Pop-ups, Illustrated Books,
and Graphic Designs of Czech Artistˆ and Paper Engineer, Vojtech Kubašta (-)
by James A. Findlay and Ellen G.K. Rubin
BIENES CENTER FOR THE LITERARY ARTS The Dianne and Michael Bienes Special Collections and Rare Book Library Broward County Libraries Division Fort Lauderdale, Florida This catalog accompanies an exhibition held at the Bienes Center for the Literary Arts, January -April , Copyright © by Broward County Libraries Division Bienes Center for the Literary Arts (A service of the Broward County Board of County Commissioners) ISBN: ---
BIENES CENTER FOR THE LITERARY ARTS Broward County Main Library, th Floor • S. Andrews Ave. • Fort Lauderdale, Florida www.broward.org/library/bienes/bienes.htm TABLE OF CONTENTS
Acknowledgements...... Introduction ......
Essays Kubašta in Context ˆ
Prague: History and Art in Vojtech Kubašta’s Golden City ...... by Belena Chapp ˆ
The Life and Art of Vojtech Kubašta (-) ...... by Ellen G.K. Rubin ˆ The Fairy Tale Movable Books of Vojtech Kubašta ......
by Gerry Bohning My Father, My Best Friendˆ Reminiscences of Vojtech Kubašta: A Daughter’s Perspective...... by Dagmar Kubaštová Vrkljan Exhibition Checklist...... Selected Bibliography/Webliography...... Checklist Indexes Index of Authors, Artists, and Corporate Authors ...... Index of Titles...... Index of Publishers ...... Index of Languages ...... Index of Formats...... Appendix: Opus VK ......
. Photo by M. Sebebek ACKNOWLEDGEMENTS
ery special thanks are extended to Ellen G.K. Rubin for the extraordinary energy and enthusiasm she brought to the year-long task of helping to organize the exhibition and Vthe preparation of the accompanying printed catalog. She graciously welcomed the Bienes Center’s staff into her home where several days were spent examining her comprehensive Kubašta collection of pop-up and illustrated books, art, and artifacts. In addition to generously loaning seventy-five Kubašta books and art works that are the very core of the exhibition, she also
authored for the printed catalog an insightful and ground-breaking essay on Kubašta. To expand theˆ scope of the exhibition, Ms. Rubin visited and interviewed Dagmar Kubaštová Vrkljan (Vojtech Kubašta’s daughter) in Sarnia, Ontario, Canada, and selected items from the family’s collection. She found and met with Jan Hird Porkony, a s Prague college classmate of Kubašta and now Professor Emeritus of Architecture at Columbia University, who graciously loaned to the exhibit some of his personal Kubašta memorabilia. Ellen G.K. Rubin is known throughout the world as “The Popuplady” and the designation is well earned and deserved. She has amassed what may be one of the world’s largest and most comprehensive private collections of pop-up books and related materials. She tirelessly promotes the world of movable books on her website (www.popuplady.com) and on national TV, was a contributor to both Brooklyn Pops Up!, an important exhibition held at the Brooklyn Public Library in , and to the pop-up book that accompanied the exhibition, is an avid supporter of the Movable Book Society and its publication, Movable Stationery, and has authored her own novelty book entitled, The Hanukkah Puzzle Book. Dagmar Kubaštová Vrkljan also deserves special acknowledgement and thanks. She kindly hosted Ellen G.K. Rubin at her home in Sarnia, Ontario, Canada, where she has lived since . During Rubin’s visit, she spent hours discussing the life of her father and describing the numerous very personal and often one-of-a-kind art works by him that adorn the walls. Approximately half of the items in the exhibit were loaned from her personal collection and most have never before been seen by the general public. She also authored for the printed catalog a loving, moving, and intimate reminiscence of her father and devoted countless hours to helping edit the checklist entries and other essays. Her ability as a native speaker of Czech proved to be of inestimable value in the preparation of the exhibit and printed catalog. Thanks also to former Director of Museums at the University of Delaware, Belena S. Chapp, a curator, educator, and development specialist in the humanities and the visual arts, for authoring the general essay on the history, art, and culture of Czechoslovakia; and to Gerry Bohning, a retired Barry University children’s literature professor and a Kubašta collector, for her essay on Kubašta’s depiction of the fairy tales of the Brothers Grimm and Hans Christian Andersen.The Bienes Center would also like to acknowledge the enormous time and effort she has contributed to the on-going conservation and restoration work of its own collection of Kubašta pop-up books and other art works.
The Bienes Center would also like to thank the following staff of Broward Public Libraries Division for their assistance: Lillian Perricone, the Bienes Center’s rare book cataloger, for her keen eye and unswerving attention to detail and for helping with all aspects of the exhibition from the organization, identification, and description of the checklist items to editing the essays and aiding with the actual installation and display of the objects; Barbara Murphy, of the Marketing Department, for her editorial expertise; and the following individuals for helping with foreign language translations: Arabic by Sadiq Alkoriji of the Southwest Regional Library; French by Benedicte Rosse of Administrative Services; and also to Robert J. Petrick, of the American Czechoslovak Group of Broward, for the Czech translations. And very special thanks to Mary Ann Stavros-Lanning, a graduate in graphic arts from the Rhode Island School of Design, for the layout and design of this publication. Six of her Bienes Center designed exhibition catalogs have won ARLIS/NA (Art Libraries Society of North America chapter) awards (two national and four chapter prizes) for excellence in art research and/or publishing. Her designs are always creative, unusual, and delightfully innovative. James A. Findlay Bienes Center Librarian
INTRODUCTION he Bienes Center’s pop-up book exhibition series continues with the presentationˆ of: Pop-ups, Illustrated Books, and Graphic Designs of Czech Artist and Paper Engineer, Vojtech Kubašta
T (-); the third in as many years that celebrates the art and science of paper engineering. ˆ Vojtech Kubašta lived and worked in Prague, Czechoslovakia, during the height of the Cold War yet remained politically neutral throughout his career. Although artistic and intellectual freedoms were rigorously controlled and restricted, he flourished within the limits set by the Communist government and succeeded in becoming one of the twentieth century’s most gifted and prolific artists. In addition to numerous commercial designs, it is estimated that he was responsible for creating over three-hundred books and that millions of copies in numerous languages were published and distributed throughout the world. The Bienes Center’s exhibition features items by Kubašta selected from private and public collections. The intent of the exhibit is to provide the viewer and reader an overview of his life and art and is not a catalogue raisonné (i.e., a scholarly and accurate listing of his entire artistic oeuvre). The earliest item in the exhibit, a sketchbook, was created in when Kubašta was only seven years old. There are also works from his university days in the s when he experimented with various art media and many illustrated flat books (as opposed to pop-up books) and advertisements that he designed in the -s. The heart of the exhibition features the pop-up and movable books from the s to the s that were to become his hallmark. Formats included in the exhibit are as diverse as: pop-up books, flat books, advertisements, ceramics, correspondence, drawings, greeting cards, magazines, packaging, postcards, posters, prints, puzzles, sketchbooks, table displays, and watercolors. Languages represented include: Arabic, Czech, Danish, English, French, German, Japanese, Russian, Slovak, Spanish, and Turkish.
It is hoped that the Bienes Center’s exhibition and accompanying publication will prompt much needed furtherˆ research and scholarship into the life and art of great Czech illustrator and paper engineer, Vojtech Kubašta. James A. Findlay Bienes Center Librarian
. Vodnany Exhibit
KUBAŠTA IN CONTEXT Prague:ˆ History and Art in Vojtech Kubašta’s Golden City
By Belena Chapp
I dwelt in a city enchanted. And lonely indeed was my lot; ... Though the latitude’s rather uncertain. And the longitude also is vague, The persons I pity who know not the City The beautiful City of Prague. — William Jefferey Prowse Prague never lets you go . . . this dear little mother has sharp claws.
— Franz Kafka ˆ ojtech Kubašta was born in Vienna but spent his formative years — and built a lengthy career as an artist and designer — under Prague’s magical influences. Located at the cross- roads of Europe, Prague (#, ) is often called the “Golden City of One Hundred V Spires.” It is a designation that pays homage to the Gothic architecture that defines its skyline — a soaring profile of monuments to fallen heroes, castles (#, ) that have weathered centuries of unrest and intrigue, and mosaic encrusted cathedrals that hold the tombs of Bohemian kings. Prague is also known for its robust Baroque structures, with sun-drenched limestone and brightly painted surfaces, rising above the banks of the Vltava River (#). It is a captivating and romantic city, welcoming, but seemingly full of secrets. Cobblestone streets meander over footbridges and lead up hidden staircases and down darkened alleys, where today’s travelers follow in the ghostly tracks of past lives. It is a town where history is built on legend, and truth is shrouded in mysticism and fantasy — a town worthy of the fairy tales of the Brothers Grimm. Indeed, the very naming of Prague (in Czech, Praha) is itself a well-known fairy tale. According to ancient lore, Libuse, Queen of the th century Przemyslid Dynasty, had a vision that “a great city whose glory will touch the stars” would rise upon a hill, at exactly the place where a carpenter happened to be constructing a práh, or threshold. It was Libuse’s prophecy that this city, Prague, would become a thriving center of Bohemian commerce and culture. During the Middle Ages, foreign armies frequently traveled the East-West trade routes through Prague pursuing riches and land. As the capital of the Holy Roman Empire, the city saw a simultaneous invasion of artisans, skilled laborers, and the learned who later, under Charles IV, founded the first university in central Europe in . By the late Renaissance the city was a well-established cosmopolitan magnet, drawing not only the academic elite but also scandalous characters like John Dee, the noted British mathematician,
alchemist and astrologer to Queen Elizabeth I, and his rogue partner Edward Kelley. Dee and Kelley came to Prague in to consult with the eccentric Habsburg monarch Rudolf II, and conjure angels for His Majesty in the reflections of crystal globes. Rudolf II had ascended to power after his father Maximilian II and had moved his court to Prague from Vienna. He was well known for his free associ- ation with progressive scientists such as Johannes Kepler, and his unstinting patronage of art, antiquities, oddities, and the occult. His support made Prague a Mecca for creative spirits as well as the crafty. But even Rudolf ’s liberality had limits. Exposed as frauds, the Englishmen hurriedly left town one year later, moments from being deported. Prague’s location as a gateway connecting Western Europe to the Byzantine East no doubt made it a witness to its share of strife and religious turmoil. With a population reflecting # commingled indigenous groups (Moravian, Bohemian and Slovakian), countless outside influences (from Roman soldiers to the conquering Austrian empire with its strong Germanic thrust), and conflicting spiritual beliefs (Catholic (#), Protestant and Jewish (#), the city has been — in the course of history — overrun and overwhelmed. Like the entire Czech nation, this state of siege imbued in Prague a culture with both high levels of tolerance, adaptability and creative ingenuity, while underneath the surface there rumbled a fierce longing for freedom and independence. Rising Czech nationalism and a Protestant revolt turned the tide against the Catholic Habsburgs in , sparking the Thirty Years’ War. The conflict started in Prague and left much of Europe in ruins. The Bohemian rebels were crushed in the Battle of the White Mountain in - and by the war on the continent was over. After a brief period under the Swedish flag, Prague and the Czech lands were soon back firmly under the Habsburg’s control, where they would remain until well into the nineteenth century. But revolution of all types was in the air in the rest of the world and eventually this energy would have an impact in Prague and the Czech nation. During the eighteenth century, the ideal of rational man setting his own destiny ushered in the Age of Enlightenment and the beginning of the end of absolute monarchy. Scientific and technological advances made in agriculture, transportation, and manufacturing were the hallmarks of the burgeoning industrial era. By the late s the movement away from imperial control festered and then exploded with wars of independence in America and France. Government by the people for the people meant dramatic shifts worldwide toward democratic social and cultural values. A movement toward creating a Czech national state seized on the momentum of nineteenth century fin de siècle political transformation to increase pressure on the Habsburg regime. By the late s the Habsburg seat of power, by then returned to Vienna, saw its determined efforts to marginalize the Czech majority in favor of the German minority increasingly rebuffed. A mounting sense of patriotic pride was developing among the Czechs and expressing itself outwardly, albeit more safely, in the creative and literary arts. Prague re-established itself as the locus of this politicized artistic
activity. The construction of the National Theater (-), with its cornerstones hewn from the mountains of Moravia and Bohemia, was an important event in securing the city’s reputation as a symbol for Czech identity and unification. Josef Mánes (-), who illustrated a new edition of the Old Czech Manuscripts, a medieval lyrical touchstone — and despite the fact he spoke German more fluently than Czech — was influential in the groundswell of revived interest in traditional costumes, folk art, folk tales, and puppet theater. In Prague a new national painting style looked to historical music, literature and legends for inspiration and content. Mánes, an artists’ group dedicated to the ideals espoused by its namesake, was founded in . Despite its initial commitment to uphold traditions, the group began increasingly to look beyond national borders and many of its members traveled abroad, especially to Paris. By a strong desire to create work based on more universal themes and to identify with international art trends, eventually leading to a full embrace of Expressionism, motivated the Mánes group to issue invitations to exhibit in Prague to August Rodin and Edvard Munch. The works of these two pioneering artists would prove to have a significant impact on the development of a new Czech modernism. Perhaps the most renowned Czech artist of all time is Alphonse (Alfons) Mucha (-). His stylized and exotic depictions of female models with flowing hair and robes, and his signature decorative typefaces framing the compositions, became synonymous with Art Nouveau. Mucha was born in the rural town of Ivancice and his earliest and most profound influences were the tra- ditional art forms of his Moravian ancestors. At the age of ten he was sent to live in the city of Brno. His early art training occurred during his adolescence there, when he produced set designs for a local theater troupe. While in his twenties Mucha moved to Prague in an attempt to study at the Academy of Fine Arts, where he was denied entry. Shunned by the artistic elite of the Academy, he found work in a Viennese theater as a scene painter, and then went on to Paris where he gained acclaim for the theatrical posters he designed for the legendary actress Sarah Bernhardt. Mucha traveled extensively, even living in the United States for a while, where he helped found the American Slav Society. He continued with his work in theatrical set design and his illustrations graced the covers of menus, fans, currency, and postage stamps. He also took photographs, designed jewelry and furniture, and created entire interiors from the floors to the ceilings. This diverse and masterful repertoire made Mucha commercially successful and his style almost ubiquitous, earning him grudging respect in his native land. Interestingly, Mucha never saw his work as a shorthand definition for “Art Nouveau” and in fact, ascribed his sensibilities to his spiritual connection to nature and the land of his birth. Mucha returned to Prague in , and under the patronage of Chicago entrepreneur Charles Crane, devoted almost the rest of his life to the production of a gift for the Czech people — the cycle of paintings known as The Slav Epic.The suite of twenty paintings is of monumental scale and focuses on both Czech and broader Slavic themes. Czechoslovakia had finally emerged after World War I as an independent state in .The paintings toured internationally in celebration of this newly forged independence and were formally presented to Mucha’s fellow countrymen in in honor of the founding of the Republic. The reaction among the Czech intelligentsia to The Slav Epic was muted at best and derisive at worst. For many Czech artists Mucha’s introspection and preoccupation with the symbolism of Slavic heritage was anachronistic to their twentieth century concerns and aspirations. They wanted to look forward, not backward; outward not inward. The conflict of artistic priorities mirrored the society at large. Even though Czechoslovakia was an independent state, in truth, the new republic was hardly a cohesive one and competing factions in both politics and culture often disagreed as to who was anointed to determine national identity and direction. This schism left the country once again vulnerable to pressures from outside forces.
