"

MOVABLE
S I A T I E I 1
VO LUME
NUMBER
MAY
2 002
10
2

An Interview With the A Century of Magazine Movables

Paterfamilias of Pop-up (1901-2000): An Informal History
Part Two of Three Adie C. Pena
City of Makati, the Philippines
This is part two of a three-part interview conducted by
Kate Sterling on August 25, 2001 at Intern isual Books in I would have missed the pop-up General Foods

Santa Monica, California On May 9, 2002 Wally hunt Cappuccino ad in the November 2000 issue of Glamour
added the following: "I think I should bring my fellow magazine if not for some thoughtful friends and relatives
movable book friends up-to-date on me, Intervisual, and who called my attention to it. A girlfriend and a sister-in-law
the world's most exciting movable book exhibition. even went to the extent of sending me their copies. (A New
"I am now Chairman of the Board, Emeritus of York-based friend recently visited the Philippines for the
Intervisual Books, Inc. I have 3, 000, 000 shares of stock holidays and brought me a year-old copy of the December
and a lot less responsibility running the company. Two 2000 issue of Vanity Fair that, unknown to me, contained
new management people have accepted key positions. the same pop-up cup.) After all, Glamour and Vanity Fair
Louis Perlman is Chairman of the Board and Larry aren't exactly regular reading fare for a middle-aged man
Nusbaum is CEO. Both have extensive management like me.
experience and are determined to help me get Intervisual
back on the winning track.
"Please put this date on your calendar. August 23,
2002 will be the official receptionfor 'Pop Up! 500 Years
of Moveable Books: Selections from the Waldo Hunt
Collection. Members of the Movable Book Society are
'

invited to attend the reception. The exhibition will run

from August 23 until January 12, 2003 and will feature
antique books from the University of California, Los
Angeles, a rarified collection from the Waldo Hunt
Museum and examples of the best books conceived and
produced by leaders of the industry. The exhibition and
reception are being held at the Los Angeles Central
Library located at 630 W. 5'h Street, Los Angeles,
California 90071.

K: You said that a few years ago you wouldn't consider

doing a new book unless you could anticipate a 100,000
print run and now that is 30,000. Why has it changed?
Thankfully, some of these collectibles get some amount
W: Part of it is the strong dollar and part of it is that we of pre-publicity. books are made of
"It's the stuff children's

don't have the American publishers who are ordering but it took almost a year, $3 million and 560 workers in

30-50,000 per title. We deal in dollars. We buy in dollars Mexico and Columbia to produce." So goes the first line of
and we sell in dollars. So, you can say that if you buy in a 1 5-year old newspaper article announcing the appearance
dollars, the printers will give you a better price because a of Transamerica Corporation's pop-up print ad in the
dollar is worth more than the yen or whatever the currency September 8, 1 986 issue of Time magazine.
is in that country. This year we may sell five million

dollars internationally, and five years ago we were selling Wouldn't it be convenient if all pop-up advertisements
nine million internationally. The product may even be were accompanied by a write-up, advising collectors to be on
better now than it was then, but the market is tougher. the look-out for these three-dimensional paper
Continued on page 21 Continued on page 2
 Reason perhaps why no one yet has attempted to write a
comprehensive history of these paper-engineered ephemera
The Movable Book Society
— both editorial (e.g. illustrations, regular features) and
ISSN: 1097-1270
commercial (e.g. print ads, inserts).
Movable Stationery is the quarterly publication of The
Movable Book Society. Letters and articles from members For the past three years, the article below has been in
on relevant subjects are welcome. The annual membership
my backburner. What follows is my best shot at putting some
fee for the society is $20.00. For more information
order to a hodge-podge of information and examples I've
contact: Ann Montanaro, The Movable Book Society, P.O.
collected over time. Maybe someone out there will eventually
Box 1 1654, New Brunswick, New Jersey 08906. fill gaps and ultimately write the definitive history of
in the
Daytime telephone: 732-445-5896 magazine movables.
Evening telephone: 732-247-6071
e-mail: montanar@rci.rutgers.edu At the start of the 20th century, women's magazines
were dominating the American periodical publishing
Fax: 732-445-5888
business. Readers could choose among Ladies' (later
renamed Woman's) Home Companion (first published in
The deadline for the next issue is August 15.
1873), McCall 's Magazine ( 876), Ladies Home Journal
1 '

Magazine movables, continued from page 1

(1883), Good Housekeeping (1885), and Vogue (1892).
Designed likewise to appeal to their readers' children, these
"commercials?" Jeannine Stein in a July 12, 2001 article women's magazines often featured a variety of paper toys a
in the Los Angeles Times wrote: "The July issue of InStyle child could cut out and assemble, from paper dolls and
magazine features a pop-up ad for new Bounty in a Box furniture to three-dimensional villages and Christmas
paper towels, a trial that will be repeated in People decorations.
magazine in the fall."

The earliest movable I found within the pages of a

But, most often than not, we only get half the story. magazine Woman's Home Companion. From 1910 to
is in
Which is bad news for the completists among us. The 1915, Woman's Home Companion serialized a set of
writer, in this instance, failed to mention that there are do-it-yourself movable books, based on The Surprise Book
two versions of the InStyle Bounty ad, each one carrying (by Clara Andrews Williams and illustrations by George
a different headline with a pop-up box sporting a different Alfred Williams, Crowell Publishing Company), a 64-page
design ~ one with flowers, the other with leaves. volume with movable doors and die-cut pages that revealed
images in the succeeding pages. Every month, a child was to
Really now, who has the time to read all these carefully tear out a 1014 xI6" page from the magazine and
publications, hoping to come across an announcement for follow the directions, e.g. "first trim the page on the outside
a forthcoming novelty print ad? Or, for that matter, hang black line; then ... cut out the black spots ... cut the three
around newsstands, opening every available magazine, edges of the door so it will swing open on its hinges, etc."
expecting something to pop up? Well, I certainly don't. Continued on page 14
And so do hundreds of other movable enthusiasts.

MAM'S ffiOM H

vroRV.

The Adventures of Jack and Betty Woman's Home Companion magazine (January 1912),
uncut sheet (.February 1912), and assembled movable booklets (1910-1915).
 Structural Firsts
Frank Ossmann
Essex, Connecticut

As a pioneer in the dimensional marketing industry for

over 25 years, Structural Graphics has created and
produced a number of "firsts" along with hundreds, even
thousands of notable projects.

Leading our list of firsts is the use of a fragrance strip

in a national publication. in 1984, the piece was
Produced
created to promote Yves Saint Laurent "Paris" parfum.
The ad was constructed as a 6-page barrel fold, featuring
what is now called an "exploding map" design. The
exploding map unfolds in a fashion similar to a road map,
in this instance literally throwing the fragrance out at the
reader. Its similarity to a road map ends when it folds back
up simply by closing the page.

Structural Graphics was also the first to use music as

part of a national print ad campaign. This was done for
Canadian Mist in 1987. The was a 4-page folder,
piece
using a slide activator that engaged once the page was
turned.

One of our firsts

had more to do with

sheer volume, rather
than complexity of
design. In 1996
Structural Graphics
was called on by R.J.R
to promote its Camel
brand using a pop-up
of its character icon Joe
Camel. Nine million 4-
page inserts were
£lg&£itt*h.- SHE&sKr^^tJB
assembled by hand to
fulfill the order.
Another first came in

the area of Business to Business marketing with the 1989

campaign for Structural Graphics. This was the first large
direct mail campaign that incorporated a voice module not
ell, really. But his presence will surely be felt.
into a B-to-B promotional effort, lthough not
Courtesy of Ellen Rubin who will share with us her extensive
groundbreaking first-time efforts, there were two large interviews with the Czech pop-up master's daughter in
format pop-up books produced for Macmillan in 1985.
Canada. Just one of the highlights of the 4th Movable Book
These two titles were Those Fabulous Flying Machines
Society Conference this coming fall.
and The Joys of Christmas.
From the time you Czech in. er, check in at the Wyndham
Milwaukee Center Hotel

mw
'til you check out, it'll be three days
While not every Structural Graphics design can stake of movable feasts, friends and fun. Be there.
claim to being the first dimensional used for a particular

application, many are simply the first designs to perform

as they do. Structural Graphics holds patents for a number
of unique designs. Among those are The Poppagram, The
Book Cube, The Automatic Changing Picture, The
Extendo and The Flip. Each of these is regularly used as THE 4TH MOVABLE BOOK
promotional materials delivering marketing messages. SOCIETY CONFERENCE
Continued on page 24 SEPTEMBER 19 21, 2002 -

MILWAUKEE, WISCONSIN
 Third Meeting of the European foreign accents), but it wasn't a barrier at all for those who
Section of the Movable Book Society came with a common interest. The "Kaffee und Kuchen,"
the traditional German, meal-substituting cake, was
Kutscherhaus, Recklinghausen - 2002
appreciated by travelers, many of whom had traveled for
Theo Gielen
hours. The number of exhibits grew: a German artist showed
The Netherlands
her pop-up artists' books; the works of architectural students
from Bochum University came out of a box; Mr. Tietz made
Picture the historic center of a small German town
a display of his original "octagonal boxes," little wooden
with partially conserved medieval walls and a little park.
cigar boxes (we recognized the mark of Mr. Wienhofer)
Its blossom surround a severe 19* century
trees in full
from which unfolded enclosed octagonal paper artworks
former coach house transformed into an art gallery. Add
when opened; and the son of the Tietzes came with big pop-
a beautiful bright sun, shining early in the morning, a
ups done in white architectural cardboard to decorate the tall
large hall at street level formerly the stable for the coaches
conference room upstairs! In no time the Kutscherhaus was
of the family living in the mansion. Combine an inviting
transformed into a pop-up temple peopled with some fifty
mixture of reception room and exhibition area with small
noisy adorers (I almost wrote 'Nvorshipers"). What a great
exhibits of pop-up booksmade by eight-year old pupils of
job the organizers did!
one of the organizing members and also panels showing
precious baptismal letters from long ago. To all that the
local bookshop has added a little stand with recently-
published movable books. Handouts prepared with
information about the speakers of the day, lists of the
names and addresses of all people expected to come, and
name tags with an attached mini pop-up book wait to be
clipped on. These were the conditions prepared by Mrs.
Friederieke Wienhofer, Mr. Ulrich Tietz and his wife Mrs.
Hildegard Tietz for the meeting of pop-up booklovers that
took place on April 20, 2002 in Recklinghausen,
Germany.

Before the official meeting, an informal get together

The welcome and the salutations were so warm and
was held on Friday night at the Wienhofer residence, this
extensive that they slowed the start of the program. But the
year's organizers, bringing together the people who
organizers had learned from an earlier meeting that the
organized the Dutch meeting two years ago and the
contact and exchange between the guests was a major
German paper engineer Mrs. Antje von Stemm. It proved
purpose of a meeting like this. And though the program of
to be a very special evening ending in the early hours with
the day was full, so much so that your reporter at first
a tour through the collection and an informative look at
thought there was a parallel program planned, the convener
the latest project of the lady of the house: a reference book
showed an admirably flexible attitude in executing it.
on seahorses. As a consequence, the next day started after

too little sleep. But once we enjoyed the extensive

After an official word of welcome by Mrs. Wienhofer,
breakfast served byMr. Wienhofer and arrived at the
who also thanked the sponsoring local banking firm and the
Kutscherhaus, we forgot all about the lack of sleep and
authorities that offered the use of the Kutscherhaus, the
joyfully awaited the arrival of the participants.
program opened with the traditional round of introductions
that included lovely and sometimes even hilarious anecdotes
The reception room was given a pop-up atmosphere by
used by people to identify themselves. We also heard about
the surprise attendance often, 12-year old boys and girls
the six and a half meter high pop-up book that was done by
enthusiastically working on their own pop-up books.
one of the guests for the World Exhibition of Hannover in
Pupils of Mr. Tietz, they gave their free Saturday morning
2000. Operated by a hydraulic system to open the successive
theme of the day: "Self-Made
to wonderfully illustrate the
spreads, it was a huge success at the Fair but an enormous
Pop-Ups" - a gesture highly appreciated by the arriving
problem now since it came back to her in several lorries and
guests.
is a huge item to store. Since the people were asked to bring
a special item from their collection - this time a tunnel book
Before ten in the morning the first guests arrived from
or peepshow - the round also resulted in a mini exhibit.
several different countries:Germany, The Netherlands,
Belgium, and even the United Kingdom. It was a pleasant
Continued on page 18
reunion of friends and newcomers who mixed in very
soon. Different languages were heard (sometimes with
 Frankfurt Book Fair 2001
Part two of two
Theo Gielen

The Packagers Are You

It appears hard nowadays to distinguish between the
traditional packager,
publishing company, and the publishing
the packager with his
company
own
that
Cut Out For
developsits own pop-up books. Maybe the only traditional

packager - doing just the design and the production, not

the publishing - is Brown Wells and
such as Intervisual Books, Sadie Fields, Electric Paper,
Jacobs. Packagers
Milwaukee?
Brainwaves, Templar, David Bennett, Matthew Price, and
others, all also publish their own products, either under
their own firm's name or under a special imprint (Pop-up
Press, Piggy Toes, Tango Books, etc.). Publishing houses
like Macmillan, Simon and Schuster, Walker Books,
Ragged Bears, and Random House develop, produce and
publish their own pop-up books in-house. Therefore, we
list here the new titles of all three kinds of companies
involved in one way or the other in the pop-up business.
Again in random order and without any attempt at
completeness.

