figures, etc. 
for arranging in position to give a three-dimensional effect. Two double-page spreads with slots for die-cut shaped 
figures to insert into the slots." Bookseller's description. 

Royal Naval Review Scenic Panorama Review, n.d. "Four fold-out panorama with 44 picture models of ships, etc. for 
arranging in position give three-dimensional effect. Printed in England." Bookseller's description. 

With Father Tuck at the Circus. Verses by Clifton Bingham. [1920-1930]. 10" x 12V4". "Large four-section panorama 
pictures four circus performances. Each section has four horizontal slits, each of which accepts the base tab supporting 
a clown, a performer or a circus animal." Whitton. 

With Father Tuck at the Seaside. [1912]. "Four panels each measuring \2'/i inches (totaling 50inches). Contains 16 
figures which can be interchanged to create different scenes." Bookseller's description. 

With Father Tuck in Fairyland. [1890]. "The pictures are made up by arranging the cut out figures in different parts of 
the scenery." (Cotsen Collection, Princeton University; University of California, Los Angeles). 

With Father Tuck in Fairyland Panorama. New York, Shackman & Co., [199-?]. Includes 15 different, numbered 
die-cut pieces to arrange within the 4 scenes of the panorama. Reproduction of With Father Tuck in Faiiyland. 

World's Circus Panorama with Movable Pictures. [1 890?]. Panorama with figures. 

Raphael Tuck & Sons References 

The following references include information about Raphael Tuck & Sons 
and/or the paper products produced by the company 

Carver, Sally S. TJie American Postcard Guide to Tuck. Brookline, Massachusetts, Carves Cards, 1976. 

Haining, Peter. Movable Books: An Illustrated Histoiy. London, New English Library Limited, 1979. 

Hannas, Linda. The Jigsaw Book. New York, Dial Press, 1981. 

Jendrick, Barbara Whitton. Paper Dolls & Paper Toys of Raphael Tuck & Sons. Privately published, 1970. 

Krebs, Marta K. Raphael Tuck "Belles" Paper Dolls in Full Color. Mineola, New York, Dover Publications, 1990. 

Krebs, Marta K. Raphael Tuck "Little Maids" Paper Dolls in Full Color. Mineola, New York, Dover Publications, 

Montanaro, Ann R. Pop-up and Movable Books: A Bibliography. Metuchen, New Jersey, The Scarecrow Press, 1993. 

Montanaro, Ann R. Pop-up and Movable Books: A Bibliography. Supplement 1. 1991 - 1997. Lantham, Maryland, 
The Scarecrow Press, 2000. 

Opie, Iona and Peter. Opie Collection of Children's Literature. Ann Arbor, Michigan, UMI, 1990-. [161 Microfiche. 
Many Tuck books are included in this microfiche collection.] 

Opie, Iona and Peter. The Opie Collection of Children 's Literature: A Guide to the Microfiche Collection. Ann Arbor, 
Michigan, 1990-. 

Raphael Tuck & Sons. Raphael House. London, Raphael Tuck & Sons, 1899. 

Raphael Tuck & Sons. The Romance of the House of Raphael Tuck & Sons Ltd: Published on the Occasion of the 
Company's Centenary. London, Raphael Tuck & Sons, 1966. [As reproduced in Jendrick's Paper Dolls and Paper 
Toys of Raphael Tuck & Sons.] 

Sawin, Sylvia D. Raphael Tuck Antique Paper Dolls in Full Color: From the Collection of the Children's Museum, 
Boston, Massachusetts. Mineola. New York, Dover Publications, 1987. 

Whitton, Blair and Margaret Whitton. Collector's Guide to Raphael Tuck & Sons: Paper Dolls, Paper Toys, & 
Children 's Books. Cumberland, Maryland: Hobby House Press, 1991. 

Australian Pop-up Book Exhibitions 

Corrie Allegro 

As a long-standing but silent member of the MBS, I 
have finally put pen to paper (or should I say, press send 
to email) to clear up a small oversight in February's issue. 

Congratulations to Colin Randall and Sue Leask on 
their Newcastle exhibition but I beg to differ on the 
headline! The first Australian pop-up book exhibition was 
held in Melbourne 1993 and, since I organized that one 
and other exhibitions and workshops in '94 and '95, I 
hold myself responsible for not publicizing this 
information in our esteemed journal. It takes a lot to stir 
me up to write, but better late than never! 