In Adolf Hitler began his move into Czechoslovakia by annexing the Sudentenland; the border areas abutting Germany and Austria, and the location of the greatest concentrations of natural resources, energy plants, and steel mills. This violation of Czech sovereignty was perpetrated under the Munich Agreement and the acquiescence of British Prime Minister Neville Chamberlain, who mistakenly believed this take over represented the extent of Hitler’s ambitions. Czech President Eduard Benes, who was not included in the negotiations, resigned immediately and fled to London to set up a Czech government in exile. In Britain Benes aligned with the Soviets and Czech communists also in exile. By March Hitler’s armies had invaded the rest of Czechoslovakia and immediately re-divided the country into Bohemia, Moravia and Slovakia. Ill with pneumonia, Alponse Mucha was arrested and interrogated by the Nazis. He was soon released, but within weeks he died and Czech independence perished as well. It would be over fifty years before Libuse’s Prague was again truly free.
Under the Iron Glove: Notes on Making Art in Communist Czechoslovakia Literary and artistic production is an important agent of the ideological and cultural rebirth in our country, and it is destined to play a great role in the socialist education of the masses. — Declaration of the Ninth Party Congress, The Communist Party of Czechoslovakia, KSC (Komunistická strana Ceskoslovenska) Art is not a mirror held up to reality, but a hammer with which to shape it. — Berthold Brecht
By the Soviet Red Army, with help from Allied troops and members of the Czech and Slovak resistance, had finally vanquished the Nazis. Eduard Benes returned to serve as president of the so-called “Third Republic” headquartered at Prague. (The city’s architectural landmarks had managed to escape World War II relatively unscathed.) This loosely formed coalition of political interests included strong socialist and communist factions. By the Soviet influenced communist party dominated, and their takeover of all means of Czech industrial, agricultural and even artistic production was underway. Conventional wisdom dictates that Czech artists in general would have protested the governmental imposition of communist policy in areas of creative enterprise. In reality, there is evidence that a symbiotic relationship developed through a socialist institutional framework, likely authored by artists themselves. This framework established guidelines exceedingly favorable to some creative workers in the new collective. The “Memorandum of the Central Bloc of the Visual Artists of the Czechoslovak Republic on the needs of Czechoslovak Visual Arts” was published almost a year before the communist coup of . It was an articulate and concrete document delineating conditions by which artists would receive an elevated status and financial benefit for their contribu- tions. Indeed, these arrangements, enacted through the state via such representative bodies as the Fond for the Visual Arts, enabled many artists to continue their work as “free” agents, while receiving the benefit of state support. However, as time progressed, it became apparent that every creative worker could not count on this framework. Artistic content falling far outside approved parameters of the Party line was often denounced, and those practitioners suffered censorship and even imprisonment. Writers with political agendas were severely repressed and those who wanted to be published did not stray far from “safe territory,” such as the apolitical subjects of science fiction, World War II novels, fantasy, and children’s books. By the s the formation of Art Centrum within the Ministry of Foreign Trade stepped up the possibilities for the export of Czech creative production. This trend toward economic interaction with capitalist nations, and some third world countries, meant a lucky few were given the opportunity
to publish or exhibit their artwork outside the country, and on occasion, even visit or live abroad temporarily. Inevitably, however, the warming of such relations with the West, exemplified by the “Prague Spring,” was quickly answered in turn by the realignment of conservative communist ideology. This was delivered in force by tanks of the Warsaw Pact armies in August . It has been noted that the foreign intelligence operation was also housed in the Ministry of Foreign Trade. It is reasonable to conclude that the all aspects of interaction with the West, especially those of artists and other potential independent thinkers, were heavily scrutinized and recorded. Although they may have enjoyed a higher standard of living than other workers, many artists certainly were not free to create art of their own choosing with no fears of censorship, should the state find their work too provocative or outside the realm of acceptability. As a result, there was an active underground movement of unsanctioned artistic effort and when they could leave Czechoslovakia, many artists
preferred exile to returning to oppressive conditions. ˆ It is not known if Vojtech Kubašta was a direct beneficiary of arrangements with Art Centrum, or the Fond for the Visual Arts, especially since his degree was not associated with the major academies of art. (These organizations evidently concentrated their energy on the welfare of those in the fine arts with such connections.) However, the policies employed by these official overseers probably laid the foundation that encouraged and supported the autonomously structured work environment in which Kubašta was able to be so prolific. Additionally, his concentration in the non-controversial realm of children’s books, fantasy, and fairy tales meant his career easily flew under the radar screen of overt censorship. The majority of Kubašta’s output was created under the auspices of the publishing wing of Artia, an import-export organization controlled by the state, and his work flowed from Artia through proxy publishing houses, particularly in Britain, to a broader commercial market. Even today it is difficult to ascertain if Artia was subsumed into Art Centrum. However it is well understood that the circulation of hard currency that was derived from the export trade — in this particular case, from the books under the imprimatur of Artia — was critical to the allocation of political power in communist Czechoslovakia.
The Czech Book Books have their destinies, big and small, glorious and not so illustrious. They come and go and their calling and lot are similar in certain ways to the lot and calling of man; some of them are reminiscent of age-old trees that have withstood many storms, others recall a breeze, a sigh, something fleeting and ephemeral. — Mirjam Bohatcová, The Czech Book and the World Beautiful is the speech by which we paint all the pictures of our imagination in the imagination of others. Beautiful are the letters by which we record and reinforce speech . . . The most beautiful things of all are books . . . by which we send the depiction of wisdom to far-away peoples, either in place or time, and even into the distant future. — Jan Amos Komenský
It may be clichéd to describe book publishing in communist Czechoslovakia as “Kafkaesque” but in this case the term has legitimate resonance. This reference to the work of Prague’s own Franz Kafka, one of the greatest literary figures of the twentieth century whose writing was victimized by both the Nazi and the communist regimes, acknowledges the surreal distortion and bureaucratic doublespeak that pervaded the field of publishing under totalitarian control. From until the “Velvet Revolution” of (led by poet, playwright, and ultimately — president — Vaclav Havel), all Czech artists had to gauge carefully how, and to what extent, they expressed themselves. Writers in particular felt the sting of the governmental prerogatives on what would or would not be published and disseminated. Voicing a dissenting opinion was punished, and works with content outside “acceptable” subject categories received little support in the offices of Artia, one of the most
influential state organs for publishing under the Ministry of Foreign Trade. Although there was a healthy market for books within the country and for export, most published titles were decidedly non-controversial in nature. Sometimes exceptions were made and artists and writers experienced more freedoms, such as during the period in known as the “Prague Spring,” when there was a push to liberalized government positions in all areas of life. However, this thaw was short-lived and many writers drew harsh retribution and were purged from public access. For these writers publication was possible only in instruments of the samizdat underground, or, on rare occasion, if a fellow writer who was not being censured served as a “front.” Writers who chose to leave Czechoslovakia were often published in the independent émigré presses that emerged in places such as Toronto, Cologne and Paris. Indeed, the work of some of those who were censured but still living in the country made it to these presses as well. Several of the best Czech writers who went abroad found international success, among them Milan Kundera, author of The Unbearable Lightness of Being. A sad legacy of the émigré condition, although partly attributable to Kundera’s own decision to limit opportunity for official re-publication of his books, is that even today many of Kundera’s major works remain rare and inaccessible to readers in his native country. Still, it is not surprising that under communist rule there was a strong demand for Czech literature and Czech designed books, and that within its borders, there was an equal desire by Czech citizens to read and own the books produced by the rest of the world. They are a people who have long had a love affair with the book as an art form and possess an even stronger passion for the beautiful in book design. Since the s the Ministry of Culture and the Museum of Czech Writing have celebrated and honored the best in aesthetic quality and production with the prestigious “Most Beautiful Czech Book” award. It is a gesture of esteem that can trace its origin over the broad span of Czech history. At the turn of the twentieth century connections were increasingly made between Czech literature and the fine arts, spurred on by collaborating writers and artists who shared a stylistic sense and common ideals. Artists such as Josef Vachal (-), who was a writer, graphic artist, typographer, and painter, was the paradigm of this integration of word and image. For Vachal “the book was a genuine, creative means for securing a grasp on reality. Using this medium he conducted a dialogue with himself, with artistic tradition and with the world . . . [bringing out] the expressive qualities of all the book’s components: the illustration, the binding
and the end paper, turning the book into a Gesamtkunstwerk,” or total work of art. ˆ The book designer, typographer and printmaker Vojtech Preissig is also an important figure in the history of Czech books, and his significant contributions to graphic arts and his international influence have recently been recognized. His seminal book, Colored Etching and Colored Engraving,is considered a “milestone in the foundation of Modern Czech book production.” An associate of Mucha, Preissig actually left Czechoslovakia in and lived and worked in the United States for twenty years, where he introduced the printmaking technique of linocut to students at the Wentworth Institute in Boston. He returned to Czechoslovakia in and had numerous solo exhibitions in Prague. He was involved in resistance activity against the Nazis and was arrested and imprisoned at Dachau, where he died in . According to Eva Wolfova, director of the Museum of Czech Writing, children’s books were “always the masterpieces of the Czech printing industry,” in which the special relationship between text and visual art were natural and expected. The first ever children’s picture book was written by the great Czech thinker Jan Amos Komenský (in Latin, Comenius) in . Entitled Orbis Sensualium Pictus (The Visible World), the multi-lingual book provided children with an encyclopedic
introduction to the natural world. Komenský (-) was the last bishop of the Old Moravian Church and a respected philosopher and educational reformer known as the “Teacher of Nations.” His pedagogical theories were considered radical in his time, but today his commitment to equal opportunity in education is a fundamental principle of the world’s greatest democracies. In the late-s Jan Karafiát’s (-) classic children’s book Broucci (The Fireflies) was published.
Lacedˆ with gentle humor, Karafiát’s magical story is a timeless recounting of the cycle of life. Vojtech Preissig illustrated a version of Broucci in , and it was re-published a generation later with drawings by the immortal graphic artist and filmmaker, Jirí Trnka (-). Trnka’s drawing of the little bug is both witty and sweet, and exhibits none of the influence of avant-garde Constructivism or the Socialist Realism often found in Soviet children’s books of the same period. Soviet artists seemed to embrace the notion that their work was part of an ideological mission to help “create a New Man” [and that it was their responsibility to] “mold the minds of citizens of Bolshevik Russia to a worldview, a set of social attitudes, an everyday ethic, and behavior that conformed to Communist teaching.” Czech artists such as Trnka, on the other hand, explored
the worldˆ of fairy tales and spurned the boundaries of “lands, time or human age.” In that regard Vojtech Kubašta was Trnka’s ‘brother-in-arms,’ and both would leave a legacy exemplified in the work of such contemporary children’s book artists as the Czech émigré, now American citizen, Peter Sís.
