In today's era, books classified as "pop-up" are a popular source of enjoyment for both children and adults. However, the types of books that today's audience associates with this genre are the result of a rather long development, creating an intriguing niche in the history of books.
The first movable books appeared even before the emergence of printed culture. Their "grandfather" is the Benedictine monk Matthew Paris, who around 1250 used paper mechanisms, called volvelles, to track saints' days. The earliest known examples of such interactive mechanisms come from Ramon Llull (c. 1235-1316) of the Kingdom of Majorca, a Catalan mystic and poet. His works feature volvelles (see Fig. 1 and 2 below) or spinning disks, which he used to illustrate his complex philosophical quest for truth. Through his logic, he divided categories of things and ideas, substances, adjectives and verbs, and knowledge and actions into higher and lower groups. Each group consisted of units marked with letters, assigned to respective sectors on circles of varying sizes. The circles were cut out and placed on top of each other as a "method of obtaining higher knowledge of all things through simple mechanical means (turning circles) in the shortest time possible" [1].
Fig. 1. (left) Ars magna. Ramon Llull's Volvelle
Source: Lindberg, Sten G. Mobiles in Books: Volvelles, Inserts, Pyramids, Divinations, and Children's Games. Trans. Willian S. Mitchell. The Private Library 3rd series 2.2, 1979, pp. 49-82.
Fig. 2. (right) Gutun Owain Volvelle of the moon, approx. 1488
Source: Gutun Owain, https://commons.wikimedia.org/wiki/Category:NLW_MS_3026C_Gutun_Owain accessed: 04.09.2022.
Volvelles were used from Llull's time until the 18th century for manuscripts and printed books. They illustrated various subjects, including the exact sciences, astronomy, mathematics, mysticism, fortune-telling, navigation, and medicine. Other types of mobility, especially "turning" or "lifting flap" mechanisms, were already used in the 14th century. They were particularly useful in anatomical books, where a single sheet depicted the human body, and each human organ was on a different sheet that could be pasted on top. This technique allowed the viewer to discover, for example, several depths of the torso, from the chest to the abdomen and spine. One impressive example of anatomical work is Andreas Vesalius' book "De Humani Corporis Fabrica Librorum Epitome", printed in Basel in 1543. Interestingly, "Epitome" contained illustrations of the body and a spare page containing anatomical parts that could be cut out, pasted, and configured into a functional paper flap anatomy! (see below, left). From the time of "Vesalius' cut and paste" until 1800, only 9 book titles containing plate anatomy were discovered. Such rarity is quite understandable, considering that flaps could only be created using sophisticated printing techniques, such as woodcut or copper engraving. With the advancement of printing technology, flaps became easier to produce and appeared in bright, spectacular colors. The publication of "lift the flap" anatomy books peaked in the 19th century and was sought after in the early 20th century (see below, right). Even after the release of the highly influential textbook by Henry Gray, "anatomical flap books" were still used as a more practical approach to learning the basic layers of the human body [2].
Fig. 3 (left) Folio 12V showing the cardiovascular system.
Source: Sonny Maley, De Humani Corporis Fabrica Librorum Epitome, University of Glasgow,
https://www.gla.ac.uk/myglasgow/library/files/special/exhibns/month/sep2002.htm accessed: 06.09.2022.
Fig. 4 (right) Human anatomy in a pop-up book
Source: Becca, Antique pop-up anatomy and natural history books, https://beccamakingfaces.com/ accessed: 04.09.2022. Twyman Michael, Encyclopedia of Nature, 1907, p. 3.
It can be inferred that initially, pop-up books were not intended for a younger audience. In fact, children's books became widespread only in the second half of the 18th century when publisher John Newbery began selling books specifically for children. Soon after, innovative publishers started experimenting with creative and interactive ways to achieve success in the youth market [3].
The first successful product resulting from these pioneering attempts was "Harlequin Cherokee; or, The Indian Chiefs in London", designed by London printer and bookseller Robert Sayer. Around 1765, Sayer designed a book in the "lift the flap" style. The book consisted of two engraved scenes (see Fig. 5).
Fig. 5. (left) Sayer's book layout when closed, (middle) middle section opened, (right) fully opened book
Source: Kirsten Brassard, The New World Comes to England: Robert Sayer’s Harlequin Cherokee, Cosmopolitanism in the Osborne Collection of Early Children’s Books, https://is.gd/rEPzER accessed: 04.09.2022 Sayer, Robert Harlequin Cherokee; or, The Indian Chiefs in London, 1772, p. 1.