So, here are a few pictures of the various promotions 
used over those years. 

They were very 
successful and led 
to various radio 
interviews where it 
became tricky to 
describe visual 
items on the air. I 
have held many 
school talks and 
workshops since 
then. No doubt a 
few members came 
across the "Moving 
Tales" section of 
the website of The 
State Library of 
Victoria which was only recently removed from that site. 

Let us all learn 
from my 
oversight and 
keep talking 
about our 
books and all 
the creative 



iN'V-1 r A T 1 O N 1 


ij IjaSfisjEsil! 1 


' Jj^^_ tCiid 


Exhibit in Barcelona 

Theo Gielen 
The Netherlands 

The announcement of an exhibition of movable books in 
Spain came too late for inclusion in February issue of 
Movable Stationery. "Llibres Mobils i Desplegables" was 
held in Barcelona from March 1 1 until April 29 at the local 
cultural center, Caja Madrid, as part of the activities of the 
"Year of the Book and Reading." 

Ana Maria Ortega Palacios 
in a giant Haunted House 

The exhibit included 1 80 old and new books from the 
collection of our Spanish fellow member Ana Maria Ortega 
Palacios displayed in three sections: historical books, 
examples of books with various mechanicals, and books 
covering a variety of subjects. The quiet design of the 
arrangement of the exhibit, done by Alvara Guttierez, with 
tight glass showcases in the functional white rooms resulted 
in a careful and attractive display that never distracted the 
visitor's attention from the books. The books were well 
documentated with informative text and in an accompanying 
catalog. Television and newspapers gave the exhibition a lot 
of attention and contributed to the success of the exhibit and 
almost 13,000 visitors came to see it. 

Ana Maria plans another exhibition of her collection in 
the north Spanish town of Leon that will be open from the 
second half of June until the end of July. 

Free copies of the bilingual (Spanish and Catalan) 
catalog Llibres Mobils i Desplegables are available as long 
as the stock lasts. To request a copy please send email to 

Continued from page 2 

But Tennyson's response to the offer shows the reputation 
of the company. He wrote, "You cannot imagine with 
what regret I have forfeited this opportunity of world-wide 
fame, for, beyond a doubt, these verses would have found 
their way into many far corners of the earth where I 
cannot flatter myself even my name is known." 6 

Adolph continued to expand the production of the 
company. In addition to greeting cards Raphael Tuck & 
Sons added calendars, books, wall texts and scripture 
mottoes, reproductions, relief and art novelties, postcards, 
and publications for children described as "designed to 
please and instruct the young." 7 

Adolph gave special attention to picture 
postcards. The first was issued in 1894 with a small 
picture of Mount Snowdon in the upper left corner. He 
arranged for the postcards to be sold by mountain guides 
on the Welsh mountain but postal regulations required 
that one side of the postcard be devoted to the address and 
that the other side have adequate room for a message. 
Thus there was only room for a small picture. Adolph 
negotiated for four years with the British Postmaster 
General to get permission to print a picture completely 
filling up one side of the card. That decision created a 
whole new picture postcard industry. Many of Tuck's 
cards were printed using a technique called "oleography" 
and were called "Oilettes." Oleography is a type of 
chromolithograph with an impressed grain pressed into 
the paint to add texture. In the finishing process the print 
is varnished in order to make it look like an oil painting. 
It is estimated that Tuck produced at least 12,000 to 
15,000 different 
Oilette cards. And, 
overall, by 1900, 
the firm was 
offering for sale 
40,000 different 
picture post cards. 8 

Trade Cards 

Trade cards were 
very popular in the 
19' h century. Much 
like 20 th century 
baseball cards, 
they were inserted 
into products as a 
way of enticing 
buyers into 
purchasing more 
of the product with 


the opportunity to collect the full set of cards. This 
"Cinderella" card shows both the front and the back of an 
embossed and die-cut trading card produced for Panama 
Coffee from Chicago's Franklin Mac Veach & Co. The text 
on the back indicates this set included a total of 36 picture 
cards in six sets with one picture in each package. 