Sadie Fields / Tango Books has Abby Irvine's Ollie

Owl Learns to Fly (1-85707-513-7), with simple, strong
pop-ups and pull-tabs and an extra removable owl mobile.
By the same author is Len Lion 's Wobbly Tooth ( -85707-1

525-0), a pop-up book with appropriate pull-tabs for the

wobbling of the tooth, and a tooth bag in clear acetate on
the cover. Anne Holt's creation of Ruby, performing as a
ballet star in an earlier book, now becomes Ruby the

Musical Star (1-85707-521-8). Kay Widdowson did Big

Bird and Little Bird{ 1-85707-5 18-8), a pop-up book with
an additional height chart, and Valerie Appleby created
the pop-up story of The Two Magicians (1-85707-5 16-1).
Also now published is Ghoul School (1-
their collectible
85707-381-9) with text by Pat Thomson and illustrations If you're into paper engineering, then Milwaukee's the place
by Leo Hartas. was postponed last year so as not to
It for you this coming fall. Listen to the experts talk about their
coincide with a book with the same title published by experiences. Book artist Emily Martin will conduct a
Abrams. The shaped and die-cut cover has a wheel and demonstration and lecture on movables in artists' books. And
throughout there are pull-tabs and pop-ups. Only a so will paper engineers Matthew Reinhart and Linda Costello.
dummy was seen of John Bleary's Spooky Ride with the And if you're truly cut out for it, get your nimble fingers ready
paper engineering by Mat Johnstone. for a hands-on pop-up construction led by no other than the
award-winning Robert Sabuda.
Brainwaves, the company of Keith Faulkner who has Join the fold (no pun intended) at the Wyndham Milwaukee
done most of their successful titles with the illustrator and

Mm
Center Hotel from September 19 to 21, 2002. You can't afford
paper engineer Jonathan Lambert, continues the success to miss three days of movable feasts, friends and fun.
of the formula used in their earlier Wide-mouthed Frog
and Puzzled Penguin in a new book Can We Play? A
Surprise Book (0-86461-298-1) and The Mouse Who Ate
Bananas (1-55267-012-0).

Continued on page 1
THE 4TH MOVABLE BOOK
SOCIETY CONFERENCE
SEPTEMBER 19 21, 2002 -

MILWAUKEE, WISCONSIN
 Some "Unrecorded" and Foreign-Language a 1942 publication date. The local record at Minnesota
indicates that thebook was merely printed with a 1942 date
Animated Books by Julian Wehr
and it implies that the original cataloger added a "correct"
Dr. Alan Boehm
1943 publication date to the record based on other,
Middle Tennessee State University
presumably reliable information.
Roy Ziegler
Florida State University
We are in a quandary as we try to account for this book.
On the one hand, the Minnesota and OCLC records might
Take them both together and Ann R. Montanaro's
conceivably point towards something bibliographers call a
bibliographies, Pop-up and Movable Books: A
"ghost" - that is, a book that was never actually printed, but
Bibliography and Pop-up and Movable Books: A
forwhich a record or notice of some kind exists. We will not
Bibliography, Supplement 1, 1991-1997, comprise an
venture to explain how such a record might have been
indispensable and authoritative source of information on
created. On the other hand, the Minnesota record may very
the breadth and extent of pop-up and movable book
well indicate just what it seems to indicate: a book by Wehr
publication. The labor behind these encyclopedic volumes
published in 1943 but with an erroneous 1942 printed
has been nothing short of herculean, for the bibliographies
publication date. This view assumes the Minnesota record
represent an ambitious effort to assemble "a record of 1 9th
was prepared by a conscientious cataloger with appropriate
and 20th century English-language books containing
. . .

evidence in hand for a 1943 publication date. If so, one

movable illustrations," as Montanaro describes her aims
suspects that Simon and Schuster printed the book in 1942
in the Preface to the first bibliography.
(which would account for the printed publication date) and
planned to issue the book in 1942, perhaps late in the year
Yet in bibliographic works of such sweeping scope, it
around the holidays, but for some reason the book's
is well-nigh inevitable that a small number of items will
publication and distribution was delayed until after the new
elude the compiler's notice. Such is the case with
year. No doubt, Simon and Schuster was simply bringing out
Montanaro's compilations of the books created by the
with its own imprint a book identical to the 1942 Grosset
great American book illustrator-animator, Julian Wehr.
and Dunlap Mother Goose. But identical to that edition or
Accordingly, as a way of supplementing Montanaro's
not, a copy of the Simon and Schuster imprint appears to be
work we provide here a short list of Wehr's books that are
a very rare book. Any reader who owns a copy should
"unrecorded" in the two bibliographies. It is a indication
consider submitting for publication a brief description of the
of Montanaro's care and attention that our list is indeed
book to Movable Stationery.
short. With the possible exception of a single work that
might be regarded as a hitherto "unknown" animated book
The second problem involves the 1945 Julian Wehr
by Wehr - the 1962 Animated Nursery Tales, which is
Mother Goose. Although Montanaro notes this title in her
inaccurately described in Montanaro's second
bibliography - this list includes no new Wehr titles but
first bibliography, the source she relies on - again, an OCLC
record - does not indicate an animated, pop-up, or otherwise
rather unrecorded editions.
movable book. We should also note that the OCLC record
reports 1 1 copies of this book in academic and public
Unfortunately, our list of the unrecorded books does
libraries in the United States, and that none of these 1
not include all the animated or otherwise movable books
individual catalog records describes a book with movable
created by Wehr and omitted by Montanaro. For example,
we are aware of several of Wehr's books published in
illustrations. However, there may very well be more than one

London in the late 1940s and unrecorded by Montanaro,

version of Julian Wehr Mother Goose, a possibility that
requires explanation.
but we cannot yet identify all the titles. Moreover, in
preparing this we discovered two minor "problems"
list
Curiously enough, the copy of Julian Wehr Mother Goose
with books by Wehr already noted by Montanaro.
held here at Middle Tennessee State University bears the
words "second printing" printed on the verso of the title
The first of these centers on the 1943 Mother Goose:
A Unique Version published by Simon and Schuster page leaf. At the time we write this essay, several copies
offered for sale by rare book dealers are presumably identical
(noted in Montanaro's second bibliography) and the
to our copy, for in online inventories they are all described
relationship of this book to the 1942 Mother Goose: A
as second printings and without animations. Moreover,
Unique Version published by Grosset and Dunlap (noted
although these copies from a "second printing" are not
in Montanaro's first bibliography). Montanaro's source
animated books, the color illustrations for the volume, to
for the 1943 Simon and Schuster Mother Goose is an
judge by the copy in our hands, obviously were initially
Online Cataloging Library Center record reporting a
conceived by Wehr as animated illustrations.
single copy held at the University of Minnesota (the local
record at Minnesota, however, indicates this copy is
Continued on page 10
missing from the collection). The OCLC record includes
 Eureka! Once you see it, you get it. No densely worded "you-only-
Ellen G.K. Rubin understand-it-if- you"re-the-one-who-wrote- it" print-out

Scarsdale, New York instructions.

Seneca, the ancient philosopher and playwright, said, I left the class with a folder full of pop-ups I

"Rules make the learner's path long, examples make it

understood how to make and a spring in my step. But the
short and successful." And so with Carol Barton as my real surprise was waiting for me at home. On eBay, had I

instructor, this learner's path to the successful making of bought a promotional pop-up book Czech rock group for a

pop-up structures was made short... and do I daresay?- complete with their CD and a discography. I showed it to my
easy. Some of us may remember Carol from the first son, Ben, a musician. As we turned the pages together, for
Movable Book Society convention in New Brunswick, me it was like seeing pop-ups for the first time! Each
New Jersey. A book artist, curator, and definitely a movable fell into its proper category like loose change
teacher, this past February Carol gave a weekend running through a coin-sorter. I could identify the elements
workshop called, "Pop Up Structures for Beginners," at upon which each was based and why they worked. Now,
the Center for Book Arts in New York City. Despite my when I look at Kubasta's concertina- fold books, I understand
extensive involvement with movable books, I had had only how he made the marginal pop-ups open beyond the edges
a couple of humbling experiences with actually making of the book. Could No. Some math is involved here,
I do it?

them. I signed up for the workshop determined not so but I understand how
was done. Carol Barton had served
it

much to master the structures and become a paper like Toto did in The Wizard of Oz, exposing magic to

engineer (yeah, right!) but to understand the basic scrutiny. I see movables as simple cuts and folds in paper

principles upon which the structures work. The weekend done in such sequences as to make them behave in
turned out to be nothing less than illuminating. predictable ways. The curtain of ignorance has been pulled
aside. Carol had demystified pop-ups, yet had not

Carol truly did teach by example. Except for the demythologized them! I respect them all the more for the
two rules which mandated making hard creases with our new knowledge. I still experience the "Wow!" effect,

bone folders, and using sharp scissors and fresh X-acto thrilling to the alchemy of movable paper effecting changes
knife blades, Carol demonstrated all we needed to know. before my eyes. The Wizards I call paper engineers still sit

She never used (for me) the dreaded four-letter words: on their thrones.

"just"-as in "You just do this and Voila! It's done." or

"'math"- as in "You have to know the math here." (Yes,
Conference Preliminary Program
for some of us "math" is a four-letter word.)
Topics being presented:
We began with the simple parallel fold pop-up, Commercial illustration and design
progressed through V-folds, platforms, and asymmetrical
Repair and conservation
folds, and finished, unbelievably, with transformations
and dimensional pop-ups, such as a tent and parallel box, Movables in advertising
pop-ups with volume. With each new form, my own Paper engineering
inadequacies were evident when I had to make it. The
Movables in artists' books
difficulty was not cutting, pasting, or folding. 1 feel

comfortable with these elements. But when 1 wanted to A history of Kubasta and his work
think of an application of the form which in my mind Presenters:
necessitates an illustration, I was reminded I had no
Adie Pena
drawing skills whatsoever. The essence of a successful
movable, to me, is the marriage of the right illustration to Robert Sabuda
the movement which best expresses it. Nonetheless, when Emily Martin
I turned the wheel on my and the sun
rotating disk
Ellen Rubin
changed to the moon (My illustrations were VERY
simple, I assure you.), I shouted, " I've done it! I've done Linda Costello
it!"The most challenging movable, a transformation Joanne Page
wheel a la Nister, with 6 "blades" or panels, actually
worked! Carol had told us there was no "wiggle room" for
Matthew Reinhart
this one. "Exact cutting only." No "hanging chads" Ed Hutchins
allowed here. She had gone from student to student (there
Also: video presentations, book sales, book signings,
were ten of us) and supervised the cutting and assembly.
and much, much more.
 Toy Picture Books 15 Questions (or so) with David A. Carter
Peter Laub Adie C. Pena
Salzburg, Austria Makati City, the Philippines

The Hildegard Krahe collection

Exhibition from June 2 through October 27, 2002

Thanks to the
generosity of the
collector Hildegard
Krahe, an extensive
and important David and Adie (with Bugs)
collection of
animated books, in
Ride A Cock-Horse To Banbury Cross
particular books for Part of the research for my article on "Magazine
1895
children and young Movables" was an e-nterview with David A. Carter on his
people, can now be seen in the Toy Museum. The librarian experiences and projects at Intervisual in the 1980s. It took
and specialist foryoung peoples' books became known to David a few weeks to reply to my questions. He began his
a broad public and experts in 1983 with her monograph of e-mail message with this apologetic note [Tue, 6 Nov 2001
Lothar Meggendorfer and later through her jacket notes in 16:39:55 EST]: "Sorry it has taken so long to get back to you
reprints of the J.F. Schreiber publishing house in on this. I have just spent the last couple of weeks doing the
Esslingen. Throughout her life, always guided by the final art forChanukah Bugs (fall 2002)." After putting the
principle of high quality, she collected about 300 exquisite finishing touches on the "Magazine Movables" article, I sent
examples of animated books and now has donated this him a set of questions on his upcoming pop-up book
internationally renowned collection to the Salzburg Toy "Chanukah," in particular, and bugs, in general, which Dave
Museum. gamely answered.