From Trnka to Tinkerbell: Kubašta and Popular Culture The way to read a fairy tale is to throw yourself in. — W.H. Auden The screen version must perceive and emphasize the basic moral intent and the values upon which every great persistent fairy tale is founded. To these ends I have devoted my own best efforts and the talents of my organization, in full realization of our responsibility as a mass entertainer, and especially, in our responsibility
to our vast audience of children around the world. — Walt Disney ˆ Vojtech Kubašta’s evolution as an artist and designer was clearly sparked by living in Prague, a city of tremendous artistic heritage. However, when examining the strongest influences on his work, it is perhaps more helpful to imagine the view through a kaleidoscope of popular culture rather than the magnifying glass of the fine arts. Beyond the graphic versatility and preoccupation with Slavic roots that forges a link to Alphonse Mucha, there seems to be little in academic painting or Czech modernism that had much bearing on the development of Kubašta’s distinctive style. His own admission that the tradition of Czech puppet theater had inspired him, is coupled with the greater likelihood that Kubašta drew upon other forces in popular culture to reflect, if not determine, his creative sensibilities: among the most important contemporary influences whose work he would have seen were the Czech book illustrator, puppet master and filmmaker, Jirí Trnka, and
Trnka’s counterpart in the America, Walter Elias Disney. ˆ In as Hitler was advancing on his country, Vojtech Kubašta graduated from the Polytechnic University in Prague with a degree in architecture. In December the year before, the Disney Studio had released the pioneering animation feat, Snow White and the Seven Dwarves. This retelling of the famous Grimm’s fairy tale enchanted movie patrons of all ages and from all countries. Walt Disney, the consummate entrepreneur and storyteller, understood the primacy of such folk tales. Passed down through generations, stories like Snow White were a common cultural property belonging to all, and Disney appropriated and adapted such tales for animation as no one had done before him. Disney’s film, with its familiar plot, beloved characters and memorable music, represented a tech- nological and artistic breakthrough designed to have a lasting impact around the globe. Disney books and toys arrived in Eastern Europe in the lates and early s, and much of this material made its way into Prague. The first known piece of Disneyana to surface there was a Blue Ribbon book of the Three Little Pigs.
By the s, a succession of wildly popular Disney movies, television shows and a promulgation of related memorabilia available for the masses invaded every corner of the earth. Disney was a marketing genius, but more importantly, he understood that the movies his studio created were only beginning to come into their own as an art form. By surrounding himself with the very best in artistic talent and “Imagineers,” he created a signature visual style to match the power of the timeless fairy tales and children’s stories that were the basis for so many of his successful films. One of the most significant staff appointments by Disney was his signing of watercolorist and sketch artist Mary Blair. Blair’s “bull’s eye stylishness” was responsible for the look of numerous Disney classics including Cinderella, Alice in Wonderland and Peter Pan. Blair was also the lead designer of It’s a Small World, the Audio-Animatronic® puppet installation (and ultimately, theme park ride) created for the United Nations Children’s Fund (UNICEF) and first seen in the Pepsi Pavilion of the World’s Fair in New York in . The concept Blair created for the attraction drew heavily on her ability to “suck out of culture” many sources of inspiration including — and especially — the folk art of both Eastern Europe and Latin America. It is with It’s a Small World, and its colorful, faux-naïf tribute to the children of all nations, that some very strong stylistic comparisons and connections can be made that tie the work of Blair, and her possible Czech influences, to the illustrations of Kubašta, who created several Disney related pop-up books in the s. Mary Blair (-) studied at Chounaird School of Art in Los Angeles at the same time fellow artist, Emil Kosa, Jr. (-) was associated with the institution. He became a respected figure in creative circles and was active in the California Watercolor Society along with Mary Blair’s husband, Lee Blair. Like the Blairs and other “citizen artists,” Kosa made a career in the Hollywood film industry. His greatest acclaim came for his special effects and matte painting designs for many movies in the s, including the Academy Award he won for Cleopatra starring Elizabeth Taylor and Richard Burton. He also created special photographic effects in Journey to the Center of the Earth with James Mason and Planet of the Apes with Charlton Heston. Emil Kosa, Jr.’s father, Emil Kosa, Sr. (-), came to the United States in in one of the earliest waves of Czech immigration to the country. He had settled in California by . Kosa, Sr. had been an assistant to Alphonse Mucha for many years and was an artist in his own right. It is likely that Kosa, Sr. came to the United States under the aegis of one of Mucha’s tours, and decided to stay. As with Mucha, Kosa, Sr. seemed to maintain an affection and appreciation for his traditional Czechoslovakian artistic roots. It is believed Kosa, Sr.’s father owned a puppet the- ater and it was there he learned the traditional craft of making marionettes. Throughout his career as a painter, even after he arrived in Los Angeles, Emil Kosa, Sr. continued to make puppets based on Old World themes and used them as subjects in his work. Mary Blair does not specifically name the Kosas as a source for any of her ideas and stylizations, but clearly she would have had interaction with at least Emil Kosa, Jr., and it’s just as likely she was aware of his connection to the puppet theater and folk arts of Czechoslovakia through his father and grandfather. It was, after all, her unique talent to be attuned to all manner of inspiration and to incorporate freely those elements that best communicated the story at hand. Echoing Kubašta, who once worked in the Czech puppet theater as scenery designer and counted traditional puppetry as one of his major artistic influences, Mary Blair seemed to delight in the animated qualities and intimate staging associated with puppets as an art form. Her vision was fully supported by her mentor Disney, and is expressed brilliantly in It’s a Small World. Further connections exist between Kubašta and the world of puppets through the influence of children’s book illustrator and film director, Jirí Trnka, who was a master of stop-motion animation. Trnka’s acclaimed interpretations of the fairy tales and fables of the Brothers Grimm and Hans Christian Andersen are able, even today, to forestall the bedtime of Czech children as they clamor for a reading. Referred to as the “Walt Disney of the East,” in a newspaper headline after the
debut of one of his movie features at the Cannes Film Festival, Trnka’s work has been described as, “active dreaming: [a combination of] great imagination, poetry, ingenuity, invention, realistic view, and creative vitality.” A New York Newsday review compared this Prague artist to Charlie Chaplin and
praised his work as “[inaugurating] a new stage in a medium long dominated by Disney.” ˆ ˆ With the same versatility seen in their American peers, both Jirí Trnka and Vojtech Kubašta exemplified a multi-disciplinary approach to their work. They moved with ease from one medium to the next and borrowed with abandon from the folk traditions of their common heritage. Pulsing lifeblood of creative energy was present in their psyches throughout their lifetimes. Above all, the two shared a strong and passionate love of fantasy and fairy tales, and against great odds, gave voice and vision to enchantment and imagination. Neither the Nazi occupation and the devastating effects of World War II, nor the pervasive and dulling domination of communist ideology — so heightened during the period of each artist’s greatest production — could extinguish their spirits.
______END NOTES John C. Shepard, “Quotes on Cities: Prague,” in Giga Quotes, -, (William Jefferey Prowse, British poet (-), quotation from poem “The City of Prague,” in book Little Village on Thames), http://www.gigausa.com/gigaweb/quotes/quautprowsewilliamjx.htm ( August ). Kate Connelly, “Kafka would hate to be a square, say Prague officials,” Published by The Guardian, February , reprinted in the Kafka Project. quote by Franz Kafka (-) regarding his uneasy relationship with his native city, http://www.kafka.org/essays/artikeln/square_art.htm ( August ). Terri Windling, “Alchemy and Puppetry: A Prague Sojourn,” reprinted in The Endicott Studio Reading Room from article which first appeared in Realms of Fantasy magazine (), http://www.endicott-studio.com/forprag.html ( July ). Mary Ashcraft. “Once Upon A Prague...,” in Romar Travel Guides, , http://www.romartraveler.com/RomarPages/OnceUponAPrague.html ( August ). Lorenzo Cordini, “Prague Legends,” in My Czech Republic, -, http://www.myczechrepublic.com/prague/history/prague_legends.html ( August ). “Czech History John of Luxembourg and Charles IV,” in My Czech Republic, -, http://www.myczechrepublic.com/basics/king_charles.html ( August ). “Dee, John (-),” in Occultopedia: An Encyclopedia of Occult Sciences and Knowledge, http://www.occultopedia.com/d/dee.htm ( August ). “Kelley, Edward ( - //),” in Occultopedia: An Encyclopedia of Occult Sciences and Knowledge, http://www.occultopedia.com/k/kelley_edward.htm ( August ). Edwin Becker, et al., Prague , Poetry and Ecstacy, (Amsterdam: Van Gogh Museum, Waanders Uitgevers, Zwolle, ), . “Medieval Growth-The Modern Age,” in The Czech Republic, http://home.student.uva.nl/zdenka.sedivcova/Characteristics/HISTORY/history.HTM ( August ). Hackett Lewis, “The Enlightenment throughout Europe,” in The Age of Enlightenment: The European Dream Of Progress And Enlightenment, , http://ragz-international.com/enlightenment_throughout_europe.htm ( August ). “Of Industrial and Other Revolutions,” in The Czech Republic, In the Kingdom of Hungary and the Austrian Empire unified as the Austro-Hungarian Empire. The court remained in Vienna. http://home.student.uva.nl/zdenka.sedivcova/Characteristics/HISTORY/history.HTM ( August ). Becker, . Becker, -. Becker, -.
John Hoole and Tomoko Sato, Alphonse Mucha, (London: Lund Humphries in Association with Barbican Art Gallery, ), . Ibid. Ian Johnston, “An Introduction to the Work of Alphonse Mucha and Art Nouveau,” July , http://www.mala.bc.ca/~johnstoi/praguepage/muchalecture.htm ( August ). Faith Chyle Knutson,“ Painting by Alfons Mucha in Graces Pisek, North Dakota, Church,” http://www.mfr-eng.com/rumreich/mucha.htm ( August ). Hoole and Sato, -. Ian Johnston, “An Introduction to the Work of Alphonse Mucha and Art Nouveau,” July , http://www.mala.bc.ca/~johnstoi/praguepage/muchalecture.htm ( August ). Ibid. Hoole and Sato, . “History of the Czech Republic,” http://www.heritagefilms.com/Czech.htm ( August ). “General Information-History” in Embassy of the Czech Republic, . http://www.mzv.cz/washington/general/general.htm#books ( July ). Hoole and Sato, . “Society of Communist Czechoslovakia- Creative Intelligentsia,” in Word I.Q , , http://www.wordiq.com/definition/Society_of_Communist_Czechoslovakia#Intelligentsia ( August ). “Arts and Spirituality,” in Creativity at Work: Quotes, May , http://www.creativityatwork.com/articlesContent/quotes.htm ( August ). “Third Republic and the Communist Takeover,” in Communist Czechoslovakia, August , http://www.kalabhavanshow.info/world_ref/of/cs.htm ( August ). Jan Michl, “Institutional Framework Around Successful Artforms in Communist Czechoslovakia,” in Open Society Institute Electronic Publishing Program, March , http://e-lib.rss.cz/diglib/pdf/.pdf ( June ). Ibid. Jan Michl writes,”arts such as music, theater, ballet, opera, and applied arts such as art and studio glass, graphic design, book design, illustration, photography, film, painting and sculpture all found a ‘congenial, responsive, and supportive environment’ under the Soviet socialist system.” “Society of Communist Czechoslovakia- Creative Intelligentsia,” in Word I.Q , , http://www.wordiq.com/definition/Society_of_Communist_Czechoslovakia#Intelligentsia ( August ). Jan Michl,“ Institutional Framework Around Successful Artforms in Communist Czechoslovakia,” in Open Society Institute Electronic Publishing Program, March , http://e-lib.rss.cz/diglib/pdf/.pdf ( June ). “Prague Spring,” in Civilian Resistance in Czechoslovakia, , http://www.fragmentsweb.org/TXT/czechotx.html (July ). Jan Michl,“ Institutional Framework Around Successful Artforms in Communist Czechoslovakia,” in Open Society Institute Electronic Publishing Program, March , http://e-lib.rss.cz/diglib/pdf/.pdf ( June ). Artia was established in - as import/export agency with a major publishing house effort as part of the Ministry of Foreign Trade. Peter Lawson, “Eastern Europe: Back to the Future?” in Serials and Other UKSG Publications, presented at international conference on selling subscriptions: ‘Global Solutions to Global Challenges,’ February , http://wwwuksg.org/serials/lawson.asp ( June ). Mirjam Bohatcová, The Czech Book and the World, Translated by J. Moss-Kohoutová, (Prague: Artia in cooperation with the General Management of the Printing Industry, ), . Ibid., . “Manifesto of Charter ,” in CNN Cold War-Historical Documents, http://www.cnn.com/SPECIALS/cold.war/episodes//documents/charter ( July ). “Society of Communist Czechoslovakia-Creative Intelligentsia,” in Word I.Q , , http://www.wordiq.com/definition/Society_of_Communist_Czechoslovakia#Intelligentsia ( August ). “Creative Intelligensia,” in Society of Communist Czechoslovakia, , Samizdat in Russian, literally means “self publishing” or the process of disseminating documentation via underground channels, usually through photo-copying. http://www.fact-index.com/s/so/society_of_communist_czechoslovakia ( August ). Jan Culík, “Czech Literature and the Reading Public,” lecture given at University of Glasgow Igor Hajek Memorial Conference, November , http://www.artsgla.ac.uk/Slavonic/staff/Czech_literature.html ( July ) Bohatcová, . Zuzana Vesela,“ ‘Most Beautiful Books’ Collection to represent the Czech Republic at Book Fairs,” in Radio Prague, April , http://www.radio.cz/en/article/ ( August ).