This brief look at 
Tucks's card 
production does not 
include any of the 
puzzle postcards, 
puzzle books, or 
phonograph post 
cards, also issued 
early in the 20 lh 
century. Nor does 
this paper include 
any of Tuck's paper 
dolls, an important 
part of the product 
line. The first of their 
paper dolls was 
patented in 1893; 
they are well 
documented and 
reproduced in several 
books that are listed 
in the bibliography. 


, ■„., I ,.-, il I | 

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...... i i 

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On» riclura In tmh f»<koge, 

I r r.»nUln» Mac Vcaifh & CJ* 

Back of Panama Coffee 
"Cinderella" trade card 

Panama Coffee Trade card 



were also 

popular in 

the late 19 Ul 


Scrap was 

printed and 

sold in 






to give 

them a 


sur fa ce . 

They were 

used in a 

variety of 

ways: decorations for handmade cards and gifts, glued to 

fancy boxes (much like decoupage), and added to screens 

which were often used during Victorian times as room 

Tuck scrap sheet 


dividers. However, one of the most popular ways to use 
scrap was simply to paste it into scrapbooks. Some 
scrapbooks were made from blank books while others were 
made by pasting over pages of catalogs, account books, 
and notebooks. Often pressed flowers, tassels, and ticket 
stubs were added to pages along with other collectibles. 
They reached their height of popularity in the 1880s and 
1890s. The sheet of dresses on page 10 is an example of 
scrap produced by Tuck. 9 

Ernestine died in 1885 and Raphael's health began to 
fail. On April 4, 1898 he laid the foundation stone for a 
magnificent new building where all the business would be 
concentrated. The new building was called "Raphael 
House" and was opened June 6 1 899. Just one year later 
Raphael Tuck died at age 79. 10 

In 1901 Raphael Tuck & Sons became a public 
company and the Board of Directors consisted of Adolph, 
Gustave, and Herman Tuck, Arthur Conan Doyle, and one 
other member. Following the pattern of their parents, 
Reginald and Desmond, sons of Adolph and Jeannette 
Tuck, joined the company. In 1910 Adolph Tuck was 
created a Baronet of the United Kingdom and was known 
thereafter as Sir Adolph Tuck. ' ' 

At the start of World War I, Reginald Tuck joined the 
army. His brother Desmond volunteered for overseas 
service. The onset of World War I effected the company in 
another significant way. The reports in contemporary 
publications about Raphael Tuck & Sons further the 
understanding of what happened to them and other 
English-language publishers doing business in Germany 
at the start of the first World War. It was reported at the 
time that the branch of their business "established by the 
firm in Berlin in 1907, for the sale of their Oilette 
postcards and other British publications has been seized, 
and the business and assets sold by the German 
authorities." The report in the company history reads: "It 
appears that soon after the outbreak of the war this Berlin 
branch of Raphael Tuck & Sons, which was very 
profitable with large sums being due to the company at the 
time from customers throughout Germany and Austria, 
was taken over by the German Government. Shortly 
afterwards violent attacks directed against Raphael Tuck 
& Sons appeared in a leading Berlin journal, calling upon 
the German public to boycott the production of the well- 
known British publisher. Similar articles were published 
in some 200 journals throughout the German Empire. 
These attacks finally culminated in the business being 
taken over by the authorities. Raphael Tuck & Sons, in 
their official reply, intimated that they would naturally 
look for the intervention of His Majesty's government 
with regard to the takeover of their property at the 
conclusion of the war." n 

Following the war Reginald and Desmond returned to the 
family business. In 1926 Sir Adolph Tuck died. The 1929 
depression affected the Raphael Tuck & Sons but by the end 
of the next decade the company's financial position 
gradually improved. 

On December 29, 1940 London was bombed and the 
company offices at Raphael House, were completely 
destroyed. Within the cornerstone of the building, which had 
been laid 42 years earlier by Raphael Tuck, was found a 
broken glass jar and its undamaged contents: a catalog of the 
oldest Tuck products, a booklet with the results of the 1894 
literary and painting competition, an April 5, 1898 issue of 
the Times and the Daily Telegraph, some greeting cards and 
periodicals and Adolph Tuck's hand written company 
history up tol 898. The company had to be rebuilt, like many 
other companies, during difficult war conditions and with a 
shortage of materials. 