Both scenes were separated in the middle by a series of overlapping flaps, attached at the top and bottom, allowing each to be lifted from the center. Various half-scenes on the top and bottom of each flap matched and were interchangeable. As a result, lifting the flaps created amusing variations in the scenes. Descriptive verses accompanied each flap, informing the reader of the sequence in which the scenes should be revealed. Sayer decided to name his "metamorphoses" "Harlequinades" in honor of Harlequin, the main character of Pantomime Theatre. Harlequin also became a central figure in Sayer's books. Harlequinades quickly became extremely popular among children, and many copies, including many pirate editions, were sold [4].
Fig. 6. „Toilet”, (left) Closed book, (right) opened book.
Source: Toilet. GRIMALDI, Stacey. zvab.com, https://www.zvab.com/Toilet-GRIMALDI-Stacey-London-Rock-Brothers/30240112523/bd, accessed: 04.09.2022, Grimaldi, William & Stacey, Toilet, London: Rock Brothers & Payne, 1821
In 1820, miniature portraitist William Grimaldi developed another type of flap book called a "toilet book." He initially came up with this idea by sketching objects from his daughter's dressing table as representations of certain virtues. The objects served as valves that, when lifted, revealed scenes illustrating each virtue. Grimaldi's son, Stacey, published the first book in 1821. The book was called "Toilet" (see Fig. 6), enjoyed great popularity, and inspired other publishers to release imitations. In 1823, Stacey published a book for boys titled "Armour for Youth," also written and illustrated by his father. In it, Grimaldi replaced toilet articles with suits of armor, which also represented moral themes revealed under the flaps.
Although the early types of similar books described above are extremely rare, a few copies have survived. Images of these early books can be found in publications [5].
The "Dean And Son company" was the first publisher to release travel books on a large scale. Thomas Dean, who founded the company just before 1800, was one of the first publishers to fully exploit the new printing process, lithography, which was invented in Germany in 1798. His business exclusively focused on the production and sale of "toy books," a term that publishers began using in the early 19th century. His son George became a partner in 1847, and their toy books dominated the market from 1840 to 1880. Dean opened a studio in London, where teams of artists worked on designing and producing all kinds of new and intricate movables. Around 1856, Dean released a series of fairy tales and adventure stories titled "New Scenic Books." Scenes in the books were made in the "peep show" style. Each was illustrated in at least three sections. The sections were placed one after the other and secured with a ribbon running through them. This way, they could stay together and be folded flat like flaps facing downward. When the reader lifted the flap, the three-dimensional scene would actually pop up! The books from the "new scenic" series are probably the first ones that contemporary readers consider pop-up books, although the term "pop-up" had not yet been used to describe such books. They usually chose terms like "movable" or "toy book" for description. In 1860, Dean actually claimed to be the "inventor" of pop-up books. In 1860, Dean can be credited with inventing another device: the use of a mechanism that was activated or animated by pressing a tab. Dean advertised the new mechanisms as "living pictures." "Royal Punch & Judy" (see Fig. 7) is one of such early editions with tabs placed at the bottom of each page [6].
A later, but notable example of this technique, is the McLaughlin brothers' picture "Lion's Den" (circa 1880), which is held together by a piece of board at the top instead of a ribbon. In the book, Punch and Judy moved in their miniature theater, performing scenes of violence and intimidation that the Victorian audience loved so much [7].
Fig. 7. „Royal Punch & Judy”, (left) closed book, (right) opened book.
Source: Dean and Son, A Brief History of Early Movable Books, http://library.unt.edu/rarebooks/exhibits/popup accessed: 05.09.2022. Dean & Son's Moveable Book of the Royal Punch & Judy as Played before the Queen at Windsor Castle & the Crystal Palace. London: Dean & Son, 1861, p. 11.
Another series of Dean's books, books for home pantomimes, features beautiful chromolithographs. Illustrated pages in these books have various sizes; and as the pages are flipped, a part of the visible scene changes, thus altering the subject of the entire image [8].
In 1880, the McLaughlin brothers became the first major producer of movable books in the United States. The company took ideas from Dean and offered similar products to American consumers. In fact, McLoughlin went so far as to steal "Dean's Home Pantomime Toy Books" (see Fig. 8). The most famous movable items from McLaughlin are those from the "Little Showman" series, which first appeared in 1880. These books consist of two boards attached at the top on hinges. Each is intended to be opened at a right angle, and each presents a multi-layered scene made up of figures in squares [9].