The collection, 1 When did you first conceive these pop-up bugs? Did you
arranged with the expect this big bug idea to "have legs" (figuratively and
existing inventory literally!), i.e. to last this long?
of the Toy Museum,
extends from the "I think 1 Bug books. Add one Bug and Take
did the first

earliest known Away Bugs, They were board books with

in 1986.
animated books attachments but no pop-ups or mechanicals. They have never
dating from the been published. Irv Goodman and Wally could not find a
1830s to the present publisher who was interested. They came back from Bologna
and thus provides a Darton's Movable Old Mother and asked me to rethink the idea. I had a creative session
comprehensive Hubbard and Her Dog. ca. 860 1
with Jim Diaz and John Strejan and out of that meeting
historical survey. came the idea for a counting book which was to become How
Many Bugs in a Box?
To accompany the exhibition an extensive catalog (288
pages, with more than 1,700 illustrations) has been "I did not expect the book to have legs. In fact everybody at
published in which the private collection of Hildegard was very lukewarm about How Many Bugs
I.C. I., except Jim,

Krahe iscombined with the existing collection of the Toy in a Box?. The sales people came back from Bologna telling
Museum and is thus a complete catalog of the SMC A. It me that there was still no interest, that nobody understood
is the first German-language monograph on the subject of the book. It wasn't until Irv Goodman came back with the
the animated book. The collector and donator Hildegard good news that Grace Clark at Simon & Schuster was
Krahe has contributed a major article to this volume, in interested that knew the book would be published. I
I

which for the first time she presents an overall view of her remember Irv then telling me that this book "Had Legs."
extensive knowledge and experience gathered over many Even then, who would know that I would still be doing Bugs
decades. books years later." [Note: "Grace Clark was the children's
editor. She is no longer with S&S, she left about the same
For more information see <www.smca.at> and click on time that they bought Macmillan."]
"Sonderausstellungen 2002." Spielbilderbiicher is

available from the museum and costs 24.80 Euro. 2. What makes your bugs uniquely different from other
Ron van der Meer's Bugz]? Why do your
people's bugs [e.g.
bugs have the "staying power"? and I liked the idea. It was a challenge and an opportunity
to learn something."
"A bookstore owner once told me that what excited her
about How Many Bugs in a Box? was that she had never 8. Could you elaborate a more on Chanukah! What
bit

seen anything like it. I try to make the books completely should we collectors expect Chanukah! Any surprises? Or
in

original in all aspects; the editorial, the art and design and will it be, no offense meant *grin*, the same good oF pop-up
the paper engineering. And I try to integrate all of the bug book from David A. Carter?
aspects. I also attempt to make the books educational
whenever possible. One of the main reasons that the Bug "More of the same. That is what makes it a series. The only
books have staying power is because of the solid difference is the concept, Chanukah, and that this book is

commitment by Simon & Schuster to keep them in print. the smaller format like Easter Bugs. The paper engineering
They have sold well for S&S, I have been told that at one is similar to the other books in the series."
point the Bug books kept the Children's division afloat.
Another reason is that when it comes down to it children 9. You say S&S suggested the Chanukah idea? Is that

like the books, not just the adults who buy the book. have I standard practice? I always thought that ideas came from the
many letters from parents who tell me that their child asks creator.
for a Bug book at bedtime. The books do very well at

Scholastic book fairs where the children, rather that their "My first identity crisis was whether I was a fine artist or a
parents, make the purchase." commercial artist. I determined the difference to be that as
a fine artistI would create art without any input from others

3. Will pop-up bugs be your legacy? and that as a commercial artist I would consider input from
others. I determined that what I most enjoy is working alone
"They will but part of my legacy for sure, but 1 hope not but that I also have an intense drive to feed myself. Being a
the only part. I think The Elements of Pop-up will stand starving artist might be romantic but it is not for me. I heard
the test of time. Our book I'm a Little Mouse has been in a quote once that goes something like this: The problem with
print in France for over ten years and has a very solid book publishing as a business is that it is an art and the
following with the children there. I have many other ideas problem with book publishing as an art is that it is a
that hopefully will be published, so only time will tell." business. I later discovered that one of the aspects I enjoy
about being an illustrator is the problem solving. I see the
4. Bugs and mice, eh? Why this fascination with little ideas as the problem that Sometimes I create
I get to solve.
creatures? my own problems and sometimes I take on other peoples
problems. I have my own ideas that I work on and I
"I find I have a lot of creative freedom with bugs and entertain suggestions from publishers. If it turns me on I will
animals." do it. My experience so far has been that when I do work on
an idea that I did not conceive, am given full creative
I still

5. Would you "sell ouf'to Madison Avenue? Why? freedom to make the book as Of the fifty some odd
I see it.

books that I have published about half are my original ideas;

"I have been approached by Raid and I rejected their idea. How Many Bugs in a Box?, Alpha Bugs, I'm a Little Mouse
Because "Raid Kills Bugs Dead" and I like bugs that are (Noelle's The Elements of Pop-Up, Flapdoodle
idea),
alive. But if the idea was sound I might consider it, I have Dinosaurs are a few. Others such as Love Bugs, Easter
a family to feed" Bugs, Chanukah Bugs, Curious Critters are ideas from
collaborators. And then there are the works from the public
6. You've practically covered all formats [alphabet, colors, domain such as The Nutcracker and If You 're Happy and
1 ''
counting, opposites] and seasons [Valentine, Easter, You Know it Clap Your Hands.
Halloween, Christmas, and soon Chanukah] for the past

14 years [1988-2001; with 14 books, that's an average of 10. From S&S's suggestion to a shrink-wrapped copy on the
one pop-up bug book a year]. Do you see an end to these bookstore shelf, how long does it take to make a pop-up bug
pop-up bugs? book?

"Every time I finish a bug book I think it may be the last, "Six to nine months for my part and another six to nine

but as long as there is a demand and as long as the ideas months in production."
keep coming there will be new projects."
1 1 Do you supervise the printing and assembly of your
7. Why Chanukah? pop-up books? Or do you leave that all up to your
publisher/packager?
"Chanukah Bugs was a suggestion from Simon & Schuster
"During my seven years at Intervisual one of my Wehr, continued from page 6
responsibilities was to prepare books for production and
oversee the production. I spent many hours in film Plausibly, then, we might suppose there was a "first
separation houses, printing plants and on the assembly printing" of the 1945 Julian Wehr Mother Goose that was
lines in Colombia learning the process. The last couple of produced with animated illustrations. If so, copies of this
years I was responsible for all the aspects of a project book are evidently quite scarce. Yet for all we know, this
including art and editorial. I estimate that I worked on may not be the case. Perhaps a first printing was issued -just
close to one hundred and fifty projects at ICI. Today I like the second printing - without animated illustrations.
rarely leave my studio. Using my knowledge of the Less plausible, perhaps, is the possibility that the words
process, I prepare the work in such a way that there is very "second printing" on extant copies really do not belong there
little if any decision making that will take place after the and are, thus, misleading. Were the words simply a printer's
job leaves the studio. I work closely with the production error? Do they mistakenly refer to Wehr's previously
people at the publisher/packager and I must approve published Mother Goose: A Unique Version, a book which
various stages once the book is in production. I feel very does not have the same content and illustrations as the 1945
comfortable relying on the expertise of others, Jim Diaz volume? We cannot resolve the matter. But we encourage
for example, knows more than I or anybody I know will readers who own copies of the 1945 Julian Wehr Mother
ever know about producing a pop-up. So when Jim is on Goose to examine them. have animations or lack the
If they

the job I sleep well." words "second printing" on the verso of the title page leaf,
the owner might consider, once again, preparing a brief
12. After Chanukah, what's next? Fourth of July bugs?! descriptive notice for publication in a future issue of
Geographic bugs?! Movable Stationery.

"Who knows?" Fortunately, the other Wehr titles that have concerned us
are considerably less difficult to address. In compiling our
13. How about pop-up greeting cards based on your bugs? list, we have relied on a number of sources, including
"Bugs: The Movie"? An animated TV special? A pop-up OCLC, Research Library Network (RLfN), and copies of
board game? Wehr's books that have been acquired by Walker Library at
Middle Tennessee State University. Additionally, we have
"We would be very interested in pop-up greeting cards, all consulted rare book dealers' online inventories and have
we need is an interested card company. We have explored relied on information provided by Wehr's children, Jeanine,
all of those avenues and I would be interested in the right David, and Paul, as well as information provided by Adie
project but most of my effort goes into doing what I love Pena and Michael Dawson. Following the example of
most, and that is books for children." Montanaro's bibliographies, we give the source for each
item listed. Wherever possible, we note the number of
14. You once put on a bumblebee costume for a book animated illustrations in each book. In several instances, we
signing event. [Ha-Ha!] Could you tell us a little more have thought it necessary or useful to provide a brief
about this? Any other memorable occasions wherein you explanatory note regarding the book or the source.
had to "dress the part" or had to do something equally, for
want of a better term, "ludicrous"? "I suggested the Finally, because Wehr has attracted an international
costume and ended up wearing it a couple of times a day following, and because a part of this following might be
for a ten day tour. So much for my bright ideas. I learned ascribed to the foreign-language translations of his books,
to keep my mouth shut after that. One aspect of this we have also included a second list, which provides an
business that I have come to truly enjoy is spending time incomplete record of Wehr's books issued in Spanish,
with the kids. I could French, and German. These works, of course, lie beyond
spend hours talking to Montanaro's editorial focus on English-language movables.
and reading to five year But we feel it sensible and useful to take notice of as many
olds. They crack me up of Wehr's books as possible, and to do so in one place.
with the things they say
and do." Books by Wehr Unrecorded in Montanaro's
Bibliographies
1 5. do me a
Finally, could
caricature of David A. Rip Van Winkle. Pilot Press Ltd., London. No date. Five
Carter as a bug? [Dave animated illustrations; wire— not plastic-spiral binding.
sent me this drawing via The date of publication is possibly 1947, which was the
e-mail.] same year Pilot Press Ltd published Animated Picture Book
of Alice in Wonderland, which is noted by Montanaro in her
David Carter as a Bug

10
 second bibliography. exposicio, del 1 7 de desembre del 1 999 al 6 de gener del
Middle Tennessee State University. 2000. Girona. Fundacio caixa de Girona, Centre cultural de
caixa de Girona. 1999. The Spanish editions were most
The Night Before Christmas. Raphael Tuck and Sons, likely published in the late 1940s.
London. 1949. Two animated illustrations positioned
within the inside front and back covers; bound with French
staples. Tchou-Tchou le petit train [The Happy Little Choo
Raphael Tuck and Sons published six Wehr titles in Choo]. J. Barbe. Paris. 1947.
London around 1949. Montanaro lists the Snow White OCLC (No. 21016317)
Animated (1949) in her second bibliography. Blanche Neige [Snow White]. J. Barbe. Paris. 1 948.
Bookseller's catalog. Five animated illustrations.
Middle Tennessee State University.
Snow White Animated. Saalfield Publishing Company, Le chaperon rouge [Little Red Riding Hood]. J.

Akron, Ohio. 949. Two animated illustrations positioned

1 Barbe. Paris. 1948.
within the inside front and back covers; bound with Bookseller's catalog.
staples. Lesanimaux vivants [Animated Animals]. J. Barbe.
Although was published in the U.S., this appears to be
it Paris. 1949.

Snow White Animated publishe

physically similar to the OCLC (No. 24775722)
in London by Tuck in 1949 and noted by Montanaro in
her second bibliography. German
Middle Tennessee State University. Der gestiefelte Kater [Puss in Boots]. Azed AG.
Basel. 1948.

Jack and the Beanstalk Animated. Saalfield Publishing Swiss National Library,
Company, Akron, Ohio. 1949. Two animated illustrations RLiN (No. SZNG057030860-B)
positioned within the inside front and back covers; bound Rotkdppchen [Little Red Riding Hood]. Azed AG.
with staples. Basel. 1948.