After the war many former employees came back, and the 
company survived. Sir Reginald died in 1954 and his son 
Bruce inherited the title of baronet but soon left the 
company. Desmond Tuck was the last Tuck in the company. 
He stimulated the company with all his flair and energy but 
after he retired in 1959 the company changed hands several 
times. In 1962 Purnell & Sons Ltd. acquired Raphael Tuck 
& Sons and the final movable book with the Tuck imprint 
was issued in the 1952. ,3 

Tuck's Books 

The total number of books (of all types) produced by 
Raphael Tuck & Sons is not known. In fact, the official 
company history does not even mention that they produced 
books. The two large international bibliographic databases 
that together record over 50 million cataloged books in 
libraries and museums worldwide, the Research Libraries 
Group Union Catalog and OCLC's WorldCat, list over 500 
titles published by Tuck, primarily flat books, but the 
number could very well have been hundreds more. Unlike 
their paper dolls and postcards, the history of Tuck's 
illustrated books does not appear to have been documented. 
Tuck's late 19 th century and early 20 th century books appeal 
to collectors primarily because of their beautiful 
chromolithographed illustrations. Published for both adults 
and children, the Tuck titles include books of sentiments, 
Bible stories, poems, small gift books, books with shaped 
covers, and stories printed on "untearable linen" as well as 
movable books. 

Panorama Books 

It is possible to document almost 100 movable books 
produced by Raphael Tuck & Sons from the late 19* century 
through the last quarter of the 20 lh century. Nearly 30 of 
those titles are panoramas based on a design Tuck first 
produced in the 1 890s. Days in Catland with Louis Wain (ca. 
1895) is typical of the four-panel panoramas that fold out to 


YS «* CAT J«A^li> ^P*J^ 

Z)flys in Catland with Louis Wain 

form a scene. A pocket in the back cover holds 14 die-cut, 
numbered characters that can inserted into numbered slots 
in the panorama to complete the picture. The extended tab 
on the front cover slips into a slot on the back cover to seal 
the pocket. Tuck was not consistent in the use of the term 
"panorama." It was used to describe books like those 
shown above as well as some with pop-up pictures as in 
Alice in Wonderland: With "Come to Life" Panorama 
which has pop-up plates. 

Most of the panoramas included less than 20 characters 
but at least two, 
produced in the 
1950s, included as 
many 50 pieces. In 
some cases the 
characters were 
designed to stand up 
near, not in, the 
panorama. An 
unusual example is a 
book published 
specifically for a 
single market. Little 
Red Riding Hood, 
part of "Father 
Tuck's 'Panorama' 
Series," included 
stand-up characters. 


The book was produced in Germany in about 1908 for the 
Baltimore, Maryland department store Hutzler Brothers. The 
book is not dated but, according to the company history, 
1908 is the year the store began using the form of the name 
that appears on the cover of the book. The final page of the 
book has three die-cut, embossed sheets of punch-out 
figures. It is not known if another version was published. 

Movable Books 

Twck"» MOVAtlt PlGURU. 

With Father Tuck in Playtime 

Little Red Riding Hood (1908) 

Tuck's books with 

pop-ups date from 

about the 1 890s. 

While interesting 

and attractive books, 

they lacked the 

sophisticated and 

unusual mechanicals 

f o u n d in the 

contemporary books 

illustrated by Lothar 

Meggendorfer or 

published by Ernest 

Nister. Some of 

Tuck's books, like 

Fun for Little Folks 

and In Father Tuck 's 

Playroom and had plates that folded down to form a three- 
dimensional scene. Others had simple, layered pop-ups that 

pulled into place 
with the turn of a 
page, and yet others 
included tab- 
mechanicals. (The 
mechanicals used in 
individual titles are 
described in the 


movable in A Very 
Good Book [1897] 
has not been found 
described in any 
other Tuck title. It 
is an ABC book and 
half of the letters of 
the alphabet are 
illustrated with 
sliding illustrations. The pages with these tab-operated 
illustrations have four letters per page and each pair of 
letters has a square box cut out under the letter. For instance, 
the letters P and Q initially display showing a pail. Then 
when the tab at the bottom of the page is moved, the 
illustration in the box becomes a quail. It is very simple; a 

A Very Good Book [1897] 


single piece of paper slides up and down and the alternate 
pictures display in the die-cut box. 