Fig. 8. „Little showman”, (left) closed book, (right) opened book.
Source: Dean and Son, A Brief History of Early Movable Books, http://library.unt.edu/rarebooks/exhibits/popup accessed: 05.09.2022. The Lions' Den. Little Showman's Series, New York: McLoughlin Bros 1880, p. 4.
The First World War concluded the golden age of movable books. The contribution of German artists, which was so prominent in the previous century, ceased. The British and Americans lacked the printing presses and qualified workforce needed to create the precise chromolithography of the Germans. As a result, the quality and quantity of movable books declined [10].
Pop-up books were reborn in the 1930s-1940s, thanks to S. Louis Giraud in London. As the children's book editor at the "Daily Express" newspaper, Giraud designed and published the titular annual pop-up. After leaving the newspaper, he continued the series titled "Bookano Stories" (see Fig. 9). From 1929 to 1949, Giraud published sixteen annual editions titled Strand Publications and Bookano Stories. His books were called "living models" because each scene unfolded on a two-page spread designed to be viewed from various angles, similar to many contemporary pop-up books. Unlike early German masterpieces, which were very expensive, Giraud created and sold his textbooks at very modest prices. He applied the photolithography process, lacking the detail and sophistication of German chromolithography. However, these elements are appealing due to bright colors and originality and are highly popular in the collectibles market. He created the art of pop-up that we know today [11].
Fig. 9. „Bookano Stories”, (left) closed book, (right) opened book.
Source: S. Louis Giraud, A Brief History of Early Movable Books, http://library.unt.edu/rarebooks/exhibits/popup accessed: 05.09.2022. Giraud, S. Louis, ed. Bookano Stories with Pictures That Spring Up in Model Form. No. 9. London: Strand Publications, 1942, pp. 7-8, 13-14.
Now, as the world has shifted into the realm of technology and digital art, and book production has become more affordable, all the ideas of artists have become achievable. There are many constructions that set paper/cardboard in motion, and the use of laser as a cutting device facilitates the process.
The world of pop-up books has grown tremendously. Now, on store shelves, you can find books for every age and taste: educational books for the youngest children, books for teenagers, books for adults. Thick cardboard and a good coating of foil prevent books from quickly tearing and being chewed by children. Typically, such books use simple constructions and quite clear, stylized illustrations. For older children, there are books with more intricate designs inside: delicate and full of charm. Let's not forget about books for adults, postcards, and other items where pop-up technology is currently applied.
Article Author
Tatsiana Kalmatsui
Graduate of the WIT University
Post cover created from graphics Giraud, S. Louis, ed. Bookano Stories with Pictures That Spring Up in Model Form. No. 9. London: Strand Publications, [1942], source: https://library.unt.edu/rarebooks/exhibits/popup2/giraud.htm
[1] Lindberg, Sten G. Mobiles in Books: Volvelles, Inserts, Pyramids, Divinations, and Children's Games. Trans. Willian S. Mitchell. The Private Library 3rd series 2.2 1979, pp. 49-82.
[2] Haining, Peter. Movable Books: An Illustrated History. London: New English Library, 1979, pp. 38-45.
[3] Ibidem, s. 54-56.
[4] McGrath, Leslie. This Magical Book: Movable Books for Children, 1771-2001. Toronto Public Library, 2002, pp. 45-50.
[5] Lindberg, Sten G. Mobiles in Books... op.cit., p. 14.
[6] Koskelin, Susan, The Evolution of Movable Books from the Late Thirteenth Century to the Late Twentieth Graduate school paper, U of North Texas, 1996, p. 15-18.
[7] Montanaro, Ann R. Pop-up and Movable Books: A Bibliography. Metuchen, N.J.: Scarecrow Press, 1993, pp. 85-94.
[8] Koskelin, Susan, The Evolution of Movable Books from the Late Thirteenth Century to the Late Twentieth Graduate school paper, U of North Texas, 1996, pp. 15-18.
[9] Montanaro, Ann R. Pop-up and Movable Books: A Bibliography. Metuchen, N.J. Scarecrow Press, 1993, pp. 85-94.
[10] Whitton, Blair. Paper Toys of the World. Cumberland, Md.: Hobby House Press, 1986, pp. 49-51.
[11] Ibidem, pp. 52-58.
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