Becker, .
Ibid. ˆ
“Brief Biography,” in Vojtechˆ Preissig, http://www.p.com/terminal/preissigbib.html ( August ). “Brief Biography,” in Vojtech Preissig, http://www.p.com/terminal/preissigbib.html ( August ). Zuzana Vesela,“ ‘Most Beautiful Books’ Collection to represent the Czech Republic at Book Fairs,” in Radio Prague, April , http://www.radio.cz/en/article/ ( August ). Carter Leshuk, “Introduce Jan Amos Komenský,” in Games and Learning, http://www.teachingenglish.org.uk/talk/questions/games_learning.shtml ( August ).
“Summary,” in Lucas et Lucie - Silverwing (Episodes I-VI), http://www.crtn.org/es/catalogue/production.phpˆ ?id= ( August ). “Brief Biography,” in Vojtech Preissig, http://www.p.com/terminal/preissigbib.html ( August ). Hanae Tokita, “Flashes of Wisdom: Firefly Tales a Prelude to Fireworks in Princeton,” in Packet OnLine, June, http://www.pacpubserver.com/new/news/--/firefly.html ( August ). Trnka illustration of a little “Broucci” accompanies article. Evgeny Steiner, Stories for Little Comrades: Revolutionary Artists and the Making of Early Soviet Children’s Books., Translated by Jane Ann Miller (Seattle,WA: University of Washington Press, ), . Bohatcová, . “Fairy Tale Quotes,” in Sur la Lune Fairy Tale Pages, , http://www.surlalunefairytales.com/boardarchives//apr/ftquote.html ( August ).
Dave Smith, The Quotable Walt Disney,(New York: Disney Editions, ),ˆ . John Michael Dawson, “The Collectible Children’s Curiosities of Vojtech Kubašta,” Biblio ,no. (January ): . Dan Patanella, “Disney the Innovator vs Disney the Conservative,” in Disney and Fairy Tales, -, Patanella states, “the use of fairytales was virtually risk-free. On the one hand, the tales were pure escapism and on the other they reaffirmed society’s values. They were basic enough in their appeal to be marketed directly towards children, but the romance in some of the stories (Sleeping Beauty and Cinderella) was also appealing to adults. This broad appeal was essential for maximum profits; had the Disney films been solely “children’s entertainment” many parents might have simply dropped the kids off at the theater while they went to see a different production. Disney, however, designed films for the entire family to enjoy.” http://www.geocities.com/hollywood/academy//disfai.html ( August ). Sandy Lawrence Edry, “Saved by the Paintings,” in Society and the Arts, reprinted from Newsweek, July, , Images of the animated heroine [Snow White] and her seven faithful friends were even found at Auschwitz, where a mural of the characters painted by internee Dina [Gottliebova] Babbitt, who had seen the movie seven times, caught the attention of Joseph Mengele. Impressed with her artistic skill, Mengele set her to work drawing portraits of other prisoners to be used as a record of the ‘gypsy types’ he sent to the gas chamber. This work as an artist kept Babbitt alive and allowed her to survive the concentration camp. After she was freed, in a twist of fate, she ended up working in Prague for Art Babbit, the lead animator of “Dopey,” one of Disney’s “Seven Dwarves.” He became her husband and they moved to California where they both continued work in the animation field. http://www.mail-archive.com/forum.zagraniczne@w.net/msg.html ( August ). “Vintage Disneyana in Eastern Europe-Part I,” http://www.pizarro.net/didier/_private/tomart/Eastern_EuropeI.htm ( June ). StevenWatts, The Magic Kingdom: Walt Disney and the American Way of Life, (Boston: Houghton Mifflin, ) -. John Canemaker, The Art and Flair of Mary Blair: An Appreciation, (New York: Disney Editions, ) xii. Ibid. Canemaker writes, “[Blair’s] greatest influences came from contemporary sources everywhere . . . European art posters and advertisements . . . Eames chairs . . . the interior design of the [Morris] Lapidus stores and hotels . . .” There is a strong likelihood that Mary Blair drew inspiration from other designers of the era, including Eames associate Alexander Girard, who was himself, strongly influenced by the world’s folk art. Gordon McClelland and Jay T. Last, “Emil Kosa Jr. Biography,” in Ask Art Biographies, reprinted from California Watercolors -, http://www.askart.com/biography.asp?ID= ( June ). Bruce MacEvoy, “California Scene Painters,” in Watercolor Artists, November , MacEvoy states, “the California artists in this group which included Mary Blair, lee Blair, Emil Kosa Jr., and others, were serious painters who held steady jobs and helped to build the film industry in Hollywood.” http://www.handprint.com/HP/WCL/artist.html ( June ).
Gordon McClelland and Jay T. Last, “Emil Kosa Jr. Biography,” reprinted from California Watercolors - in Ask Art Biographies http://www.askart.com/biography.asp?ID= ( June ). “Emil Jean Kosa Sr. American California Artist,” in Calabasas Art & Antiques, http://www.thevine.net/ calabasasart/kosa.htm ( June ), and e-mail and phone correspondence with artist’s relatives: Eric Saund, great-grandson, ( August; September ) and Ellie Ford, grand-daughter ( September ). Edgar Dutka, “Jirí Trnka-Walt Disney of the East!” in Animation World Magazine, July , http://mag.awn. Com/index.php?artcile_no ( July ). “Background Introduction,” in Jirí Trnka Studio, http://www.kratkyfilm.com/catalogue/kf/studiojt.htm ( August ). “Czech Animators,” in Still Life with Animated Dogs, http://www.pbs.org/itvs/animateddogs/animation.html ( August ).
ELECTRONIC REFERENCES “Arts and Spirituality.” Creativity at Work: Quotes, May . http://www.creativityatwork.com/articlesContent/quotes.htm ( August ). Ashcraft, Mary. “Once Upon A Prague . . .,” Romar Travel Guides, . http://www.romartraveler.com/RomarPages/OnceUponAPrague.html ( August ). “Background Introduction.” Jiri Trnka Studio, http://www.kratkyfilm.com/catalogue/kf/studiojt.htm ( August ). “Brief Biography,” in Vojtech Preissig. http://www.p.com/terminal/preissigbib.html ( August ). Connelly, Kate. “Kafka would hate to be a square, say Prague officials.” The Guardian, February , . Reprinted in the Kafka Project. http://www.kafka.org/essays/artikeln/square_art.htm ( August ). Cordini, Lorenzo. “Prague Legends.” My Czech Republic, -. http://www.myczechrepublic.com/prague/history/prague_legends.html ( August ). “Creative Intelligensia.” Society of Communist Czechoslovakia, . http://www.fact-index.com/s/so/society_of_communist_czechoslovakia ( August ). Culík, Jan. “Czech Literature and the Reading Public.” Lecture given at University of Glasgow Igor Hajek Memorial Conference, November . http://www.artsgla.ac.uk/Slavonic/staff/Czech_literature.html ( July ). “Czech Animators.” Still Life with Animated Dogs. http://www.pbs.org/itvs/animateddogs/animation.html ( August ). “Czech History John of Luxembourg and Charles IV.” My Czech Republic, -. http://www.myczechrepublic.com/basics/king_charles.html ( August ). “Dee, John (-).” Occultopedia: An Encyclopedia of Occult Sciences and Knowledge. http://www.occultopedia.com/d/dee.htm ( August ). Dutka, Edgar. “Jiri Trnka-Walt Disney of the East!” Animation World Magazine,July , . http://mag.awn. Com/index.php?artcile_no ( July ). Edry, Sandy Lawrence. “Saved by the Paintings.” Society and the Arts.” Reprinted from Newsweek,July , . http://www.mail-archive.com/forum.zagraniczne@w.net/msg.html ( August ). “Emil Jean Kosa Sr. American California Artist.” Calabasas Art & Antiques. http://www.thevine.net/calabasasart/kosa.htm ( June ) E-mail and phone correspondence with artist’s relatives: Eric Saund, great-grandson (August and September ) and Ellie Ford, grand-daughter (September , ). “Fairy Tale Quotes,” in Sur laLune Fairy Tale Pages, . http://www.surlalunefairytales.com/boardarchives//apr/ftquote.html ( August ). “General Information-History.” Embassy of the Czech Republic, . http://www.mzv.cz/washington/general/general.htm#books ( July ). “History of the Czech Republic.” http://www.heritagefilms.com/Czech.htm ( August ). Lewis, Hackett. “The Enlightenment throughout Europe.” The Age of Enlightenment: The European Dream Of Progress And Enlightenment,. http://ragz-international.com/enlightenment_throughout_europe.htm ( August ). Johnston, Ian. “An Introduction to the Work of Alphonse Mucha and Art Nouveau.” July . http://www.mala.bc.ca/~johnstoi/praguepage/muchalecture.htm ( August ). “Kelley, Edward ( - //).” Occultopedia: An Encyclopedia of Occult Sciences and Knowledge. http://www.occultopedia.com/k/kelley_edward.htm ( August ).
Knutson, Faith Chyle. “Painting by Alfons Mucha in Graces Pisek, North Dakota, Church.” http://www.mfr-eng.com/rumreich/mucha.htm ( August ). Lawson, Peter. “Eastern Europe: Back to the Future?” Serials and Other UKSG Publications, presented at international conference on selling subscriptions: ‘Global Solutions to Global Challenges,’ February . http://wwwuksg.org/serials/lawson.asp ( June ). Leshuk, Carter. “Introduce Jan Amos Komensky.” Games and Learning. http://www.teachingenglish.org.uk/talk/questions/games_learning.shtml ( August ). “Manifesto of Charter .” CNN Cold War-Historical Documents. http://www.cnn.com/SPECIALS/cold.war/episodes//documents/charter ( July ). McClelland , Gordon and Jay T. Last. “Emil Kosa Jr. Biography.” Reprinted from California Watercolors -. Ask Art Biographies. http://www.askart.com/biography.asp?ID= ( June ). MacEvoy, Bruce. “California Scene Painters.” Watercolor Artists, November . http://www.handprint.com/HP/WCL/artist.html ( June ). “Medieval Growth-The Modern Age.” The Czech Republic. http://home.student.uva.nl/zdenka.sedivcova/Characteristics/HISTORY/history.HTM ( August ). Jan Michl.“ Institutional Framework Around Successful Artforms in Communist Czechoslovakia.” Open Society Institute Electronic Publishing Program, March . http://e-lib.rss.cz/diglib/pdf/.pdf ( June ). “Of Industrial and Other Revolutions.” The Czech Republic. http://home.student.uva.nl/zdenka.sedivcova/Characteristics/HISTORY/history.HTM ( August ). Patanella, Dan. “Disney the Innovator vs Disney the Conservative.” Disney and Fairy Tales, -. http://www.geocities.com/hollywood/academy//disfai.html ( August ). “Prague Spring.” Civilian Resistance in Czechoslovakia, . http://www.fragmentsweb.org/TXT/czechotx.html (July ). Shepard, John C. “Quotes on Cities: Prague” Giga Quotes, -. http://www.gigausa.com/gigaweb/quotes/quautprowsewilliamjx.htm ( August ). “Society of Communist Czechoslovakia- Creative Intelligentsia.” Word I.Q , . http://www.wordiq.com/definition/Society_of_Communist_Czechoslovakia#Intelligentsia ( August ). “Summary.” Lucas et Lucie - Silverwing (Episodes I-VI. http://www.crtn.org/es/catalogue/production.php?id= ( August ). “Third Republic and the Communist Takeover.” Communist Czechoslovakia, August . http://www.kalabhavanshow.info/world_ref/of/cs.htm ( August ). Tokita , Hanae. “Flashes of Wisdom: Firefly Tales a Prelude to Fireworks in Princeton.”Packet OnLine, June . http://www.pacpubserver.com/new/news/--/firefly.html ( August ). Vesela, Zuzana. “ ‘Most Beautiful Books’ Collection to represent the Czech Republic at Book Fairs.” Radio Prague, April . http://www.radio.cz/en/article/ ( August ). “Vintage Disneyana in Eastern Europe-Part I.” http://www.pizarro.net/didier/_private/tomart/Eastern_EuropeI.htm ( June ). Windling, Terri. “Alchemy and Puppetry: A Prague Sojourn.” Reprinted in The Endicott Studio Reading Room from article which first appeared in Realms of Fantasy magazine (). http://www.endicott-studio.com/forprag.html ( July ).
BIBLIOGRAPHY Becker, Edwin and R. Prahl, P. Wittlich, editors. Prague , Poetry and Ecstasy. Amsterdam: Zwolle: Van Gogh Museum; Waanders Uitgevers, . Bohatcová, Mirjam. The Czech Book and the World. Translated by J. Moss-Kohoutová. Prague: Artia in cooperation with the General Management of the Printing Industry, . Canemaker, John. The Art and Flair of Mary Blair: An Appreciation. New York: Disney Editions, . Dawson, John Michael. “The Collectible Children’s Curiosities of Vojtech Kubasta.” Biblio ,no. (January ): -. Hoole, John and T. Sato, editors. Alphonse Mucha. London: Lund Humphries in Association with Barbican Art Gallery, . Smith, Dave, editor. The Quotable Walt Disney. New York: Disney Editions, . Steiner , Evgeny. Stories for Little Comrades: Revolutionary Artists and the Making of Early Soviet Children’s Books. Seattle,WA: University of Washington Press, . Translated by Jane Ann Miller. Watts, Steven. The Magic Kingdom: Walt Disney and the American Way of Life. Boston: Houghton Mifflin, .