Seaside Pleasures (1896), with six layers of 
illustrations, forms a diorama-like scene. A centennial 


1 J Jejw^, 

- G 

1 . ' 




!. v '. 

rj ^r%. 

~* -ft ' ! 

. p ' W pr 

Seaside Pleasures 1896 

edition entitled Am Meeresstrand was reproduced by J.F. 
Schreiber with a new cover and supplemental text by 
Hildegarde Krahe. 

Alice in 
Wo n d e r - 
land, Fairy 
Sea Stories 
and Other 
Stories from 
Dickens and 
Told by the 
(The verso 
of the title 
page of Stories from Dickens identifies "eight volumes 
uniform in size and price" as part of this series. The other 
titles are The Arabian Nights, Robinson Crusoe, and The 
Water Babies. None of those titles have been examined 
and the catalog records do not include the series 
designation in the record.) Each of the books has about 
150 pages with one pop-up. They are not dated but were 
probably published in the 1920s or 1930s. 


-\:t "com to Lif fpanmmi 

Seaside Pleasures 1896 


Documenting Father Tuck's Annuals would not have 
been possible without the assistance of Theo Gielen and I 
thank him for the time he spent with me in email 
correspondence answering questions, filling in details, and 
sending pictures. 

The series FaZ/?er Tuck 's Annual began about 1899 
as compilations of illustrated stories, poems, games, and 
music. The earliest of the volumes did not include pop-ups. 
In the 1930s the annual was renamed Father Tuck's Annual 
for Little People with "Come to Life " Pictures. Four books 
were published with that title, each including two pop-ups. 
With volume 34, published about 1932, the series was 
renamed yet again. This time it became Tuck's Annual with 
Realistic Surprise Panoramas and four books were issued 
before the series ceased publication. 









Father Tuck's Annual 
(ca. 1932-1934) 



"ticks Annual 

Tuck's Annual (1934) 

I'll Tell you a Story is another pop-up book from the 
1930s that has a brightly colored cover and includes one 
pop-up called "Fine Fun on the Sands." Like the 
illustrations in the annuals, the pop-up is in full color 
while the background is printed in black with only one 
other color. These pictures are from a book in Ellen 
Rubin's collection. 

Since few Tuck books have publications dates, it is 
difficult to accurately date them but it appears there were 
few pop-ups produced from the mid- 1930s until the 1950s. 

Inl949 and 1950 Tuck published six books with 
illustrations and tab-operated mechanicals by Julian Wehr. 
However, none of these books have Wehr's name on the 
cover nor anywhere else in the book. Not all of the U.S. 
editions credit Wehr on the cover but his name usually is 
listed in the copyright statement. 

Annie Get Your Gun 

Annie Get Your Gun: Seen Through the Eyes of a 
Child was published in the early 1950s as a movie tie-in. It 
is 6-inches by 6/4-inches and has four simple, fan-folded 

"Fine Fun on the Sands" from / 7/ Tell You a Stor\ ; 


The final eight pop-up books published by Tuck were 
issued in 1952. The books in the series "A Father Tuck 
'Come-to-Life' Little Book" were small, 4-inches by 4Vi- 
inches, and had two fan-folded pop-ups. The books in this 
series, as well as Annie Get Your Gun were illustrated by 

■&i *C0ME'i&-lJffi*/ue&4k«s 

Cinderella. 1952 


Raphael Tuck & Sons was a major publishing 
company for over a century and made significant 
contributions with their postcards, greeting cards, and 

Additions to the September, 2004 Tuck bibliography: 

Movable Books: 

Merry Times. 1895. "Four transformational slat plates." 

Bookseller's description. 

Panorama Books: 

Father Tuck 's Nursery Rhyme Panorama with Movable 

Pictures. "14 nursery rhyme inserts." Bookseller's 



1. Raphael Tuck & Sons Ltd., The Romance of the 
House of Raphael Tuck & Sons Ltd Published on the 
Occasion of the Company's Centenary. October, 1966. 
Page e (as reproduced in Paper Dolls and Paper Toys of 
Raphael Tuck & Sons by Barbara Whitton Jendrick 
html. March 20, 2005. 

tuck_and_sons_welshcorgi.htm. March 30, 2005. 