Middle Tennessee State University. Swiss National Library,

RLIN (No. SZNGO57030960-B)
Animated Nursery Tales. Grosset and Dunlap, New York. Schneewittchen [Snow White]. Azed AG. Basel.
1962. Three animated illustrations. 1948.
"
This book might be regarded as a hitherto "unknown Swiss National Library,
Wehr, insofar as it is imprecisely recorded by Montanaro RLIN (No. SZNG05703 1060-B)
in her second bibliography, who gives it an incorrect

1943 publication date, even though she accurately Frankfurt Book Fair, continued from page 5
describes its contents. The confusion probably arises from
the fact that Wehr created and published two wholly By the same makers are Deck the Halls: A Christmas
different but similarly title d Animated Nursery Tales, the Window Surprise Book (Dutton: 0-525-46766-1) and a
first in 1943 (noted in Montanaro 's first bibliography), similar A Trick or Treat? A Not Too Scary Window Surprise

and the second in 1962. Middle Tennessee State Book (0-525-46765-3). For Millbrook Press they did The
University. Christmas Story (0-76 13-1439-3), including a pop-up stable
for a nativity display with loose added figures. Koala Books
Books by Wehr published in Spanish, French, and in Australia will bring out their "Pop-Up Jurassic Classic

German Fairy Tales" of Sleeping Beauty and Rexerella. Two new

"mix-up pop-up books" borrowing heavily from Kees
Spanish Moerbeek's earlier mix-and-match pop-ups Have You Seen
Blanca Nieves [Snow White]. Cervantes. a Pog and others, will be published next March by

Barcelona. [Date?] Cartwheel Books, Funny Farm (0-439-30904-2) and

Caperucita Roja [Little Red Riding Hood]. Jumbled Jungle (0-439-30903-4).
Cervantes. Barcelona. [Date?]
El Negrito Sambo [Little Black Sambo]. David Bennett Books showed three colorful Stephen

Cervantes. Barcelona. [Date?] Gublis titles with simple pop-ups, surprising pull-tabs, and
We thank Adie Pena for pointing out these three wheels, / Know an Old Lady Who Swallowed a Fly (1-
Spanish-language editions of Wehr's books and for 85602-393-1), 77k Wheels on the Bus, and OldMacDonald
providing a reliable source for their identification in the had a Barn. Only dummies were on display. They will be

exhibition catalog by Arcadi Calzada and Quim issued in spring 2002. Tricky pull-tabs were found also in

Corominas, Pop-up: Uibres movibles i tridemensionals: their 77k? Teddy Bear's Trick or Treat (1-85602-380-7) by

11
Sam Williams and Bunny 's Easter Eggs (1-85602-391-5) offering both pop-ups and angel surprises (gifts); an

by Helen Rossendale, to be followed spring 2002 by the inevitable pop-up version of the popular duck Daisy created
sequel Bunny 's Bedtime. by Jane Simmons,Come on, Daisy! (my prize for the most
uninspired and an eight-page pop-up carousel book
title);

The Bennett-related imprint of Big Fish is publishing with Penny Dann's too pink fairies The Secret Fairy at
Jay Young's The Amazing Magic Fact Machine (1- Home.
903174-16-3) with the intriguing spinning finger that
answers questions, the similar The Magic Fact Machine Finally I visited the stand of the Templar Company
Science (1-903174-16-3), The Magic Fact Machine where there were some new additions to their successful
Animals (1-903174-45-0), The Amazing Magic Fortune series. On display were Derek Matthew's Snappy Books

Teller ( 1 -903 1 74-47-3 ) and the chi Idren s Magic World of

' new series of three
(twelve parts already), a continuation in a
Learning (1-903174-42-2). Next fall will come the new (larger) landscaped Super Snappies, and two sets of four
spectacular project by Jay Young The Amazing Pop-Up each (smaller) pop-up booklets called Happy Snappies. Also
Science Flea Circus. The book invites readers to take out Maurice Pledger's eight-part Pop-up Adventures will be
the bugs and let them perform six classical (flea) circus continued by a series of four Giant Peek and Finds using a
acts on the elaborately engineered pop-up spreads. Each similar formula with pop-up flaps and one full pop. Of more
performance is based on scientific principles, such as interest are their books Who
You meet on Scary Street?
will

gravity, force, speed, balance, etc., and after you have Nine Pop-up Nightmares Brown, 0-316-25606-4)
(Little

watched the performances, you can learn about the science illustrated by Charles Fuge, and its sequel to come next
- why it works, how it works (the tricks are betrayed!) and autumn. Monster Motel: Nine Monstrous Pop-ups. Also of
how the science is applied to everyday life. A great interest is the pop-up book on crazy aliens, Outer Space is
collectible item and, to me, one of the scarce highlights of a Very Big Place, written by A.J. Wood and boldly
this year's Fair. illustrated by Ross Collins. The best one they did this year,
and highly collectible indeed, is All the Fun of the Fair (1-
Walker Books displayed two new books by Robert 84011-510-6). That was done as kind of a pack that,
Crowther, Colours (0-7445-7549-4) which has eight pages unrolling, reveals a wonderful fairground, complete with a
that at first sight appear to be just a plain color. When the working carousel, a wind-up ghost train, a spinning big
tab is pulled the left page shows in a window the word for wheel and more along with lights and music!
the used color, and the right page shows objects related to
the color of the pages behind the opening windows. The Characters
Crowther's Football has been published in different
British and American editions. In an interview on BBC It has long been popular to tie together the techniques of
radio the author said the American one (Candlewick pop-up, pull-tab, wheel, mix-and-match, etc. with characters
Press) will have an elaborate extra center spread of a pop- that have won their popularity elsewhere. Again this season
up playground, missing in the UK edition! several pop-up and novelty books were seen that are related
to the characters known from the toyshop, television,
The theme of the dummy of Zita Newcome's Pop-up comics, and children's books. I name just a few of them.

Toddlerobics looked very American. Only a first design

was shown of The Theatre Box that will tell children the Almost since the start Walt Disney has seen the
stories from classical ballets and operas. It will have profitable possibilities of these tie-ins. For decades the
musical scores (and an accompanying CD with the Disney Company did lots of pop-ups and novelties for
original soundtracks) and movable parts within the related almost all their characters. Then they stopped a couple of
pop-up theatrical settings. It looked promising but we will years ago. Now there is a modest restart. Some new Disney
have to wait until 2003. titles have been published by Ladybird including a series of
four mini-pops of the Disney Winnie the Pooh, and two
On display at Random House's stand was the new "Flicky Mickeys" (flick books), Silly Spook! (0-7214-7948-
sequel in the successful series of oblong pop-up books 0),and Bow Wow! (0-7214-7949-9). At Disney Press, too,
done by Kate Petty and Jennie Maizels, The Super Science new items, Disney 's Pop-up Animals (0-
could be seen some
Book (0-370-32554-2). Jo Lodge has a new Moo Moo 7868-3303-3) and Disney's Pop-up Adventures (0-7868-
Goes to the City (0-370-32624-5), February 2002, again 3332-7), both offering a pop-up anthology of Disney
done in the bold colors known from her other books and characters and apparently done by Derek "Snappy"
with a nice final pop-up spread of the city Moo Moo Matthews.
visited.

Barbie gets her Barbies Busy Week (0-307-20055-8), a

New at Orchard Books, to come next autumn, are The three-dimensional planner with pop-ups, and Norman
Secret Angel Handbook, illustrated by Jan Lewis and Bridwell's Clifford comes out in February in a pop-up

12
version, Clifford I Love You (0^39-36774-3), to coincide Deborah Norville has a second pop-up book / Can Fly! (0-
with Valentine's Day. I recognized it as a blow-up of the 307-10615-2) after she sold 70,000 copies of her first book
1994 mini pop-up with the same title. / Don 't Want to Sleep Tonight.

Bob the Builder gets his pop-up look in two books European pop-ups
from Golden Books, Bob's Busy Day (0-307-20041-8),
Lofty to the Rescue (0-307-20040-X), and another one For a long time the production of original pop-ups in
from BBC Worldwide, Where 's Scruffy? (0-563-47685-0). non-Anglo Saxon Europe has appeared to be a marginal
There is also a turn-the-wheel book on him, Bob on the business. So it was now. In France four pop-up books by
Run (0-563-47604-4). Francois Michel, strongly inspired by the 'Tanascopic
Model" developed by Kubasta, were reprinted by Actes Sud,
After the worldwide success of the Ann of Green La Maison Romaine, La Grande Muraille de Chine, Le
Gables Pop-up Dollhouse, Key Porter Books from Temple Maya and Les Pyramides d'tgypte. But when I
Toronto, Canada, has announced a similar Little Women ordered copies of them they appeared to have already sold
Pop-up Dollhouse, to be followed by a series of other out. Another "Panascopic Model" adaptation was a large The
carousel books, The Farm, A Family Christmas, The First Christmas: Pop-up and Read the Story Book,
Haunted House, The Wild West and others. wonderfully paper engineered by Tim Bullock. It will be
published next autumn by Eagle Publishing in Guildford,
The BBC seems to have discovered the fun (and UK, a company that appears to have also published some
profitability) of tie-ins and will publish all kinds of pop-up simple pop-up books on religious themes, The pop-Up
and movable items with their children's television series Parables Series and The Pop-Up Prayers Series, both in
Bill & Ben. They will have their pop-up book The Nutty four parts each.
Nut Race (0-563-47643-5), their changing pictures book
Boo! (0-563-47696-6), and their mix-and-match The The company of Emme Edizione
Italian, Triest-based

Shiny Treasure Hunt (0-563-47694-x). The technique of will bring out thetwo new pop-up books paper engineered
three-dimensional pictures seen with special glasses has by Massimo Missiroli, LaMucca Moka (8 8-7927-52 1 -6) and
been used to tie in with the BBC series The Blue Planet, Fred Lingualunga (88-7926-522-4).
3D Underwater World (0-563-53313-7), Walking with
Dinosaurs, 3D Dinosaurs (0-563-5564 1-3), and Walking A small number of German pop-up books were seen at

with Beasts, 3D Beasts (0-563-47686-9). the stands of Rowohlt.They showed the second part of Antje
von Stemm's do-it-yourself pop-up, Frdulein Pop undMrs.
The Teletubbies have a whole range of simple lift-the- Up unddas Abenteuer ... Liebe (Miss Pop and Mrs. Up and
flap, look-inside (die-cut hole) and magical flip-flap the Adventure of ... Love) (3-499-21144-0). At Schreiber

books.The Tweenies got a pop-in-slot book Let 's Pretend there was a nice Christmas pop-up, illustrated by A.
(0-563-47695-8), a mix-and-match The Tweenies Meet the Archipowa, Und sie folgten einem hellen Stern (And They
Animals (0-563-47698-2), and a pull-tab color slide-and- Followed a Shining Star) (3-480-2 1477-0), with a fold-down
seek book, Dotman's Colour Magic (0-563-53312-9). stable behind the "porte-brise" front cover that opens from

Harry Potter pops up not only in both of the previously the middle. The Munich-based Ars Edition developed in-

mentioned Intervisual books, but also in a series of four house their first original pop-up title Das Berlin Paket (The
simple, fan-folded sideways openers. Berlin Pack) which is described in detail in another article.
Itwas surely the best of this year's Frankfurt Book Fair! I
.... and other Celebrities am afraid that was all the European publishers had to
present as their original pop-ups this year.