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THEˆ LIFE AND ART OF VOJTECH KUBAŠTA (-)
By Ellen G.K. Rubin ˆ ojtech Kubašta, Czech children’s illustrator, paper engineer, and author, was one of the twentieth century’s most imaginative and remarkable artists. He combined a knowledge of VCzech folk art, puppetry, architecture, and the graphic arts to create playful universes of wonder and magic that awed and amazed both children and adults. He was not widely recognized during his lifetime, nevertheless he created over three hundred titles that were published on every continent, translated into more than thirty-seven languages, and sold over million copies. He left an enduring legacy of pop-up and illustrated books that will forever entertain and astonish
readers.
Earlyˆ Years Vojtech Robert Vladimír Kubašta was born in Vienna, Austria, October , , and raised inˆ Prague, Czechoslovakia, by his Viennese mother, Adéla, and his Southern Bohemian father, Vojtech. When he was four years old, he was already filling sketchpads (#, ) with figures of birds, boats, and dragons. As a young man, he knew that he wanted to be an artist but his more pragmatic father, a bank manager, hoped he would become a lawyer. Architecture had a greater appeal to the
young Kubašta, however, since he already knew “he had to do somethingˆ with his hands.” ˆ In , he enrolled in the Czech Polytechnic University in Prague, (Ceské vysoké ucení technické
v Praze), in a class of about ninety. He was tall, handsome, and personable and quickly made
friends with his fellow students. Soon thereafter, he became a part of a dynamic foursomeˆ of studentsˆ who called themselves, the Quadrifoliacs, after a type of four-leaf clover. Robert Jecný (#), Cudla (Rudolph) Ünger, Jan Hird Pokorny, and Kubašta were inseparable and worked on many major projects while they were students and after graduating from the Polytechnic. Kubašta toyed with designing a logo for the group, a four leaf clover or the number four over a castle. Professors described them as hard-working students “who always did more than they were asked.” If a professor engaged one of them to work as an assistant, invariably the other Quadrifoliacs became involved as well.
As students, the Quadrifoliacs collectively worked on a competition for a corner housing/ commercial complex across from the Polytechnic that won second prize.ˆ Each team member had individual strengths that contributed to the success of their projects: Jecný was known for his organizational abilities; Ünger supplied technical expertise and supervised the design and drawings with Pokorny; and Kubašta was put in charge of the final presentation sketches. Pokorny commented, “he, Kubašta, was an artist who studied architecture.” The foursome also collaborated on a school project in which they had to measure a specific architectural detail from the Clam-Gallas Palace in Prague. They chose the Grand Staircase, considered one of the most beautiful in Czechoslovakia. Kubašta’s final drawings showed his flare for great dramatic effect.
In spite of their student status, the Quadrifoliacs were able to find commercial work. This was due largely in part to Jan Pokorny’s father, the Deputy General Manager of Škoda Works, a major manufacturer of steam locomotives, turbines, machine tools, and military arsenal. For example, they were awarded commissions to prepare drawings and renderings for the Prague subway and various other Škoda construction projects. At first, they worked in Porkorny Sr.’s study, sleeping under the tables during charettes. Later they moved to an apartment off campus that doubled as an office. They always worked together “for [the] amusement and money.” While at the Polytechnic, Pokorny’s family also commissioned the Quadrifoliacs to create personal objects. For example, the four were asked to collectively design a set of wine goblets (#) for a
wedding anniversary present. The enterprising young men hired a blacksmith to make the goblets of pewter because silver was either unattainable or unaffordable. Kubašta provided the whimsicalˆ decoration of a monkey holding a wine-tasting pipette. For the Pokorny country house, Vojtech and Jan worked together to design the furniture. Kubašta alone crafted a stained glass window and statues of a sprite for the pond in the garden and one of St. Christopher for the porch. Today the house is occupied by the former deputy prime minister of the Czech Republic. The sprite and St. Christopher statues remain standing in their original places but the window has mysteriously disappeared. Jan Hird Pokorny, who is ninety years old and Professor Emeritus at Columbia University’s School of Architecture, recalled that Kubašta was “enormously skillful . . . [especially] with illustration,” and the group “leaned heavily on his skill.” He also described his old friend as “[having been] born with a pencil in his hand.” “He was always drawing” and “could work so fast.” It may have been Pokorny who introduced Kubašta to one of his life-long pleasures: hiking. On one occasion, Pokorny planned an excursion for the Quadrifoliacs into the Alps through Innsbruck. Arriving at a lodge in bad weather, they found it shuttered and closed. In desperation, they banged on the door and summoned the innkeeper who hosted the group while they amused themselves with games of wit during four days of foul weather. Even though Kubašta never thought of himself as athletic; he frequently found solace in hiking. His sketchpad drawings reflected a deep appreciation for nature and his finely rendered images of flowers, mountains, and animals became the basis for many later illustrated works. During his school years, Kubašta tried working in various art media including clay (#), metal, and etchings. In an early work, he experimented with oils and painted a portrait (#) of a beautiful Cinderella-like blond maiden sewing a delicate garment. Dagmar, his daughter, believes the image is most likely of his mother who is known to have worked in her own mother’s fine linen and lingerie shop in Vienna. Kubašta especially enjoyed a school assignment documenting disappearing homesteads in various regions of Czechoslovakia. In one such drawing he chose the area of Southern Bohemia and captured the folk architecture of Hluboká nad Vltavou, the small town of his ancestors. Even as a student, Kubašta created illustrations of Prague buildings for several of his professors’ publications. Kubašta’s signature changed as he progressed from young artist to college student to professional artisan. At the Polytechnic, his signature alternated between a KU sitting above the image of a castle’s turret (pronounced ‘bashta’ in Czech) and the simple abbreviation, VK, known to collec- tors today. Finally, he arrived at his recognizable script-like signature, V. Kubašta, seen on almost all of his well-known illustrations. After graduating from the Polytechnic in , the Quadrifoliacs garnered their largest architectural
project. As a result of the Munich Agreement of , Czechoslovakia ceded major regions to
ˆ Germany, Poland, and Hungary. Pokorny Sr., sensing the rapidly changing political climate,ˆ felt the need to invest in tangible assets. He purchased property in the village of Tri Studne, located between Moravia and Bohemia and commissioned the recent graduates to create a small chalet-type hotel. The industrious foursome collectively designed the Hotel Sykovec, but Kubašta alone was
responsible for the design of the iron entry gates, a mosaic of St. Christopher (with the KU logo over a castle signature) (#), a fresco of a folk-costumed girl on the stairway, and a stained glass window in the dining room. He also contributed to the design of some of the furniture. On the entry wall outside the hotel are another image of the costumed girl and a statue of St. Christopher, patron saint of trav- elers and similar to the one at Pokorny’s home.
Nazi Occupation and World War II Despite Kubašta’s degree in engineering and architecture and Pokorny Sr.’s connections, architectural projects were difficult to obtain. According to a photograph annotated by Kubašta, he began teaching around at the Rotter School of Graphic Design (#). Kubašta then worked for a local plastics manufacturer, Baklax, designing both household objects and advertising and marketing promo- # tions. While working there, he made the transition from architect to graphic designer. His experience on the Quadrifoliacs’ commissions honed his decorative and graphic design skills and laid the groundwork for later involvement in
many successful commercial projects.
ˆ ˆ ˆ ˆ Through the efforts ofˆ well-known professors at the Polytechnic, (Oldrich Blazícek, Zdenek Wirth (#), V.V. Štech, and Antonín Engel), Kubašta was able to secure several jobs designing dust jackets, exlibris, and other illustration work. Pokorny contended that Kubašta went into the field of publishing by drawing scenes from Old Prague (#, ), which “especially when the Germans were around, people liked and spent money on. Publishing was good business,” and “Kubašta made money.”
The art of Czech puppetry flourished in the mid-twentieth century with fairy tale themes pre-
ˆ dominating. “Artists, authors and actors [wanted] to stress . . . the puppet ˆtheatre [as] an artistic
genre.” In the late s and into the early s, Kubašta worked ˆ for Cenek Sovák, a popular writer and director of a noted puppet theater, Loutková scéna v dome Komenského. Komenského is a reference to Johann Amos Comenius (Jan Amos Komenský, -) of Bohemia who in published, Orbis sensualium pictus (The World Around Us in Pictures). Comenius is known as “the father
of books for children and of picture-books especially.” Kubašta designed puppet stage sets of
ˆ
small Czech villages, the interiors ofˆ castles, and even some puppet costumes. Featured in Sovák’s theater was the puppet, Jezek Píchácek (#ˆ ), a hedgehog. He used the character to illustrate a series of books for Sovák published by Dolezal in the s. The story of the hedgehog family is easily understood, even by those too young to read or unable to read Czech, because of the anthropo- morphized expressions — arched eyebrows, down-turned mouths, and joyous smiles — on the
faces of the animal characters.
ˆˆ In ˆ , Kubašta illustrated, in color and black and white, Joyful Stories for Children (Veselé vyprávení detem - Dolezal) (#). It was written by Vlasta Burian, a famous Czech actor of the s and s known as “The King of Comedians.” Some of the illustrations for the book were reminiscent of the cartoons from The New Yorker, especially the one of New York paparazzi filming the performing
dog (#, ) and mouse. In order to keep working in films while the Nazis occupied Prague, Burian entertained various German officers at his villa. The Communists later called him a Nazi collaborator and banned him forever from the theater. Burian’s reputa- tion was later reinstated and his likeness is now
ensconced in the Prague Wax Museum. In ˆ Arabian Nights (Arabské pohádky z noci, Dolezal- ) (#), Kubašta demonstrated his knowledge of art history by borrowing from the painting, “Escaping Criticism” by Père Borrell del Caso (-). By using trompe l’oeil, the genie in the story appears to escape the confines of the illustration. The three- dimensional style of illusion foreshadowed his later pop-up structures that characteristically extended beyond the margins of the page. The illustrations in Arabian Nights are lavish and boldly colored, with fine line marginalia and # decorative initial letters giving the book the feel of an ancient sacred text. The endpapers are remarkable because they place the reader in the center of a bustling Arabian bazaar surrounded by fanciful minarets. Typical of Kubašta’s trademark style, a small dog is shown lost in the maze of
the narrow streets. ˆ At the publisher Dolezal, Kubašta met the eminent art historian, Dr. Otakar Štorch-Marien and his career in the books arts was significantly advanced by the chance reunion. Štorch-Marien’s new association with the long-established Prague publishing house, Aventinum, served as a “driving force” for the struggling company and “the firm entered a new and productive phase.” During the height of World War II, Czech publishers, “managed . . . with few exceptions . . . to withstand the pressure of the occupying forces attempting to lure them into active co-operation, and avoided the publishing of anti-Semitic, Nazi, or other pro-regime oriented production.” To circumvent supporting the Nazi agenda, Czech publishers printed the classics or titles that appealed to national pride. Working together, Kubašta and Štorch-Marien created a series of three suites in portfolios, each with five architectural lithographs of Prague’s monuments. The lithographs were hand-colored, often by Kubašta’s younger sister, Jarmila. Each portfolio was accompanied by a few pages of
text written by the most notable historians on the subject. The three limited editions were: Loretta’s Meditations (Loretánská Meditace - ), Strahov Melancholy (Melancholieˆ Strahova - ) and Waldstein Palace (Valdštejnský Palác v Praze - ) (#). The last was by Zdenek Wirth, a prominent art historian, who wrote extensively on Prague’s historical sites and organized a movement for the preservation of its historical monuments. In all the portfolios, Kubašta used a warm, soft-colored palette and each one featured a uniquely designed title-page vignette. The great success of the first three portfolios was followed by a fourth one, Klementinum () (#). The Klementinum, a sixteenth-century Baroque structure in Prague, was a Jesuit college and the site of a mathematical museum and astronomical observatory. Today it houses the national and university libraries. Perhaps Kubašta’s optimism at the end of the war motivated him to design a standout volume showcasing fanciful images of the heavenly bodies and the signs of the zodiac. In any case, the images marked the beginnings of the exuberant style that became his hallmark. Unlike
the previous portfolios, the cover and endpapers of the Klementinum were luxuriously illustrated. With its large format and decorative endpapers, it appears to be the forerunner of the Panascopic pop-up books that followed ten years later.
Aventinum continued to prosper during and immediately after the war as Kubašta continued his collaboration with Štorch-Marien. Itˆˆ published the first post-war literary classic, Pavel Eisner’s (-) Goddess is Waiting (Bohyneceká), considered “. . . the apotheosis of [the] Czech language.” Kubašta designed dust jackets for a documentary account of Prague during the final days of the War as well as several other titles that Štorch-Marien was unable to publish during the Nazi occupation.