4. Raphael Tuck & Sons Ltd., The Romance of the 
House... Page f. 

5. Raphael Tuck & Sons. Raphael House. Raphael 
Tuck & Sons, 1899. Page 8. 

6. Raphael Tuck & Sons Ltd., The Romance of the 
House... Page f. 

7. Raphael Tuck & Sons. Raphael House. Page 12. 

8. Raphael Tuck & Sons Ltd., The Romance of the 
House... Page g. 

March 29, 2005. 

10. Raphael Tuck & Sons Ltd., The Romance of the 
House... Page g. 

11. Ibid. Pageh. 

12. Whitton, Blair and Margaret. Collector's Guide to 
Raphael Tuck & Sons. Cumberland, Maryland, Hobby 
House, Press, 1991. p. 139. 

13. Raphael Tuck & Sons Ltd., The Romance of the 
House... Pagej. 

In The News 

Chuck Fischer 

Chuck Fischer, creator of The Wliite House Pop-up 
Book, spoke at The Boston Atheneum on March 22, 2005. 
He discussed the history of pop-up books and the process 
of putting a book together. His talk can be viewed or heard 
at the WGBH web site: 
http://forum.wgbh. org/wgbh/forum.php?lecture_id= 1815 

In the fall Bulfinch Press will publish Chuck's new 
book Christmas in New York. 

Ambar Past 

"The Poetic Hearts of Mayan Women Writ Large" in 
The New York Times on May 1 1 , 2005 featured the work 
of Ambar Past. Attendees at the Movable Book Society 
conference in San Diego saw her books and heard her 
describe them as well as books and paper produced by the 
Mayan women from Chiapas, Mexico. Her book, 
Incatations, praised in the article, contains spells and 
hymns transcribed and translated by Ambar from Tzotzil 
into Spanish and English. 

Pop-up advertisement 

McDonald's has a pop-up ad in the June, 2005 issue of 
Vanity Fair between pages 122 and 123. 

Book Arts at New England College 

From June 23-July 3, 2005, workshops will be held at 
New England College in Westminster Station, Vermont. 
For more information see 


Index to Movable Stationery 

The index to the first 10 years of Movable Stationery 

is now available online at: 

Catalogs Received 

• Aleph-Bet Books. Catalogue 78. 85 Old Mill River 
Rd. Pound Ridge, NY 10576. Phone: 914-764-7410. 
Fax: 914-764-1356. Email: 

• Cattermole 20 lh Century Children's Books. Catalog 
40. 9880 Fairmount Road, Newbury, Ohio 44065. 440- 
338-3253. Email: 

• Stella Books. Pop-up List, www.stellaand 

Encyclopedia Prehistorica 
Dinosaurs: The Definitive 
Pop-up. By Robert Sabuda 
and Matthew Reinhart. July 
12, 2005. Candlewick. 
Special limited edition: 
$250.00. 0-763-62837-9 




> ^A'lvS^itMuit't'it^: 

The Global Garden. By 
Kate Petty. 6 pages. Ebury 
Press. $26.85. 

Quintessential Disney: A Pop-up Gallery of Classic 
Disney Moments. David Carter, paper engineer. Disney 
Editions. 0-786-85556-8. $30.00 

New Publications 

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. 

The Amazing Pop-up Stonehenge. English Heritage 
Publications. 64 pages. £9.99. 1-850-74926-4. 

Crunching Munching 
Caterpillar. Little Tiger 
Press. July 7, 2005. 
£7.99. 18 pages. 

Derby Day: A Pop-up 
Celebration of the 
Kentucky Derby, by 
Pamela Pease. Paintbox 
Press. 0-966-94335-X. 




Safari Shapes. June 5, 
2005. Gullane Children's 
Books. 8 pages. £7.99. 

Souvenir of New York. By 
Dorothy A. Yule and Susan 
Hunt Yule. 2Vi" x 2V%". 
Accordion-folded in 
slipcase. Chronicle Books. 
$6.95. 0-8118-4729-2. 
Also: Souvenir of San 
Francisco. 0-8118-4705-5. 

Unfold/Enfold. By Kveta Pacovska. Chronicle 
Books.$35.00. 2-02-069417-4.