Anthony Browne, the winner of the 2000 prestigious

H.C. Andersen Award (known as the little Nobel Price), Catalogs
will have his first pop-up book The Animal Fair, a three-
dimensional interpretation of the favorite children's song. To finish this survey of some of the new movable and
It will be published by Walker Books in 2002. pop-up books I saw in Frankfurt 2001, 1 would like to write
Recently published by Golden Books are pop-up books by briefly about a nice accidental circumstance of visiting the

several (American) celebrities.

local Dr. Ruth Book Fair, the selective collection of the catalogs offered by
Westheimer, world famous sex-therapist, now educates the publishers to their trade customers. In the first place

children on where babies come from in the pop-up and catalogs offer booksellers, of course, a lot of information

lift-the-flap book Who Am I? Where Did I Come From? about the new books, their makers, the prices, sales

(0-307-10618-7). Rona Jaffe, whose beloved classic The conditions, etc. For a researcher in the field, the catalogs tell

Last of the Wizards (0-307-10619-5) is now a pop-up, about the development of the publisher's front and backlist
teaching one more time to be careful what you wish for. and their reprinting policy. For that reason the catalogs of

13
companies like Intervisual Books, Van der Meer Books, Magazine Movables, continued from page 2
Tango Books (with an especially complete 2001 color
catalog showing all their new and backlist titles), The series, called "The Adventures of Jack and Betty,"
Brainwaves, etc. will prove invaluable in the future for lost its charm, as far as this writer is concerned, when a
any pop-up book historian. Imagine if we had the catalogs named Jeannette was introduced in 1915.
third character

of the movables from Dean & Son, Raphael Tuck, or Between November 1917 and December 1918, Woman's
Ernest Nister. This year Golden Books, for example, this Home Companion again published a novel do-it-yourself
year did a very interesting 40-page "Novelty 200 1" catalog series of movable paper toy cutouts by Henry Anson Hart
listing all of the pop-up, movable and other novelty books called "Little Folks' Own Circus." Each plate featured two

of their list that are available, giving a good picture of toys with a circus theme — one toy that rocked, the second

their business at the beginning of the 21st century and with a movable piece that swung back and forth on a pivot.
showing, also, the lasting success of some of their titles

that were published sometimes decades ago. (Aside: Are Playbills considered magazines? A 1922
Colonial Theatre Playbill [26 W Randolph Street, Chicago]
Sometimes the catalogs do have an extra that makes contains a pop-up postcard insert for Irving Berlin's "Music

them collectible as pop-up or novelty ephemera. Quarto Box Revue." A 1979 Royale Theatre Playbill [242 45th W
Children's Books, for example, had an ornate front cover Street, New York City] has a pop-up "Grease" centerspread.

on their 2001 catalog with a wonderful inlay of some 12 The headline reads: "The Longest Running Show In
sparkling "jewels," done in a new technique. For years the Broadway History, December 8, 1979 — Tonight's
catalogs of the German Ars Edition used to have Performance #3,243!").
something special on the front cover, a clever die-cut or a
tactile element. Once they had a catalog with the picture While the decades to follow are a blank as far as
of one of their novelty books. When your hand was placed magazine movables are concerned, America witnessed the
on the particular spot of the picture, magically some parts birth of some soon-to-be household names — Reader's

of the picture were made by body warmth! This

visible Digest (1922), Time (1923), Newsweek (1933), Life
year there was a picture by Andrea Hebrock, taken from (1936-72; resurrected as a monthly in 1978), Look
the new board book Ein Brief fur Rotte L4 Letter for (1937-71), and Ebony (1946). But, more importantly, print
Rotte) showing the young dove Lena offering a (pasted advertisers learned to, er, entertain while hawking their

down) letter to her friend Rotte, the rabbit. When opened merchandise.
the miniature letter unfolds to eight times its size to show
the handwritten but otherwise usual publisher's blurb From the 1930s to the 1950s, manufacturing companies
recommending the contents of the catalog. took advantage of the so-called "Golden Age ofPaper Dolls"
and put paper dolls on magazine advertisements to sell
their

For years though the most desirable catalogs were such products as nail polish, underwear, Springmaid fabrics,
offered by the Italian packager La Coccinella (The Quadriga Cloth, Fels Naphtha and Swan soaps, and Carter's
Ladybird). The firm publishes a range of novelty board clothing for children. At last, the blatantly-commercial print

books with die-cuts, puzzles, simple pop-ups, fold-outs, ad had become a paper toy worth looking forward to — and,
etc.and as a specimen of their designs they used to build yes, collecting.

in some novelty in the front cover of their catalog. This

year's front cover showed a large illustration of the But what would finally set the stage for the decades to

ladybird, half of which can be opened to reveal the text come was a short-lived (from February 1950 to January

"Growing up by playing" and a wonderful pop-up circle of 1 95 1 , to be exact) magazine called Flair. The brainchild of
eight children dancing hand-in-hand. During the years Fleur Cowles, a Look magazine editor who wanted to create
there has grown a nice, though "passive" collection out of a magazine for both women and men, Flair had double
these publishers trade catalogs- with-an-extra! covers with die-cut holes; booklets of a different paper stock
bound into each issue; horizontal-split leaves; and
innovative fold-out pages with lift-the-flaps. As one reviewer
observed: "Flair became a monthly event, a tactile feast for
the eyes and mind."
Pop-up Class
After two centuries, the American periodical had been
Rand Huebsch will present a tunnel book class at the re-invented;and Flair showed the magazine publishing
Newark Museum on July 12 and 19. The fee for the two- industry that anything was possible, within the pages of a
day class is $90. <www.newarkmuseum org/artsworkshop/
.
magazine, as well as on its covers.
specialworkshops.htm>
If Flair reflected and defined the '50s, it was Life and,
uh, Playboy in the '60s. Life with its beautifully-

14
 photographed eye-popping fold-outs and Playboy with its, printed and hand-assembled his pop-up products. "First
well, beautifully-photographed eye-popping fold-outs, too.
appreciation goes to Toshu Insatsu of Japan who, from 1960
Cartoonist Al Jaffe reminisced: "Many magazines were until 1969, did an amazing job of pioneering the
hopping on the bandwagon, offering similar full-color hand-assembly of supermarket displays, greeting cards,
spreads to their readers. I noticed this and thought, what's magazine inserts, etc. Tex Sekimoto did a remarkable job of
a good satirical comment on the trend? Then I figured, guiding Tosho's efforts under the direction of Ed Posnecke,
why not reverse it? If other magazines are doing these big, Graphics International's Tokyo Office Manager."
full-color fold-outs, well, cheap old MAD should go
completely the opposite way and do an ultra-modest Among the company's early output was the
black-and-white Fold-In!" ground-breaking series of pop-up ads for Wrigley gums that
appeared from 1964 to 1967 in Jack and Jill magazine. The
The first interactive magazine "Fold-In" MAD pop-up fold-outs featured thirteen (13) animals with
appeared on the inside back cover of issue #86, April 1964 alliterative appellations - Bobby Bear, Buster Beaver, Clara
— and has become a regular feature for the past 37 years. Camel, Eddy Elephant, Franky Fox, Hildy Hippo, Jeffrey
Mr. Jaffe's idea wasn't actually new. An old Japanese Giraffe, Karol Kangaroo, Lawrence Lion, Melvin Monkey,
single-sheet woodblock print (ca. 1870) intended as Ricky Raccoon, Sally Seal and Sammy Sloth. There are two
material for two miniature transformation books utilizes (2) versions of the Bobby Bear print ad, making it a total of
exactly the same concept. By means of vertical folds, the fourteen (14) different pop-ups. The "simplified" version has
"Patron Saint of Learning" transforms into a top, while a a smaller lake, one less bear and a tree with less foliage.
crab turns into a maple leaf.

4 Mad Fold-In When folded correctly,

MAD FOLO-IN
rss Mauri tr»OHn«aiEa. kiu-ms msn. gm p«i

Richard Nixon's name and image appears

(June 1964).
WHO WANTS TO BE PRESIOENT WORE THAX 4NHHING? Transformations
Single-sheet woodblock
print intended for a

Japanese movable
picture book (ca. 1870).

Undeniably, the man who revived the pop-up art Mr. Hunt "then moved on to books" and developed
form Waldo H. Hunt who, along with paper engineer lb
is pop-up book lines for Random House and Hallmark from
Penick, established Graphics International, a company 1965 to 1973. In 1974, he launched Intervisual
that specialized in pop-ups, initially NOT for books, but Communications Inc. which, to this date, has produced
for commercial applications. Movable maestro David A. "millions of pop-up magazine inserts and premium books for
Carter says: "What is interesting about this all is that major advertisers."
Wally had started his first business doing point of
purchase pop-ups. One that I can think of is for Campbell In 1969, Chris Crowell, another pop-up pioneer,
soups or Del Monte." Mr. Hunt, in a recent interview with founded Structural Graphics, which produced print materials
this writer, proudly admitted: "My company, Graphics involving initially die-cuts and pop-ups; eventually
International, pioneered the pop-up magazine insert, fragrances; and, much later, soundchips, lights and
direct mail, and point of purchase display business starting holograms. After years of endless innovation, Structural
in 1960." Graphics will become the country's leading producer of
interactive, three-dimensional print communications,
Mr. Hunt, in a recent fax, fondly reminisced about specializing in direct mail advertising, point-of-purchase
his overseas partners in "developing countries" who displays, specialty packaging and, yes, pop-up magazine

15
inserts. (Frank Ossmann of Structural Graphics has kindly Of course, pop-up "investments" do have pop-up
provided a list of some of their ground-breaking projects. "advantages." Jane Bradley, in her article "Pop Art," wrote:
Please see "Structural Firsts" in this issue.) "A Time readership survey revealed that dimensional
designs increase brand awareness and communicate more
In the 1980s the popularity of pop-up books swelled, effectively than typical print ads. An astonishing 96 percent
and advertising mirrored this trend with a plethora of of Time readers recalled seeing a test-marketed ad. The study
paper-engineered pieces. Mr. Carter remembers: "I was an showed that 72 percent of readers not only distinctly
art director at Intervisual when we did the first pop-up remembered seeing the dimensional ad, but clearly
magazine insert. At that time, Jim Diaz, who was then the associated the advertiser's product with the ad, creating a
creative director, gave me the job of art director for these positive connection between the company and its product."
pop-up ads. John Strejan, David Rosendale, Tor Lokvig
and myself were the paper engineers on these various Aside from the above-mentioned Transamerica insert,
projects. The first job that came to Intervisual was a the stand-outs (no pun intended) during that decade were the
pop-up for Honeywell that ran in Business Week [June 3, ads for Anderson Printing (1984) showing a man who
1985]." accidentally falls into a printing machine; Northern Trust
Bank (1987) with an executive hiding from a bill collector;
Mr. Carter continues: "It was the advertising agency and a box of Hennessy Cognac (1987) popping out of a
for Honeywell, BBDO in Minneapolis, that first contacted Christmas stocking.
Intervisual about doing an ad. It seems that there were
postal laws preventing this kind of bulk to be included in Mr. Carter picks up from where we
left off: "...a pop-up

magazines. The advertising agency became aware of the Dodge Truck, Havoline Oil featuring Nascar
a pop-up for
fact that the Reagan administration had deregulated the drivers, then the Hennessy [Cognac] ad. The Hennessy ad
laws and they had the bright idea for pop-up ads." was my last as art director. After that I went freelance and
focused on books and only made a few minor pop-up ads.
With this deregulation, the floodgates were opened. David Rosendale and Tor Lokvig continued on and
Mr. Carter resumes by enumerating the other pop-up ads eventually the company, Intervisual Communications Inc.,
he has worked on: "A pop-up direct mailer for Apple became two (separate) divisions: Intervisual
computer was next, then Transamerica..." Communications did pop-up advertising and Intervisual
Books did pop-up book packaging."
The pop-up Transamerica Corporation print ad,
which featured a three-dimensional depiction of the San (Yes, there are two Intervisuals today. One is

Francisco skyline, appeared in 5.5 million copies of the Intervisual Communications, Inc. [ICI], the other is

September 8, 1986 issue of Time magazine. Marvin M. Intervisual Books, Inc. [IBI]. Confused? Mr. Hunt explains:
Gropp, director of research for the Magazine Publishers "In 1991 we spun off our commercial division to RR
Association in New York, said then that it was the "largest Donnelly. It continued with the name Intervisual
press run on record for a three-dimensional pop-up ad" Communications [ICI] and we became Intervisual Books
and "a hell of an investment." [IBI]." Mr. Carter continues: "...ICI was later sold back to a

group of employees including David Rosendale. ICI is based

in Santa Monica, CA and is still in operation. David
Rosendale and Tor [Lokvig] are the paper engineers." Mr.
Hunt adds: "Our non-compete agreement [between ICI and
IBI] expired several years ago and we [Intervisual Books]
are once again in the commercial [i.e., advertising] pop-up
business.") Back to our informal history.

Magazine art directors and illustrators didn't miss a

beat and likewise rode on this three-dimensional trend.

Playboy on several occasions featured an article with a

pop-up fold-out, e.g. "While Lenin Slept" (January 1986)
and "Channel Hopping" (December 1987). A photographic
on joint child custody in Parenting
illustration for a write-up

magazine (1987) was obviously inspired by the McLoughlin

transformation "Pantomine Toy Books" (ca. 1886) which
contained half- and quarter-pages.