POST-WORLD WAR II In Three Centuries of Children’s Books in Europe, Bettina Hürlimann called the Czechs, “a nation extraordinarily rich in good illustrators.” “The classics of the Western, as well as the Eastern, powers [were] available, together with a colourful collection of their own [Czech] story-books,” and they were “illustrated by their own artists and obtainable in cheap editions.” In the post-World War II period, Czechoslovakian citizens lived under rigidities of the Soviet system. Kubašta and other Czech illustrators resisted the Communist call for artistic conformity by creating native and folk images with bold colors and lines. Hürlimann concluded, “this was also a time when other countries had very few picture-books to match these freely constructed [Czech] masterpieces.” After World War II, Kubašta continued to illustrate children’s books, dust jackets, colophons, maps, and posters. In , he illustrated the first Czech translation of Winnie the Pooh (Medvídek Pu -Vyšehrad) (#). It became an instant favorite, thus demonstrating the power of popular
Western culture to infiltrate Communist societies. Another example of the West’s influence was his design ˆ of the book jacket for the Czech edition of Betty MacDonald’s The Egg and I (Vejce a já; Vladimir Zikeš -) (#), which was made into a movie starring Claudette Colbert and Fred MacMurray and whose photographs are prominently featured on the jacket. Surprisingly, the
colophon has a cartoon character strikingly similar to Woody Woodpecker. Kubašta confirmed his Southern Bohemian roots in illustrations for the book, The Secret of Uncleˆ Joseph by František Herites
(Tajemství Strýce Josefa; Aventinum - ). Set in eigthteenth-century Vodnany, he drew a series of watercolors of homesteads,ˆ preserving for posterity a rapidly disappearing way of life. Štorch-Marien, also from Vodnany, commissioned him to produce the homesteads as postcards. He commented later that “even though Kubašta lived and worked in cosmopolitan Prague, he was able to distill the essence of the countryside in his
sketch-books.” Although he worked primarily with the publishersˆ Aventinum (#, , ) and Dolezal (#, , , ), his illustrations also appeared in volumes printed by Mladá
fronta (#), Vyšehrad (#, ), Mladé létá
ˆ (Bratislava)ˆ (#, , ), Melantrich (#), Nová osveta (#), Vladimír Zikeš (#, ), and Albatros (#). In , the Communist Party came to power in Czechoslovakia and “turned private book publishing and book selling . . . upside down.” Czechoslovakian intellectuals tried to manage the upheaval to their advantage, but failed. Censorship became stricter and was put under the auspices of the Ministry of Information. “Over publishing houses were closed down in [one] year . . .” The Ministry of Interior page of #
Information now had control over publishing, selling, distribution, and even the types of materials published. As a result of the new laws, it took as many as five years for permission to be granted for the publication of certain manuscripts. The Soviet Union’s plan to develop heavy industries changed the landscape of Eastern Europe. Industrial complexes sprung up along the beautiful rivers and overflowed into the rural areas. Kubašta commented on these changes in a satirical watercolor painting of Sleeping Beauty (#). In the foreground, two traditionally costumed couples dance happily, while swirling around them are four scenes illustrating the modernization of textile production. The first is a traditional Sleeping Beauty spinning yarn, the second shows spinning as a cottage industry, followed by a weaver working
on a hand-operated loom, and finally in the background he calls attention to an industrial wasteland with belching smokestacks, terrible dragons of a newˆ reality. Clearly, the new repression in publishing did not dull “the prolific and facile” pencil of Vojtech Kubašta, who continued to turn out hundreds
of illustrations. ˆ Kubašta married Helena Elisabeth Šafariková of Prague in at the Loretta Church in Prague, a church he illustrated so beautifully for Aventinum. The following year his first daughter, Helena was born, and three years later, his daughter Dagmar was born (#). Kubašta, now a family man, had new incentives to seek buyers for his art. His beautiful wife was “strange and dominating” and a difficult presence in the household. Whether or not this affected Kubašta’s parenting cannot, at this vantage point, be gauged. But he immersed himself in his work while at the same time surrounding himself with his daughters. Because his studio was in the center of the apartment, his daughters witnessed and sometimes participated in his creative processes (#). He frequently turned his work projects into entertainment for the girls by making them, for example, a puppet theater with all the props and costumes. Kubašta met business associates at home or at local Prague cafés, often taking his children with him, and always dressing up in suit and tie looking elegant and handsome. Significantly, Kubašta kept his own reference library. Impatient to work and eclectic in his tastes, he preferred to have research material at his fingertips. In nearby large files and shelves he stored magazines, newspaper articles, huge stacks of clippings, books on myths, legends and ancient cultures, and whatever else he thought would one day come in handy. When he worked on a story set in Arabia, for example, he had only to open his files to capture the authentic environment or costumes of the period.
Mozart and Prague During the war years Kubašta began his life-long love affair with Prague. In cooperation with another author, Dr. Antonín Novotný (#), he produced a set of historical books about the city, incorporating classical architecture and motifs. When writing about Prague, he referred to the city as if it were a person. Kubašta became an avid collector of Prague memorabilia, including historical maps of the ancient city, old prints, and famous porcelain figurines. Later on, as he attained greater financial success, he acquired prints of the Old Masters hoping they would shield him from the economic insecurity caused by the Communist regime. Throughout his career, Kubašta could be found at his desk surrounded by favorite objects from his collections: Napoleoniana, Mozartiana, antique maps, family photos, and others. Amazingly,
he also found time to serve as a corresponding secretary for the State Preservation ofˆ Prague. Many of his children’s books, including The dragon who would not wash (O nemytém dráckovi; Orbis - ) (#), featured the Prague skyline and monuments. In the late s, he even designed a decora- tive scarf featuring the landmarks of Prague located near his apartment in the Smíchov section of the city. One image is of a Soviet military tank that has since been removed and replaced with a fountain.
Dust jacket of # #
Kubašta was also passionate about Wolfgang Amadeus Mozart (# , ) and images of the Austrian composer filled his home studio. Curiously, he did not listen to any music while he worked. Prague showed a “sincere interest” in Mozart and, unlike “the fickle Viennese ...never abandoned him.” Mozart was purported to have said he loved Prague because [the people] understood him. Kubašta always kept a blue Delft mug of Mozart’s Salzburg across from his desk (#). In , to commemorate the th anniversary of the birth of Mozart, Kubašta produced a portfolio of twelve Prague city scenes associated with the composer. The twelve hand-colored lithographs were also reproduced on note cards, postcards (#), and calendars. During his visits to Prague in and , Mozart stayed at the Villa Bertramka where he composed music and finished the score of his most famous opera, Don Giovanni. Known as, ‘the opera of all operas,’ it was Kubašta‘s favorite. As an avid member of Prague’s Mozart Society, he annually designed its New Year’s card, then sent it to his personal list, signing the card “p.f. V. Kubašta,” p.f. in Latin meaning pour felicité — all the best.
Artia and Pop-ups In the early s, Dr. Štorch-Marien left Aventinum. The struggling publishing house, which he had revived for the duration of his association with Kubašta, was again having difficulties and Kubašta sought work elsewhere. Capitalizing on his love of Slovakia, Kubašta worked for Slovtour (#a-d), the Slovakian state travel agency, and designed its logo that was used for thirty years. He created striking tourist posters of the Demänová Caves and the Jasná ski resorts (#) and souvenir booklets for Slovtour using movable and pop-up elements. According to his daughter, Dagmar, Kubašta said, “pop-ups make [the ads] livelier.” As far as can be determined, these promotional materials seem to be the first time he commercially produced three-dimensional ephemera. It is likely that he was influenced by his collection of nineteenth-century lacy pop-up greeting cards. Under the Communists, Czechoslovakia accelerated its industrial growth and manufactured many consumer products for export. During that time, Kubašta worked for the Czechoslovakian
Interior #
Chamber of Commerce designing advertising materials for light bulbs (#, ), sewing machines (#), radios (#), sunglasses (#), and Pilsner’s famous beer (#). The ads, in vivid colors and clean lines, were printed in numerous languages and often contained movables and pop-ups that breathed life into the flat paper products. With all of these projects, he sought “the possibilit[ies] in the movable paper.” In , Kubašta began illustrating for Artia, the state-run publishing and trading house. Children’s publishing, and publishing in general, were enjoying a rebirth. The printing presses in Czechoslovakia had not been destroyed in the war as they had in Germany. The old Czech presses allowed for the heavy application of dyes. During printing, the paper became richly saturated with color that appropriately supported Kubašta’s highly stylized faux-naif design. It was while he worked for Artia that he found his greatest and most lasting successes. In the mid-s Kubašta offered Artia his first pop-up book, a crude, primitive affair, by his own account. Soon after, he quickly developed a simple method of cut-and-folded cardstock with a slant-cut that gave the illustrations greater volume and depth and allowed the scenes to extend beyond the edges of the page. Many of his books incorporated pull-tab mechanisms, adding to the tableaux’s complexity. A perfectionist in many respects, Kubašta believed, “everything must be just right!” Beginning” with the stories of the Brothers Grimm (#, , , ) and the classic, Robinson Crusoe (#), Kubašta wanted “to create for children a small theatre inside the book.” At home, Kubašta’s desk was strewn with colored pencils, scissors, cardstock, and paper. He incorporated whenever he could, cellophane and aluminum foil into the illustrations, and any other element that would accent the reality of the diorama he was creating. He once entertained in
his studio a famous author who came to see how his pop-ups were made. According to the visitor, Kubašta seemed to have everything worked out in his head and knew how the pop-up would finally turn out even before he began the design process. The visitor did not realize that “each and every one of [Kubašta’s] books demanded an extensive knowledge of descriptive geometry.” Kubašta admitted, however, to hating math but loving geometry because it “made perfect sense.” Although his pop-ups were minutely calculated to give the greatest sense of perspective, he knew full well that “as far as the dimensional imagination is concerned, children take it as incidental.” According to Opus VK (see Appendix), a pamphlet that attempted to list all of Kubašta’s works, Christopher Columbus () was the first pop-up book in what was later to be called the Panascopic Model Series, a possible reference to the ‘model’ and ‘stand-up’ books from the earlier English Bookano series by S. Louis Giraud. Primarily based on the Klementinum (#) format of , each folio-sized book had a heavy cardboard triptych cover with an illustrated story stapled in the center. The back covers unfolded to reveal double page pop-ups standing as high as thirteen inches. Bancroft, in , packaged twelve (#, ) of the books using the Panascopic format. Through his pop-up creations, Kubašta’s fantasy world becomes real to the reader. At a time before there was a television in every home and before video games such as GameBoy and Sega, Kubašta’s pop-ups provided children with the opportunity to interact with their own imaginations by opening up the three-dimensional images of Columbus’ caravels sailing the roiling Atlantic (#), medieval knights jousting in front of a castle (#), monkeys swinging gaily on swaying palm trees in a far-off jungle (#), or a farm with free-standing movable animals. Several of the pop-ups, especially those with holiday-related Christmas or Easter themes, were also published without text and were intended to be used as table decorations (#, , , ). Kubašta’s witty illustrations reflected his Weltanschauung and his compassion for humanity and nature. The endpapers of Noah’s Ark-, showed Noah explaining to the animals the fate that was going to befall them: the faces of each anthropomorphized animal, appropriately, expresses horror, sadness, or shock. Similarly, Lothar Meggendorfer’s (-), International Circus-,
also individualized the characters in the audiences of the dioramas. ˆ At Artia, Vojtech Kubašta published more illustrated and pop-up books than one would think humanly possible. The sheer number of titles he designed continues to confound contemporary paper engineers. Today, a single pop-up book, from concept to publication, can require up to two years to completion. According to Opus VK, Kubašta illustrated and paper engineered over ninety books between -, and collectors and scholars are still discovering titles that were not recorded. His use of embellishments on numbers, corners, head- and tale-pieces, and decorated margins, like those in Arabian Nights (#), attest to his prodigious creative powers. Besides designing the elaborate Panascopic Model Series, Kubašta illustrated the fairy tale pop-ups using a deceptively simpler format. The books, beginning with The Flying Trunk (#), employed a theater-type setting. With linen spines at the top, text parallel to the spine, and colored-cord bindings, the cardstock was folded again and again to create the pages. True to his over-the-top style, most of the initial books in the fairy tale series had movable elements in the cover itself. His use of the slanted cut extended the three-dimensional elements beyond the border of the page. Not satisfied with the three-dimensions alone, Kubašta often added a pull-tab, or, in rare cases, a wheel. The additions were not gratuitous or merely decorative. The overall effect of the cuts, folds, and additional movable elements created the illusion of a small theatre. Kubašta said his books were created in stages: ) inspiration for the artistic solution of an idea; ) pencil sketches; ) calculations for the pop-up; ) mock up of the actual size book. The entire process could take as long as three months to complete. If one takes into consideration the great number of books he paper engineered and illustrated, a major part of his genius was keeping track
of all the different projects. With the humility for which he was well known, Kubašta acknowledged the skill and dexterity demonstrated by the women who assembled his books. “To watch them work is like watching a concert!” he was quoted as saying. An interviewer in lamented, “unfortunately in our country [Czechoslovakia], these [pop-up] books were never seen by our children.”