16
 Bowing to public and political pressure over later), the most paper-engineered product category,
half-a-century ago, the Distilled Spirits Council of the understandably, is Benson & Hedges, Camel,
cigarettes (e.g.
United States (DISCUS), instituted a self-imposed ban on Carolina Gold, Kent, Marlboro, Merit, Salem and Winston).
broadcast media advertising, since 1936 for radio and Joe Camel, on the other hand, has the distinction of being
1948 for television. This voluntary ban obligated the hard the most popped-up marketing mascot, aside from the
liquor industry to utilize non-electronic media, magazines Wrigley's Spearmint boy from the 1960s. Joe, who
in particular, for its advertising campaigns. (Note that this celebrated his 75th birthday in 1988 with a
ban does not cover beer and wine which probably explains three-dimensional ad that included a soundchip, made his
why we've hardly seen any pop-up ads for these products.) last pop-up appearance in the spring of 1996 giving away
tickets, before finally being deep-sixed by lobbyists in
The alcoholic beverage that has used the print Washington D.C.
medium to the hilt is Absolut Vodka (imported from
Sweden, launched in the US in 1981) with its novelty
print ads created by advertising agency TB WA Chiat/Day. Crossword Cube Three-dimensional puzzle wherein
Inspired by the MAD 'Told-Ins," TBWA designed an ad the Ws tum upside-down to become Ms, and

that required the readers of Business Week to fold together the Zs and Cs tum sideways to become Ns and

a bisected Absolut bottle. When accomplished correctly, Us (GAMES, December 1992)

the headline read: "Absolut Merger."

Other ads in the long-running (and award-winning)

series utilized soundchips, an actual forty-eight-piece
jigsaw puzzle, real refrigerator magnets, postage stamps
in a glassine envelope, postcards, Christmas cards, a
packet ofhonest-to-goodness wildflower seeds, x-ray film,
a flexible plastic record featuring Brazilian composer
Antonio Carlos Jobim's "Absolut Song," a pair of
stockings, a silk pocket square, and a pair of Absolut
winter gloves designed by Donna Karan!

My favorite of the lot is the "Absolut Wonderland"

snowdome from 1988. Encased in a plastic pouch
containing "snowflakes" floating in propylene glycol (a
harmless liquid when ingested), the reader can actually
shake the print ad and watch the flakes fall. As a That same spring, Structural Graphics was busy
precautionary measure, the advertising material carries producing a spectacular holiday pop-up adfor Smirnoff
this warning: "Do not puncture this ad. And please, do not Vodka. The ad, which included a dozen flashing lights,
drink the liquid inside. It's not for human consumption. transparent vellum and printed Mylar, was scheduled to
It's not Absolut Vodka." It would be interesting to note appear in 500,000 copies of the Entertainment Weekly
that this print ad preceded Nancy McMichaePs Christmas issue.
Snowdomes (Abbeville Press 1990), which contains a
"working" snowdome on the cover, by a good two years! That summer, Seagram Co. decided to disregard the
voluntary ban on television and radio advertisements for
A pop-up on the cover, e.g. The Head (1996), or hard liquor and aired their commercials for Seagram's
within the pages, The Terminator (1991), of a comic
e.g. Crown Royal Canadian whisky on a local cable station in
book is predictable, right? But magazines that one would Texas. Despite protests from alcohol-control activists, the
least likely find a gimmick in published some novelty walls came tumbling down as the rest of the industry
issues as well, e.g. 3-D glasses in National Geographic followed Seagram's lead. Because of lagging liquor sales in
(the Mars Sojourner edition) and Sports Illustrated (a favor of the wine and beer industry, DISCUS decided to end
special swimsuit edition, why not?). From 1991 to 1996, their decades-long self-imposed television and radio ban —
GAMES, a crossword and puzzle magazine, had a regular perhaps signaling the end to pop-up print ads for alcoholic
feature called "Pop-Outs," perforated pieces that readers beverages.
could punch out and assemble. Imagine solving a
three-dimensional crossword puzzle (December 1992)! The three-dimensional Smirnoff insert (conceptualized by
New York-based advertising agency Lowe and
With the ban on tobacco television advertising in Partners/SMS), showing a man in his bathrobe holding up
1971 (smokeless tobacco advertising was banned 1 5 years glowing batons as he directs Santa's reindeer to follow

17
blinking lights to a soft landing on his snow blanketed European section, continued from page 4
roof, did appear in December 1996. With television
advertising now available, it may be the last pop-up ad for We got the opportunity to see a whole series of items,
a distilled spirit we'll be seeing in a long, long while. ranging from a very early tunnel peepshow from the 1 840s,
a great Lane's Telescopic View of the Great Exhibition
As the '90s were coming to a close, and a new ( 1 85 1 ), a rare German Erinnerung an Niirnberg (Memory of

century and a new millennium were in the horizon, the Nurnberg) from the second half of the 19 th century, several
term "pop-up ad" took on a second meaning. Definitely of the Werner Laurie Showbooks from the early 1950s, both
not as delightful as the three-dimensional pop-up ads we peepshows produced to commemorate the coronation of

cherish in the real world, these virtual "pop-up ads" were, Queen Elizabeth II (1953 and 1977), the series of four
to put it mildly, pesky windows that would unexpectedly Magic Windows done by artists including Tomie de Paola
appear while one was surfing through cyberspace. With and Edward Gorey for Putnam's Sons in 1984. There were
this new intrusive medium came talk about the demise of also recent ones, the three Gaiarama peepshows published
publications -- and, maybe along with it, the wonderful in the 1990s by White Eagle of Willits, California.
tactile movable that would occasionally appear in our
favorite magazines. Other guests picked up the theme of the meeting and
showed the results of their own paper engineering activities.
Could a virtual "magazine" offer a real tactile A bird watcher showed a nice panorama of endangered
pop-up? A quick check of some websites uncovered the species in their familiar Dutch habitat of dunes and
following "free" movables and paper toys. From paper meadows. A couple fond of penguins used them to surprise
engineer and designer Tracy Sabin's site each other with one-of-a-kind pop-ups for special occasions.
<http://members.home.net/tracysabin/paperland.html> They showed their most recent Easter greeting, a pop-up of

one can download the first four of a set of 20 "building penguins an icy landscape (intriguingly done by the use
in

projects" called "PaperLand." of wave-paper known from Christmas decorations) with an

Easter hare popping up by the pull of a tab.
All 44 templates for David A. Carter and James
Diaz's The Elements of Pop-up can be downloaded from Other curiosities that popped up were Grimaldi's A Suit
<http://www.simonsays.com/subs/txtobj. cfm?areaid= 1 of Armour from the 1820s and even a copy of Georg
3&pagename=elementsjx>pup >. At Michael Dawson's Bartisch, Augendienst, a rare pictorial record of Renaissance
<www.AmpersandBooks.co.uk> site one must answer a eye surgery in which some of the woodcuts show the parts of
"light-hearted pictorial quiz" composed of 12 questions the eye in various layers as they are viewed in dissection by
for a chance to win a special-designed pop-up by Robert means of movable anatomical flaps. It was originally
Sabuda. If the quiz is correctly completed, one will receive published in 1583 but was shown in a facsimile edition
"full instructions and everything needed to make this purchased by its owner the previous day in a German
unique gift — probably the first working pop-up greeting antiquarian bookshop.
to be sent via cyberspace."
Since the round took time and the two presentations
These "free" paper toys however have to be printed planned for the morning session were going to suffer, the
and assembled (yep, it's like Woman's Home
out, cut convener ingeniously showed her flexibility by incorporating
Companion on the web, if you ask me), depriving the the presentations in the round. She allowed more time to the
recipient of the instant gratification a tangible movable in presenters. Mrs. Astrid Feuser, a German artist who showed
a meatspace magazine provides. I'll take the some of her artistic one-of-a-kinds that excelled in their

ready-to-serve pop-up cup of General Foods Cappuccino complete lack of glue-points (but having the more staple
(perhaps the last three-dimensional magazine ad of the points). They were offered for sale the rest of the day.
century that just passed) anytime. Professor Bodo Boden from Bochum University showed
examples of pop-ups on the theme "Waiting Rooms" (in an
When asked what she thought of the interactive web hospital, at the airport, at the laundry, etc.) done in blanks
magazines of the '90s, Fleur Cowles, the woman behind by his architectural students and leaving to him a wonderful
the interactive magazine of the '50s, answered: 'XThese collection of some 70 nice examples. Some more time also
"netzines" will never replace the printed word." Let's was given to Mr. Harald Mante, a German professor of
raise ourcups of Cappuccino, our bottles of Absolut photography who showed great photograph ical pop-ups done
Vodka, and drink to that. Here's to more magazine both by himself and by his students. The last two
movables in the 2 1 st century! presentations elicited the remark that helps to enrich your
collection by being a teacher - or by marrying an
antiquarian bookseller.

18
 The morning session closed with the presentation of their treasure box which hid for every guest a
the award for the best movable card made by the "prefabricated" baptismal letter, already folded, covered in
participants to announce their attendance. The prize- a two-toned green outer paper and completed with an inlaid,
winning item was an elaborate, nicely designed and likewise green, German twenty Mark note (unfortunately cut
ingeniously engineered movable scene of a Beast (?) up in small pieces since the Mark recently has disappeared
kissing a Beauty by pulling a tab, sent by the Belgian from the market, exchanged for the Euro!). It was a great
collector Mr. Francois de Geest. Evil tongues suggested and witty gesture from the organizing committee that was
that this item had only been chosen because the president highly appreciated.
of the jury thought she recognized herself in the Beauty.
Mrs. Antje von Stemm, the only female German paper
Lunch was served next door in an historic restaurant engineer, in her own funny way told about her work and how
withits own in-house brewery, still sometimes found in she started in the field only a few years ago. She reminisced
Germany. Enjoying the good food and the home-made about being a student of children's book illustration at the
beers, the people took the opportunity for social exchange, Hamburg Design Academy and going to the Bologna
showed recent purchases, made new contacts or analyzed Book Fair with her first (as she now knows
Children's
the special items that were shown in the introductory "completely impossible") dummy of a pop-up picture book
round. Many guests changed places to take the opportunity of 35(!) pages. It was only there that she learned of the
to talk to collectors or to the paper engineers Kees existence of the special profession of "paper engineer" and
Moerbeek, Carla Dijs, Antje von Stemm and Rene of firms that specialized in pop-up books. The visit to
Stikkelorum. Bologna brought her an offer to go to the United States to
work at the studios of James Diaz's White Heat and to learn
Information about upcoming European exhibitions of the profession. She gratefully accepted and planned to go
movable and pop-up books preceded the afternoon session: there for two or three months in 1995. It turned into a stay
the collection of Mrs. Hildegard Krahe, in Salzburg; books of one year and a half years until she could no longer extend
from the collection of the International Youth Library, in her visa. During that time she had the opportunity to work
Munich; an exhibition in Recklinghausen in September, with such people as Lynette Ruschak, Olivier Charbonnel
as a sequel to this meeting; and an exhibition from the and, of course, the eminent paper engineer James Diaz
collection of Mrs. Hase, in Bietigheim-Bissingen near himself. Her first published book was Space Detectives
Stuttgart (in 2003). (Chronicle Books, 1996), a boxed mixture of a pop-up book,
a mini jig-saw and a finger puppet.
It was a very productive

The first presentation in the afternoon was done by Mr. time White Heat that also brought forth her Nightmare
at
Wolf-Eckardt Irmer who prepared a very informative talk Hotel (1997) and Nightmare Cafe (1998), both peopled by
about "baptismal letters" and their history. They are a rather eccentric characters, testifying of her grotesque
paper ephemera form used around births and christenings imagination and special kind of humor. She talked with
th
since at least the end of the 16 century. The nicely wistfulness of her great time with Mr. Diaz and his
illustrated letters, picturing all kinds of symbolic items impressive way of supervising.
relating to human birth, life and death and Christian
belief, are ingeniously folded to form kind ofan envelope, Back in Europe she had to finish her studies. She did so
and enclose the gift of the godfather or godmother, a with the award-winning do-it-yourself pop-up Fraulein Pop
(precious) coin like a "Thaler" or a "Ducat." Mr. Irmer und Mrs. Up (Rowohlt, 1999) (reviewed inMovable
showed us a wonderful selection from his extensive Stationery, November, 2000). She told how difficult it was
collection that usually can only be seen in his private to get a "real" pop-up book published in Europe. As a result,
museum in Herten, Germany. At least one of them was a she decided to do this as a do-it-yourself book since the
th
real pop-up: kind of a better known 19 century Valentine publisher didn't have experience with pop-ups and only
card folding down three-dimensional ly with its envelope agreed to publish a "normal" book. Mrs. Von Stemm was
glued on the backside. Apparently the baptismal letters not sorry because it gave her much more freedom of design
were a common practice in the German-speaking while not being limited by glue points or the amount of
countries of Europe (Germany, Austria, Switzerland). paper available. She showed the dummies of how the book
They were also known and used among 19 century th
came into existence - starting with an almost mini-dummy
German emigrants in the United States. Very few since "it doesn't hurt too much to throw away such a small
examples were known from other European countries. booklet when the project proves to end in nothing." A sequel
followed in 2001 as Fraulein Pop und Mrs. Up und das
A question from the audience about how the letters Abenteuer Liebe. Of course many people had their finished
were folded proved to be the signal for the organizers to copies of both books to be signed! Making a virtue of
distribute spreads of an historic do-it-yourself letter with necessity she now mostly does do-it-yourself designs
an accompanying instruction leaflet. They also opened (movable or three-dimensional), published on special, heavy

19
paper within the parts of a series of kid's reference books. A further dummy took up the idea of Mr. Moerbeek's
Four or five parts are published a year by Rowohlt. first book, Hot Pursuit (1987), with pop-ups that can be seen
Likewise, contributions can also be found in the high forward and backward with different images. The refinement
quality German children's magazine Der bunte Hund this time can be found in the use of topsy-turvies to illustrate
(Beltz & Gelberg). the flat parts of the spreads creating the impression of a
completely different book when the "first" book has been
read and the book is turned upside down to read the

"second" one backward-forward.