Exporting Kubašta Until the late s, Kubašta’s work was rarely seen outside of Eastern Europe. Leopold Schliesser has been credited with introducing Kubašta’s work to the West. Schliesser was a Jewish banker from Prague who had fled the Nazis in , and became the owner of Bancroft & Company, a London firm. It is not known whether Schliesser first became acquainted with Kubašta’s books in his native Prague while searching for cheap exports for his firm. In any case, he had a good eye for quality at a bargain price and as the owner of Bancroft, Inc., he negotiated with Artia to import the titles under the new imprint, Westminster Books. Other importers also acquired rights to Kubašta’s books, especially the eight titles in the fairy tale series. Joseph Lefebvre of Brussels and Marie-Louis Neirinck of Antwerp modestly contributed to the distribution of Kubašta’s books in Europe where they sold for the equivalent of $. US. These pioneer pop-up publishers soon discovered the difficulties of dealing with state-run companies behind the Iron Curtain. The Communist knew little of contracts, had layers of bureaucracy, and required cumbersome proofs of solvency. Nonetheless, the obstacles were eventually overcome, and thousands of copies of the books were imported. Lefebvre contracted with a supplier of small Belgian grocery stores to give away Kubašta’s books as premiums with purchases. Most Americans were unaware that many of their favorite cartoon films were illustrated and animated in Czechoslovakia. In the s, William L. Snyder’s Rembrandt Films capitalized on Czech animated film talent by producing cartoons such as Madeline, Popeye, and Tom and Jerry, in Prague. Unlike the Europeans, he had a more positive experience working with the Communists. To ply his trade behind the Iron Curtain, “all he needed to do,” he said, “was offer Western cash and all doors were opened. It was just business, hard currency for low-cost, high-quality labor.” “The Iron Curtain,” he added, “was always more porous than it seemed.” In , the Artia Foreign Trade Corporation exported nine Kubašta titles in the Farsi language to Iran. Kubašta’s panoramic books [were] protected by a Czech patent. Using the Panascopic format but without text, and for the first time combining photographs and illustration, Kubašta designed a pop-up book celebrating Mecca (#), its pilgrims, and surrounding areas. His books were widely distributed in the most remote corners of the world. For instance, Japanese teachers used How Columbus Discovered America- [Christopher Columbus] (#), the Panascopic Model book, as an educational tool to teach children the history of the United States. By , Kubašta was credited with over three hundred titles published on every continent. His books were translated into thirty-seven languages and over million copies were sold. The worldwide sales filled Artia’s coffers with hard currency, allowing it to finance lesser-known authors and illustrators. Yet in a monograph, The Czech Book and the World, which celebrated twenty years of Artia publishing,
Kubašta’s was not mentioned even once. ˆ Financial success buffered Vojtech Kubašta and his family from the daily privations experienced by most individuals living under Communist regimes. He lived by the Vltava River in Smichov, a fashionable area of Prague, from until his death. The five-story apartment house (#) can be seen in several of his children’s book illustrations and maps of Prague. He had money, for example, to spend in the high-priced shops that sold Western goods and he often indulged his family with his favorite Western products: Heinz Ketchup and Kellogg’s Corn Flakes.
Interior pop-up #
In the early s, the American entrepreneur, Waldo Hunt, discovered Kubašta’s pop-up books at a European book fair. As the owner of a print/brokerage company, Graphics International, he sought to distribute the unique and inexpensive books in the United States. He approached Bancroft with an order for over one million copies. The company’s excited production manager, Michael Thomas, immediately went to Prague to work out the details. Wending his way up the chain of command, bureaucrat by bureaucrat, the Communist-run Artia finally responded that it could not increase production so dramatically because it did not fit into the Five Year Plan. Hunt had no choice but to have his company produce its own line of movable books and was, therefore, responsible for renewing America’s interest in pop-up and movable books. Hunt’s new company, Intervisual Books, was the innovative leader in the field for three decades. Unfortunately, Kubašta died before knowning the pivotal role his uniquely paper engineered and illustrated books
played in the worldwide resurgence of pop-ups and movable books. Waltˆ Disney Productions Vojtech Kubašta frequently expressed interest in working with Walt Disney, and eventually got the opportunity in the s when he was asked to paper engineer and illustrate several Disney pop-ups for movie tie-ins. He was not permitted to put his name on the five books in the Disney movie series: Bambi (#); The Jungle Book; Mickey Mouse, Movie Star (#); The Aristocats (#); and, Dalmatians; and he was obliged to illustrate the titles in the Disney style. However, in Dalmatians and The Aristocats, he was given artistic license to create his unique style of complicated movables and internal pull-tabs. All of the versions were manufactured solely by Artia, including the design, illustration, printing, binding and finishing. Kubašta, always self-confident and now a very dependable source of profit for Artia, believed that had he lived in the Western world, he would have been another Walt Disney. The Disney books were published in many languages. Joseph Lefebvre of Belgium applied to the European Disney group for approval and received permission to publish The Aristocats and Dalmatians in Dutch, Italian, German, Danish, and Flemish. Publishers and distributors in other countries used the same approach.
Nativities Among the more collectible and rare of Kubašta’s pop-ups are the nativity tableaux. It is estimated that he made fifteen to seventeen nativities including table decorations, greeting cards, and crèches, some with stories in the Panascopic Model Series format. In spite of the Communists’ edicts prohibiting public displays of religious icons, the state-run publishing houses sold quantities of the crèches to its citizens. Both Artia and Orbis published the nativity scenes. Today, there is a society in the Czech Republic solely devoted to collecting these remarkable paper structures. On a visit to the
Montreal Expo in with an artists’ group, Kubašta saw a Bohemian nineteenth-centuryˆ wooden crèche, The Bethlehem of Trebechovice (#), with individually carved figures and # movable parts. He translated the crèche into a pop-up made of his trademark cardstock. Much later he made another favorite crèche of glossy, light cardstock. Pulling briskly from both ends caused the card to make a snapping sound. The opened greeting card, packaged also with
two free-standing figures, could then stand by itself. ˆ Athought he was not an overtly religious man, Vojtech Kubašta depicted Christian images and tableaux with dignity and respect. His mangers, drawn in the biblical motif, are surrounded with Moors on camels and Middle Eastern families paying homage to the Christ child, and are sometimes set in the center of the Old Town of Prague. Nineteenth-century horse-drawn carriages bring celebrants to bear witness to the birth of the Savior while camels bedecked in Arabian ornaments approach from another direction. The juxtapositions do not seem jarring. Kubašta’s intensely colored and uniform palette and depiction of the universality of people’s expressions, give the entire tableaux a calm, reverent aura. While Kubašta’s other pop-ups project a boisterous spirit, his crèches evoke a quiet candle-lit niche in a magnificent church.
Technology Kubašta had a great love and respect for children and never patronized them in his works. He gave each child something age-appropriate in order to engage them in the story: bright, bold anthropo- morphic images for the very young, hidden details for the older ones to search for, and pop-ups to encourage the active participation of everyone. One of his gifts as an illustrator was the ability to distill a complex series of actions into a coherent and easily understood cohesive whole. In
illustrations relating to manufacturing and industry, Kubašta combined his technological knowledge with an eye for detail that made the most intricate procedures understandable. Some ofˆˆ the best examples of this talent may be seen in the two-volume series, I Know Why (Uz Vím Proc, Albatros -
, ) (#). Whether illustrating the process for making chocolate or how sound is produced, Kubašta’sˆ simple line drawings instructed all levels of readers. In Behind the Scenes of the City (Zákulisí Velkomesta, Albatros -), he remarkably clarified the intricacies of the transportation and sewer systems, and even the workings of a cardiac defibrillator. He patterned the book on the How and Why series by Grosset & Dunlap, -. Privately, Kubašta joked that the Russians took credit for all the great discoveries and inventions.
Back cover, end paper, and front cover from #, Volume
Mature Works In the s, Kubašta came up with the idea for the Tip + Top + Tap series (#, , , , ), about two adventurous pre-adoles- cent boys and their dog. He wanted to create real characters reflecting twentieth-century children and events and, taking into account worldwide sales, he needed character names that were accessible in any language. Many of the highly original titles were reflective of
Kubašta’s own personality: his joie de vivre, ˆ The Quadrifoliacs. (Left to right) Kubašta,ˆ Jan Hird Pokorny, sense of humor, love of the outdoors, Cudla (Rudolph) Ünger, and Robert Jecný. curiosity about nature, and a solid grounding in technology. Perhaps Top, the less adventurous and clearly porcine boy, was based on Ünger, one of the Quadrifoliacs, described as overweight and decidedly sedentary. The format of the Tip + Top + Tap books is similar to the fairy tale series with the text parallel to the spine, but are square and larger in size. Technical subjects are intelligently approached, as in Tip + Top Build a Motorcar (#). Drawings, equations, and tools are illustrated in detail as the two scamps try to build a boxcar, an activity with which most boys of the day could relate. At the back of each book is a puzzle or game to further sharpen the mind and grab the interest of the readers. Artia did not have sole rights to Kubašta’s prodigious output. Throughout his career, he worked with several publishers, including the Slovak publisher, Mladé létá. Titles published by Mladé létá often featured die-cut holes. For instance, Clocks (Hodinky - ) (#) had a die-cut through the
entire book that revealed a clock with movable hands on the end board. By moving the hands, children could match the time of day with the activity Kubaštaˆ depicted on each page. The book was recently reprinted in . The Grasshopper and the Ants (Svrcek a mravce -) (#), based on the Aesop fable, anticipated the next page by showing a glimpse of it through a die-cut hole. As in many of Kubašta’s books, music is featured as a sub-text with the grasshopper playing the violin
while the ants struggle with their work. ˆ Besides illustrating the classic tales, in the s Vojtech Kubašta also wrote several stories of his own. In many cases, his authorship went unacknowledged. Michael Dawson, an authority on Kubašta, calls the books the White Series (#, ) because of their white linen bindings and white covers. The books are really primers for young children with each of the six spreads on a single topic, such as music, counting, and carnival events. Many publishers around the world often reprinted them with glazed boards and different cover art. In the s, Kubašta began an extensive collaboration with Helena and Eduard Škoda, including the I Know Why (#) series. These prolific writers found many additional projects for him to illustrate, among them, books and technical magazines for teenage boys. Kubašta even reprinted in a counting series (#) from the s in which the original texts were adapted and rewritten by the Škodas. The series consists of twelve small pop-up booklets in a slipcase and are meant to help small children learn to count. Animals singing and playing various instruments are featured throughout the texts.The original counting books are among the most highly prized and sought after in the Kubašta oeuvre.
Kubašta continued to use his architectural skills by transforming an old synagogue into a cultural center. He restored it by preserving its ˆdistinctive elements. In the early s, he purchased a vacation cottage (#) near the town of Dobríš, where the synagogue was situated. He renovated the orig- inal structure several times. Finally in , he completely rebuilt it, designing a fireplace decorated
with boldly colored glass and built-in and free-standing furniture. In a studio and a bedroom were added to the existing structure. He loved to tend the cottage’s Alpine garden but, in the latter part of his life, spent less and less time there due to difficulties with his wife.
At Home and Abroad Domesticˆ life was very important to Vojtech Kubašta and because of his close family ties, he did not flee Czechoslovakia as Jan Pokorny did in . His lack of foreign language skills at that time was also a factor in keeping him from seeking exile abroad. The Prague Spring came to an end in with the Soviet inva- # sion of Czechoslovakia and as daily life became more restrictive, Kubašta sent his daughter, Dagmar, to live in Canada. He continued turning out a plethora of illustrated and movable products for his publishers, but took the time to also design and make for his three Canadian grandchildren pop-up greeting cards for birthdays, Christmas, Easter, and other special occasions (#, , ). When Dagmar and her children visited Prague, he prepared brightly illustrated posters greeting the family with “ahoj!” — “hello!” in Czech (#). The posters usually pictured him, along with his wife Helena, and his surrogate son, Roman, anxiously awaiting their guests’ arrival. Kubašta had previously given his surname to Roman, who was the son of his daughter Helena. Kubašta spoiled the child, lavishing on him unfettered love and gifts. After Dagmar left for Canada, she observed that Roman “filled the void.” He kept in touch with Dagmar in Canada, almost on a weekly basis, with personal letters (#) that minutely detailed the vagaries of the publishing business and his ideas for new products. Kubašta often created works of art in response to very private personal matters. For example, on the occasion of his seventieth birthday, his wife Helena gave him a gravesite as a gift. Kubašta riposted with a colored pen and ink drawing of her as a shrew (#) — a character pervasive in his illustrations — looking out from her doorway at a motley mob of devils, gnomes, Krampus, wizards, snarling dogs, and other well-known Kubašta figures. And yet, typical of the optimistic and loving person he was, he lightened the mood of the picture with gift-bearing urchins and, above it all, his trademark smiling moon and radiating star. Kubašta was a curious and inveterate traveler and found time to vacation with his family in France, Italy, Croatia, and Czechoslovakia. While traveling with his sketchpad, watercolors, and colored pens and pencils, he drew and painted numerous private images, including botanicals, street scenes, and portraits. One of the highlights of his many adventures was a trip to Fréjus, France, in August , where he sought the “energy, colors, [and] atmosphere” of the bullfights. At the arena, he heard that Pablo Picasso (#) was in attendance, and, with Dagmar in tow, he marched over to the world-famous artist and handed him a sketchbook. Picasso immediately drew the head of a large bull, signed it and returned it to Kubašta. He loved Picasso’s work, calling him “an artist whose artistic ability had no restrictions. [He] was not restricted by the line.” The Picasso sketch held a venerated place among Kubašta’s personal possessions.