The best, however, was reserved for the last. Kees

showed two new works-in-progress that brought the
audience from their chairs! The first, a great (and tall)
dummy of The Grimm Stories will contain two elaborate
spreads with paper artwork of a kind that has not been used
in a pop-up book until now (but which was foreshadowed in
some earlier rejected dummies seen by the visitors of Kees
and Carta's "Spooky Party" in their studios in November
2000). The first, and only finished spread, brings the
The final presentation came from Mr. Kees Moerbeek. pillared interior of Sleeping Beauty's castle with the Knight
He surprised the audience by showing a video of the on his white horse riding in, followed by a double spread
making of his most recent book Diary of Hansel and with the text of the fairytale in calligraphy decorated with
Gretel, which had been published only a few weeks ornamental capitals and borders to give the illusion of a
previously by Simon and Schuster. The video went from medieval manuscript. Not satisfied by the illustrations ofthis
the first pencil notes about the contents of the six spreads
and the first scribbles of the design of the illustrations. He
showed the origins of parts of the illustrations from all
kinds of sources, how he scanned them, and cut and mixed
them up in the computer until he had the finished dummy.

The video continued through the production process in

Colombia and Ecuador and ended with the delivery of the
finished books at the publisher's warehouse in New York.
It was a great survey of the making of a book, filmed and

mounted by his wife Carla Dijs and their daughter Liza,

specially done with a German voice-over for the
Recklinghausen meeting. The end of the video showed its
special dedication to the organizers of this very day! The
gesture brought warm applause from the audience. A
small number of copies of the video were available for sale dummy, Kees started another project for which he went on
and sold out in no time. to experiment with all kinds of computer possibilities. It

resulted in another dummy

was worked out into its
that
Mr. Moerbeek also showed two new Roly Poly Books finesses: a one-spread book showing a scene from the
published last autumn by Child's Play in the US. He fairytale of Rumpelstiltskin set in scenery heavily
explained why the series (including the reprints of the reminiscent of the Renaissance pictures of the Flemish
earlier parts now totaling five volumes) was blown up Primitives and done in the extremely bright colors of those
from the earlier 65 x 65 x 65mm to the current 85 x 85 x early masters. The whole looked so beautiful and warmly
85mm. It is a matter of "value for money" that counts in colored that one felt it almost pity to imagine the dummy
the American market whereas the British market proves printed, reducing its brightness by the poverty of modern
to be more sensible of the principle "small is beautiful." printing techniques. The dummy, with knotted right upside
He also showed how elements of an earlier dummy for a and downside corners resulting into an octagonal spread
Christmas book, that was rejected by the publishers, had when opened, was laid down into a rectangular box from the
been reused in the Roly Poly Countdown to Christmas - inside pasted with velvet-blue heightened with French lilies

giving us (again) a small peek behind the scenes in the in gold. The whole having more the look of a paper
studio of a paper engineer. He showed his new book
also sculpture art work than a dummy for a future book!
that will be published in the fall by Simon and Schusters
Your Monsters are in Charge, a counting book with fold- Kees realized that this dummy will never be published by
downs that grow over peopled towards the end. a regular publisher since it would be too expensive to

20
produce. When questioned why he worked on such a Hunt interview, continued from page 1

dummy knowing beforehand a work like this will never be

published, he answered briefly "by passion." It is typical K: Is it 1973 that marks the birth of Intervisual?
of him and same time the answer brought him in to
at the

the heart of the assembled collectors. Let us hope he will W: Yes. I think that we officially say 1975, but I started
pick up Mrs. Wienhofer's suggestion to bring out a developing Intervisual Books in 1973. That's when I moved
limited edition of the work as an artists' book produced by from Hallmark in Kansas City. And hadI a year and a half
himself in the colors shown. non-compete, so I didn't put my books on the market until
1974, 1975.
Everybody felt we had just seen an ultimate work of
pop-up art - self-made, reflecting the theme of the day, K: OK. So when you came back here with your family you
but by a master of the profession! No more had to be said had a non-compete agreement. I imagine that must have
or shown: this was the natural ending of a magnificent been a time when you were hustling to get some business
day. Downstairs there was tea and "kuchen" again. There going, pretty much all money going out and none coming in
was enthusiasm; a last opportunity to talk; another chance for a couple of years.
swap and buy, to plunder the
to see the exhibited items; to
boxes ofbooks brought by Kees Moerbeek, Carla Dijs and W: Oh yes, yes. I started all over again, typing my own
Antje von Stemm; to get copies signed (some were so letters, wrapping my own things, at the age of 53.
lucky to have even an extra picture in them); to show off
gems from their own collection; and to start packing for K: Were your children almost raised then?
the journey home and to kiss goodbye. But it stayed noisy
for a long time in and around the Kutscherhaus. The real W: They were going into high school and junior college.
die-hards decided to have a farewell drink in the brewery
next door and 20 of them disregarded the surprised K: So you had agreed not to publish any books until 1975.
glances of the pub visitors as they talked in all languages I've pulled this list of 1975 pop-up books from Ann
about movable and pop-up books. The open end of the day Montanaro's books - are there some titles that are yours?
as announced in the program was taken literally: I don't
know how long the chats lasted as I had to take the last W: OK. sold Aladdin and the Wonderful Lamp to Random
I

train back home. House, who bought 50,000, and in 1975 we did Aladdin as
a carousel, which we sold to Chatto and Windus in England.
And only in the train when the whole day passed my
inner eye once more did I realize there had been one big K: What else can we identify as some of the first Intervisual
fault in the otherwise perfect organization! The open books?
ending meant - was it on purpose? - that we didn't get an
official opportunity to thank the organizers and to praise W: Hansel and Gretel. We did that as a carousel.
all work they had done. Though surely the people said
the
it in person when saying "goodbye," I am happy to have
K: That whole carousel series was pretty large. There must
the chance to do it here publically, on behalf of all your have a been a number of titles - Thumbelina . .

guests of that wonderful day in springtime

Recklinghausen: Mrs. Friederike Wienhofer, Mr. Ulrich W: Eight or ten titles. Thumbelina was the best of the series.
and Mrs. Hildegard Tietz (and Mr. Wienhofer who proved
helpful behind the scenes), thank you very, very much for K: Yes, I like it a lot.
the great meeting you prepared; the warm welcome you
gave to the people who came from so far; the perfect
W: Chatto and Windus
organization of the program and the flexibility of its
published the carousel books
execution; the matching presents you gave to us; the that were originally done in
original presents as made by Mr. Tietz for the speakers of the '50s.
the day, and the matter of course and unselfishness with
which all this was done! K: Were those the books by
the illustrator, Pym?
For Mr. and Mrs. Tietz, an extra compliment for the

enthusiasm with which they bring the love of the movable W: Yes, and because they
books to their pupils in school - as we were able to had been publishing them I

experience by the examples exhibited and the kids in went to Chatto London and said I'm going to come out
in
attendance proudly cutting, folding and glueing, when we with new books and I paid them a royalty on all my new

arrived. All this will be remembered! books. It wasn't that I really owed them a royalty, but

21
Sebastian Walker was became Walker
there, and he later You know, when you've got something that rhymes, your
Books. We co-published the Fairy Tale Houses and Fairy mind makes it it to be. The book was on the
what you want
Tale Castles with Walker Books. Sebastian Walker dock in Columbia, 50,000 copies, going to Scholastic, our
became the leading novelty book publisher in England. first order. I called Arnold Shapiro our Office Manager and
Creative Director and said, "Arnold we've got to do
W: Do you know who Roger Schlesinger is or was? something." So we sent it back to the factory. We pasted on
a piece of paper that worked into the layout and changed the
K:No. word before we delivered it. It was a glue-over, but you
couldn't tell because it was added to a cat's tail. I doubt if
W: Roger was the brother of anyone ever noticed it. That I'll never forget.
John Schlesinger, who did the
movies Sunday Bloody K: Did you produce Cookie Monster for Random House?
Sunday and Midnight
Cowboy - a very famous W: No, we weren't doing Random House books because I
movie producer. And Roger had turned everything over to Random House when
was the guy who imported the Hallmark had me producing for them. My close personal
Czech books from Artia to friend, Jerry Harrison, was running the Random House
England, and eventually into operation, and he did Sesame Street books. We
all the
the United States. It was those started doing religious books for acompany called David C.
me started. I made Roger my branch
books that really got Cook in Elgin, Illinois. It was Joe's idea. Mickey 's Circus
manager in London, and all the books I did for Hallmark Adventure was ours. That was a mini pop-up in 1976. And
and Random House were sold in England by Roger Nicola Bayley's Puss in Boots was also published in 1976.
Schlesinger.
K: That is a beautiful book.
K: His name's on the title here, the Three Little Pigs.
That was a carousel too. W: She had just done Tiger
Voyage, which was a best
W: Yes. It was part of that series. We did it in a number seller internationally, in two
of different formats. dimensions. Puss in Boots
was the first time, to my
K: Do you see any books listed here for 1976 that knowledge, that a best
Intervisual produced? selling, international
illustrator ever did a pop-up
W: Okay. 1976 was more exciting. All Kinds of Cats was book.
one of the first books we did as Intervisual. I sold it to
Scholastic, 50,000 copies. K: That is a real hallmark.

K: You remember that one fondly. That paycheck must W: And it was expensive; it retailed for $3.50. That was a
have looked very nice. lot of money then, but the book was a stepping stone. Then,
in 1 979, we did Haunted House.
Tl«- I k««-vt. v mill lit- 1 WJ«T
W: Yes, and there is one
line in that book that I'll K: That was a giant step for Intervisual and for pop-up
never forget: "There are books. It seems that Haunted House is the book that really
cats going over and under got a lot of people interested in pop-up books.
too, cats going around and
cats going through." We W: It won theGreenaway Medal and it was on the best
misspelled "through." This seller list in London and New York. Up until then, pop-ups
is for Scholastic, right? I were not really recognized; they were toy books. All of the
was having lunch when I Artia books, the ones that I bought in the sixties, were sold
showed the book to a out of bins for a dollar. Teachers and librarians didn't
fellow, and he said, "Oh, In Krirl'«rV consider them books; they were toy books. They were like
you did that on purpose, comic books. So, was Nicola Bayley's book, Pierikowski's
it

didn't you?" Haunted House, Eric Carle's book The Honeybee and the
"T.H.O.U.G.H." It was not "through," but was "though. Robber, and The Human Body by David Pelham that helped
elevate pop-up books to a higher stature, to a real book level

22
 K- They were seriously dimensional books ever done. Dinosaurs has 285 glue
considered then. points, and it's not just the number of glue points, but
everything works. In a really good book, the actions you
W: Right. create are realistic; they're not artificial. You don't just
move the little boy from here to there; he is doing
K: Recently Intervisual has something. Or the animal is doing something. That is

put out Haunted House in a designing and incorporating paper engineering to its greatest
smaller size, about 8 by 5 advantage.
inches in cover size.
K:. Keith Moseley.
W: Here it is. It was out of
print in the United States W: Keith is one of those rare, talented people. He can design
and London after we had and he can paper engineer and he can illustrate. All three
produced over a million phases. Tor (Lokvig) is weak on design and illustrating but
copies. he's a super technician!

K: I like the smaller size a lot. Is it on the market now? K: Probably one of the best if you want something to work
really well.
W: I found that we could make the book absolutely
complete in the smaller size and we could sell it for half W: Definitely, because he was trained by Penick. And there
the price. You see, when you do a book like this the is something else. I don't know what the element is, but
cheapest thing we have is not paper, it's not shipping, it's somehow the Scandinavians seem to have a leg up on this.
hand labor. So, when you do something like this in the The Japanese and the Scandinavians come from a wood
larger size you have a lot 40
of weight. This will cost 35 -
culture when you think about it. They make furniture and
cents just to ship it to London or New York. The smaller other wonderful things out of wood. The Japanese, the
size may cost about 1 5 cents. So the value is there in the Chinese - the fan, the shoji screen, the umbrella, origami.
book itself. All those things. It's part of their heritage. Scandinavians
are thesame way. I'd say the best carpenters in the world are
K: Of the talent that you have worked with, John Strejan, Scandinavian. So when some of these people get to pop-ups,
lb Penick, Keith Moseley, David Carter, Ron van der it all just kind of fits. There has to be something there.
Meer, Nick Bantock, Jan Piehkowski, Kees Moerbeck, Tor
Lokvig, David Pelham - who would you like to talk about? K: David Carter worked for you.
How about John Strejan. What would you say his strengths
are? W: Yes. David is a designer and a fine artist. His books
don't always reflect his ability to do And he's a
art, fine art.
W: He is a genius. His title among the paper engineers is paper engineer. He does it all. He started out as an artist, and
"The Silver Blade." came then to work for us and learned the other techniques.
And he's the most successful of all of them. Dave Carter is
K: "The Silver Blade" because- most successful in his line of bug books. He has done 8
million. That's the most successful single line in the history
W: Because of his white hair, but he is also extremely of pop-ups. Haunted House and some others have done well
talented. John could design a book and also do the as individual books. But Dave's books, as a total line, are the
engineering to make the book work, and that's what most successful.
Sabuda can do and that is what Diaz can To be able to
do.
design a book, to capitalize on the engineering, to make K: Ron van der Meer. He was here too.
an exciting, effective book, and also be a paper engineer
is a very rare quality. My friend Elgin Davis, who W: Ron is totally extraordinary. He started out as a teacher.
unfortunately died a year ago, had this wonderful studio. He was teaching in England when he did his first book for
He was both a good businessman and a wonderful creative us, which is Sailing Ships.
mind, and that is very unusual. You find often that a good
businessman is good with numbers, but not with doing K: His first book for Intervisual?
something creative, or you find that the good creative
people are lousy businessmen. Isn't that basically the rule? W: Yes. He had done some children's books earlier,
Then who are both, and John
there are a few people including Fungus the Bogeyman Plop-up Book, which I
Strejan was one of them. Many of the National liked. But I couldn't find an American publisher for it It

Geographic books that he did are among the finest was too exciting. We had a little problem with Ron. Ron is

23
an artist, but he's not a realistic artist. I wanted the Sailing Structural firsts, continued from page 3
Ships book to be realistic. So we had a little argument, and
he decided he didn't want to do it. So we paid him a 25
cent royalty for not doing it. And I brought in Borje
Svensson, who did the realistic art in oil and strengthened The Poppagram -

the engineering. He was a wonderful talent, Svensson, a creates a

Scandinavian. dimensional out of a

single sheet of paper

K: So this was Ron van der Meer's first book for using die cutting

Intervisual - but Ron really didn't have much to do with

and folds. The
it? Is that correct?
poppagram is an
extremely versatile

W: He inspired itand was responsible for the text so he Pittsburgh advertising tool,

claims it's his book. We passed that up and continued to useful as an invite,

do all kinds of things with him, but he never worked here. promotion, reminder

He lived in London. or even a simple thank you.

K: But he would come here to visit you and Intervisual The Book Cube - a rubberband activated mechanism
and was part of the Intervisual family at one time? allows this unique piece to at first appear to be a simple 4
page brochure. Opening the "page" causes it to spring into
a fully dimensional 6-sided cube. Since its inception in 1 996
W: Absolutely. Absolutely. Ron always said, "Look, I'm
this popular design has been used by dozens of advertisers.
teaching school. I'm going to do a couple of books a year
and I'm not competing with you" (Laughing) But the guy
was extraordinary. And in addition, he's an historian - the
The Automatic Changing picture delivers a "Venetian
work he did on The Working Camera, The Architecture
blind-like" mechanism which transforms one image into
Pack, and The Art Pack and so on. He finds people who
another simply by lifting the cover panel. We have produced
our automatic changing picture design for literally hundreds
are authorities in given fields and has them to do the
of projects.
research. Then he comes and melds that. It was always a
wonderful, talented contribution.
The Extendo presents itself as a simple pull-tab
mechanism but when pulled, extends on both the side being
K: He produced some wonderful books and I suspect he's
pulled and its opposite side as well. One of our most recent
a pretty good businessperson.
patents, this design is proving to be one our most popular.

W: Well, Atie his wife was the businessperson. Ron had

The Flip does just that. One side of a die cut image
the red shoes and the creative talent.
magically spins and "flips" to its rear side when an
activation panel is turned. This design is particularly
K: His wife was the businessperson?
effective when used in its CD delivery format.
W: His wife was. He had a tough wife helping to run his
business.
The CD delivery format mentioned above reflects the
changes that have taken place in the dimensional marketing
industry. The onset of the internet and computers in general
K: Sounds like it was a good idea.
has created the need for advertisers to branch out, delivering
advertising messages in non-traditional advertising formats.
K: Jan Pierikowski.
As a result Structural Graphics finds itself with a complete
line of CD Carriers for both direct mail and collateral uses.
W: A very fascinating guy - a Polish refugee during the
big war. His family came from Poland, went to Italy,
Other notable projects include a promotion for Mitsubishi
ended up in London. Extremely talented. He's not a paper
Motors. When they redesigned their Montero SUV they
engineer, not an artist; he's a designer. He good
gets
wanted to deliver promotional information in a unique
people to work with him. He's certainly one of the most
manner. We accomplished this with a fully dimensional
talented people in the industry and he's been marvelous
paper replica of the car that "accordion" folded out carrying
for us.
the info on its inner panels.

The conclusion of this interview will appear in the August

issue along with a bibliography of all of the titles mentioned
in the interview.

24
 Our Kaleidecyle and Rolling Cube designs both "roll" Questions and Answers
into themselves. Multiple surfaces twist and roll providing
a variation of surfaces for advertising messages that can
Q. I just saw "Pandeaemonium," a BBC Film (2001)
change with each move. DVD. It is about Samuel Taylor Coleridge and
released on
his relationship with William Wordsworth. It is a fine film
In wanting to attract businesses to its city the
in my estimationand certainly worth seeing. But the reason
Pittsburgh Conventions and Visitors Bureau had I write is because at the very end of the film Coleridge is

Structural Graphics design a 12"-high pyramid with a reading "Kubla Kahn" to his children and as he turns the
cone top. Lifting the cone off the base allows the sides of page it becomes apparent that it is a pop-up book, ad the
the pyramid to unfold revealing a fully dimensional pleasure dome, I assume, pops up. Are you aware of an
replica of the Pittsburgh skyline. Info was carried on the
actual pop-up book of the poem published in the 19 th
inside of the folded down panels.
century? Coleridge's dates are 1 772- 834 and the poem was 1

published in 1816.
For Sun Microsystems we built an exact to-size paper
Allen Cohen
replica of their Java station. The replica was collapsible,
Santa Barbara, California
making it a perfect sales aid and handout.

A. [In the February newsletter Lin Sasman asked who won

For Lipton there was a the Simon & Schuster contest for a new pop-up book.] I

"flat" iced tea dispenser POP entered the Little Simon contest for unpublished pop-up
artists. When my entry was returned, was told that they had
piece. The piece is
I

rubberband activated not chosen a winner because none of the entries met their
standards.
eliminating the need for its
Lise Melhorn-Boe
assembly by the retailer.

Simply removing a paper North Bay, Ontario, Canada

band caused the piece to self

assemble. Sun Microsystems Q. How can I purchase a copy of the Berlin Pack described
by Theo Gielen in the last newsletter?

For IBM we created a premium mailer package that Susan James

included two pair of decoder glasses. The printed
pamphlet included hidden messages that were revealed A. The bad news: unfortunately the book appears to have
when looked at through the glasses. sold out. I contacted the publisher and they told me the book
is not currently available but that it will be reprinted. The
There have also been many instances where two or good news: there will be an English edition of the book Not .

more dimensional mechanisms were combined for surprisingly, It will be entitled Tlie Berlin Pack and the
advertising impact. To promote Vlasic Foods' new burger- ISBN number is 3-7607-2016-1. It costs 59.00 Euro.
size sliced pickle, we created a folder/information kit that Theo Gielen
features an iris changing picture on its cover which
changes images by sliding a tab and also activates a sound
Q. I ordered a copy of MenOop through their web site
chip. Inside the folder was a large pop-up
<www.menopop.com>but I have not yet received it. Do you
know when it will be available?
For HBO's premier of Patricia Curtis
the blockbuster Titanic
Salt Lake City, Utah
we developed an
alternative to a standard
A. I understand there have been production delays and the
pop-up format, with the
book will not be available for several months.
4-page magazine insert
Ann Montanaro
using a life preserver to
East Brunswick, NJ
replace the "O" in the HBO Titanic
cable company's familiar
Q. A recent review in the New York Times featured a new
logo.Opening the spread causes the life preserver to move
down into position and, for added effect we actually software program designed to keep track of collections. It is

included the "rope" that most life preservers have. We MyStuff, made by a company called Collectify, and is
used string to replicate this effect.
compatible with Windows95 and later. It sells for $99.95 but
can be downloaded for a free 30-day trial from
www.collectify.com. Do any readers have experience with
this software?

25
 Catalogs Received
First-base Hero.By Keith
Aleph-Bet Books. Catalogue 69. 85 Old Mill River Rd. Hernandez. 10" x 10" 14

Pound Ridge, NY 10576. Phone: 914-764-7410. Fax: pages. Golden Books.

914-764-1356. Email: helen@ alephbet.com. $12.99.0-307-10626-8.

http://www.alephbet.com
The Giraffe who Cock-A-

Cattermole 20
th
Century Children's Books. Catalog 36. Doodle-Doo d. By Keith
Faulkner. Dial Books for
9880 Fairmount Road, Newbury, Ohio 44065. 440-338-
3253. Email: books@cattermole.com.
Young Readers. 10" x 10".

http://www.cattermole.com. 16 pages. $12.99.

0-80372-739-9.

Jo Ann Reisler, Ltd. Catalogue 57. 360 Glyndon St.,

NE, Vienna VA. Phone:703-938-2967. Fax: 703-938- Ina Dark, Dark Wood: An Old Tale with a New Twist.
9057. Email: Reisler@clark.net. David Carter. August, ["redesigned, reformatted, and
http://www.clarke.net/pub/reisler features a brand-new cover and new art throughout..."]
x 10". 24 pages. $10.95. 0-689-85280-0.
Sevin Seydi Rare Books. "A Miscellany of Books 1510-
1968." 13 Shirlock Road. London NW3 2HR England. My Dream Bed: Loads of
Phone: 020 7485 9801. Email: seydi@freenet.co.uk. Tabs and Flaps and Wheels
and More. Cartwheel Books.
10" x 10". 17 pages. $16.95.
Henry Sotheran Limited. Catalogue 1052. 2 Sackville
St. Piccadilly, London W1X 2DP. Phone: 0171 439
0-439-30912-1.

6151. Fax: 0171 434 2019. http://www.sotherans.co.uk

Unicorn Books. "Pop-up Books, Novelty Books,

Greeting Cards, Calendars, Games, Blotters,
Notebooks." Sheila Feller. 56 Rowlands Ave., Hatch
End, Pinner, HA5 4BP, England. Phone:0181-420- Night Sounds: Play the
1091. Fax: 0181-428-0125. Email: Sounds, Pull the Tabs.
sheila@unicornbooks.co.uk [transformational plates with

http://www.unicornbooks.co.uk. sound module]. Innovative

KIDS. 9" x 11". 18 pages.

$17.99.
New Publications
1-58476-065-6.
Also: Bird Calls.
The following titles have been identified from pre-
1-58476-064-8.
publication publicity, publisher's catalogs, or
advertising. AH titles include pop-ups unless otherwise
identified.
The Princess and the Pea: A
Very, Very Short Pop-up
Story. August. Little Simon.
Animal Popposites: A Pop-
8" x 8'/2". 14 pages. $14.95. 0-689-84685-1.
up Book of Opposite s. By
Matthew Reinhart. June.
Little Simon. 7" x 7". 6

spreads. $13.95. 0-689-

84423-9.
Wake Up, Buttercup: With
Lift and Tabs to
Flaps to
Ken Wilson-Max. Red
Pull.
Wagon. 8" x 8". 18 pages.
$9.95.0-152-16346-8.

Can We Play? A Pop-up, Lift-the-flap Story About the

Days of the Week. By Mara van der Meer. 10" x 10". 8
spreads. Abrams. $14.95. 0-8109-0379-2.

26