Legacyˆ Jirí Tibitanzl observed that: “nobodyˆ will ever be able to count all the books Vojtech Kubašta created. . .” In fact, a complete list of Kubašta’s oeuvre does not exist. Kubašta, along with Helena and Eduard Škoda, made an attempt to compile an inventory in with Opus VK, a thirty-page pamphlet with black and white line drawings of, undoubtedly, some of the artist’s favorite illustrations. The earliest citation is to a compendium of poetry by a Czech group entitled, Havran, (Almanach básnické skupiny Havran), published in and edited by F. Rebec, for which Kubašta designed the dust jacket and illustrations. The sheer variety and number of ephemeral paper objects Kubašta designed and illustrated, including candy boxes, candy-carrying advent calendars (#), souvenir cards of Prague and Czechoslovakia, pop-up wedding cards, and troves of items collectors undoubtedly have yet # to discover, is astonishing. He even made holiday candy holders that pop-up using a rubber-band mechanism. He worked in all areas of the book arts, including the design of vignettes, logos, posters, exlibris, colophons, greet- ing cards, book jackets, letterheads, advertising materials, stamps, pencil and pencil holders, and, of course, hundreds of illustrated and pop-up books. The last entry in the Opus VK was another Škoda collaboration dated , in which children were to cut out parts of a map and then put it back together. Although not widely celebrated during his lifetime, Kubašta was not completely unknown either. The great Czech national artist, Cyril Bouda (-), recognized his talent and ranked him among the artists he admired most. In , Kubašta’s Old Prague lithographs were exhibited in
the salon of Výtvarné dílo; in , The House of Czechoslovak Children in Prague Castle gave homage to his World Fairy Tales; another exhibit in featured his Mozartˆ works — My Mozart at Villa Bertramka in Prague. In , a major exhibition held in Vodnany, Czechoslovakia, explored the history of Aventinum and the collaboration of Kubašta and Dr. Štorch-Marien. Kubašta’s art as also been exhibited in the Biennales in Bologna, Frankfurt, Moscow, and Prague. Today, some of his original art is part of the permanent collection the Prague National Museum, the Smetanovo
Museum, and ˆ the Czech Museum of Music. Recently, the exhibition: Pop up: die dreidimensionalen Bücher des Vojtech Kubašta was mounted in Berlin, at the Sammlung industrielle Gestaltung and in
Leipzig at the Museum für Druckkunst (Museum for Print art). Despite havingˆ worked behind the Iron Curtain with little opportunity to share ideas around the world, Vojtech Kubašta still made a great impact on contemporary paper engineers. For example, Robert Sabuda, the well known contemporary illustrator and pop-up artist, remembered receiving his first Kubašta pop-up book when he was ten years old, “It was Cinderella and I couldn’t believe that a pop-up could have such beautiful artwork. My whole notion of what a pop-up book could be changed forever that day.” David A. Carter also appreciated Kubašta’s “link to the past.” He was not only “the paper engineer, illustrator and author but also [oversaw] the manufacturing.... a huge undertaking.” Chuck Murphy, another pioneer in the pop-up revival, called Kubašta
“probably one of the most inventive and assured artists to ever create children’s pop-up books.” He continued: I am always impressed with the economy of his design. He never over-engineered . . . and had a way of integrating his very bold linear illustration style with delightful mechanical devises so that the visual illusion seemed far more elaborate than they actually were. I have learned
quite a lot about the marriage of images and mechanisms by studying Kubašta’s work. Sharing the fate of most children’sˆ illustrators and paper engineers, Kubašta never became a household name. He died in Dobríš, Czechoslovakia, on July , (#). Pablo Picasso said, “Every child is an artist. The problem is how to remain an artist once he grows up.” Kubašta had no such problem. A friend observed that “Vojtí was a big child himself and that is why he understood them so well.”
______END NOTESˆ Tibitanzl, Jirí, “Pohádkový Kouzelník” (Magical Fairytales), Signál Magazine, September , translated by Dagmar Kubaštová Vrkljan. Jan Hird Pokorny, AIA, interview by author, New York, NY, September . Ibid. Ibid. Ibid. Ibid. Ibid “History of Czech Puppetry,” Czech UNIMA (International Puppeteers Union) Centre, http://www.divadlo.cz/unima/engl/_index.htm, ( September ). Hürlimann, Bettina, Three Centuries of Children’s Books in Europe, (Cleveland, Ohio: World Publishing, ), .
Skodova, Alena, “Vlasta Burian, The King of Comedians, died years ago,” http://www.radio.cz/en/article/, Radio CZ, ( September, ). ˆˆ
Škodová, Helena; Škoda, Eduard, Vojtech Kubašta, Dr. Otakar Štorch-Marien and Aventinum (Vojtech Kubašta - Grafické Práceˆ Pro “Aventinum” - Dr. Otakara Štorcha-Mariena), Vydalo Mestski Museum Galerie, April-July,
, Vodnany, Czechoslovakia, based on Škoda exhibition notes, translated by Dagmar Kubaštová Vrkljanˆ (March, ), adapted by Michael Dawson (March, ). Císar, Jaroslav, PhDr, The Book Profession in the Czech Lands after the Second World War, www.sckn.cz/ckt/historie.php?lang=en, ( September .) Dagmar Kubaštová Vrkljan, interview by author, Sarnia, Ontario, Canada, - April . Škodová, Helena; Škoda, Eduard. Ibid. Hürlimann, Bettina, . Ibid.
Ibid. Škodová,ˆ Helena; Škoda, Eduard. Císar, Jaroslav. Ibid. Jan Hird Pokorny, September . Jan Hird Pokorny, January .
Dagmar KubaštovሠVrkljan, interviews by author, October and August . Tibitanzl, Jirí.
‘Prague’ Symphony # in D Major (K.), Nashua (NH) Chamber Orchestra website, http://www.newww.com/org/nco/mozartsymphony.htm,( September ) Dagmar Kubaštová Vrkljan, - April . Škodová, Helena; Škoda, Eduard.
Dagmar KubaštovሠVrkljan, interview with author, annotated notes of August .
Tibitanzl, Jirí.
ˆ ˆ Jan Hird Pokorny, September . ˆ Král, Zdenek, “Magical World Made of Paper (Kouzelnzsvet y papíru ),” Ahoj na sobotu, June .
Ibid. ˆ Tibitanzl, Jirí. From the Panascopic Model Books sales sheets: “These beautifully colored stand-up books have eight
large pagers of original story and a unique -fold board cover with stand-up picture model in full color. Each of theseˆ models also has animation.” ¾ x [inches] pages
Tibitanzl, Jirí.ˆ Král, Zdenek. Dawson, Michael, “Children’s pop-ups, movables and novelty books: A short history for collectors Part II,” Movable Stationery, ,No.. December : . de Geest, François. “Jos. Lefebvre: Flemish Publisher of Pop-up Books with Artia and Carvajal,” Movable Stationery, ,No.; August : . Ibid. Nessel, Jen, “Made in Prague, Bound for the U.S.” The New York Times, August ,A-.
Drozd, Miroslav, “Work for the Joy of Millions of Children,” Just For You from Czechoslovakia (trade export magazine),ˆ September, , -. Král, Zdenek. Bohatcová, Mirjam,The Czech Book and the World, Translated by J. Moss-Kohoutová, (Prague: Artia in cooperation with the General Management of the Printing Industry, .) Dawson, Michael. Dagmar Kubaštová Vrkljan, October and August . de Geest, François. Ibid. Stanton, Jeffrey, “Czechoslovakia Pavilion, ,” http://naid.sppsr.ucla.edu/expo/map-docs/Czech.htm, ( September ). Dagmar Kubaštová Vrkljan, - April . Dagmar Kubaštová Vrkljan, August . Jan Hird Pokorny, January .
Dagmar KubaštovሠVrkljan, August .
Tibitanzl, Jirí.ˆ Kubašta, Vojtech, Opus VK, nd . Drozd, Miroslav. Škodová, Helena; Škoda, Eduard. Sabuda, Robert, interview with the author, September . Carter, David A., email to the author, July . Murphy, Chuck, email to the author, July . Dagmar Kubaštová Vrkljan, October .
BIBLIOGRAPHY Bohatcová, Mirjam. The Czech Book and the World. Translated by J. Moss-Kohoutová. Prague: Artia in cooperation with the General Management of the Printing Industry, . Dawson, Michael. “Children’s pop-ups, movables and novelty books: A short history for collectors Part II.” Movable Stationery, ,# (December ). de Geest, François. “Jos. Lefebvre: Flemish Publisher of Pop-up Books with Artia and Carvajal,” Movable Stationery, ,# (August ). Drozd, Miroslav. “Work for the Joy of Millions of Children.” Just For You from Czechoslovakia (trade export magazine). September, .
Hürlimann, Bettina. Three Centuries of Children’s Books in Europe. Cleveland: World Publishing,. Martin, Douglas. The Telling Line: Essays on Fifteen Contemporary Book Illustrators. London: Julia MacRae Books, div. of Walker Books, . Nessel, Jen, “Made in Prague, Bound for the U.S.” New York Times, August, . Signál Magazine. September . (Translated by Dagmar Kubaštová Vrkljan).
Škodová, Helena; Škoda, Eduard. Opus V.K.: Soupis díla Vojtecha Kubašty. Zdiby: MNV, OPS, . p. —
(Edice zpravodaje Zdiby ’) ˆˆ ———–. Vojtech Kubašta, Dr. Otakar Štorch-Marien and Aventinum (Vojtech Kubašta -Grafické ˆPráce Pro “ Aventinum”- Dr. Otakara Štorcha-Mariena). Vydalo Mestski Museum Galerie. April-July, . Vodnany, Czechoslovakia. (based on Skoda exhibition notes translated by Dagmar Kubaštová Vrkljan, March, ; adapted by Michael Dawson, March, ).
Steiner, Evgeny. Stories for Little Comrades: Revolutionary Artists and the Making of Early Soviet Children’s Books. Seattle, WA: Universityˆ of Washington Press, . Translated by Jane Ann Miller. Tibitanzl, Jirí. “Pohádkový Kouzelník” (Magical Fairytales).
INTERVIEWS Pokorny, Jan Hird, AIA. Phone interview by author, January . Pokorny, Jan Hird, AIA. Interview by author, New York, NY., September Sabuda, Robert. Interview with the author, September . Vrkljan, Dagmar Kubaštová. Interviews by author, October and August . Vrkljan, Dagmar Kubaštová. Interview by author, Sarnia, Ontario, Canada, - April .
ELECTRONIC Carter,ˆ David A. Email to the author, July . Císar, Jaroslav. The Book Profession in the Czech Lands after the Second World War. www.sckn.cz/ckt/historie.php?lang=en. ( September .) “History of Czech Puppetry.” Czech UNIMA (International Puppeteers Union) Centre. www.divadlo.cz/unima/engl/_index.htm. ( September ). Murphy, Chuck. Email to the author, July . “‘Prague’ Symphony # in D Major (K.).” Nashua (NH) Chamber Orchestra website. http://www.newww.com/org/nco/mozartsymphony.htm.( September ). Skodova, Alena. “Vlasta Burian, The King of Comedians, died years ago.” http://www.radio.cz/en/article/. Radio CZ, ( September ). Stanton, Jeffrey. “Czechoslovakia Pavilion, .” http://naid.sppsr.ucla.edu/expo/map-docs/Czech.htm. ( September ). Vrkljan, Dagmar Kubaštová. Email to the author, September . Vrkljan, Dagmar Kubaštová. Email to the author, October .
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THE FAIRY TALEˆ MOVABLE BOOKS OF VOJTECH KUBAŠTA
By Gerry Bohning
ith her eyes shut, the beautiful princess kissed the frog.” Then, with the pull of a paper tab, the frog vanishes and in its place stands a handsome prince. “What joy
“Wfilled her heart!” And, best of all, with just the tug of the tab, the ˆfrog turns into a prince again and again to charm and delight the princess and the reader. Vojtech Kubašta, a Czech illustrator and paper animator of children’s movable picture books, has given new life to the
classic fairy tale the Frog Prince. Movable picture books are often called pop-ups and have moving parts thatˆ are set in motion by turning pages and manipulating paper tabs, levers, and wheels. Although Vojtech Kubašta (-) illustrated and animated numerous movable picture books, it is especially through his work with the classic tales of the Brothers Grimm and Hans Christian Andersen that he makes a noteworthy contribution to the field of children’s literature.
Fairy Tales With his creative illustrations and paper folding wizardry, Kubašta turned the classic fairy tales into movable picture books that are joyous artistic tableaux with marvels of life-like movements. Lift the red curtain and Prince Charming and Cinderella (#) enter the ballroom. Prince Charming’s messenger will repeatedly place the glass slipper on Cinderella’s dainty foot. Guests at the royal wedding feast wave their arms as they offer congratulatory toasts. With a background in architecture, graphic design, puppet theater, and product advertising, Kubašta began designing, illustrating, and animating fairy tale movable picture books in the s and continued for nearly two decades. Perhaps the experience of being a father prompted Kubašta to illustrate and animate fairy tales for the education and enjoyment of his two young daughters (#). Fairy tales come from our tradition of oral literature and their value and appeal for children are clear. They offer universal truths, expose foibles, and dictate that truth and goodness be rewarded while deception and greed be chastised. Thus, the tales help children gain simple notions of right and wrong, fairness, and injustice. What distinguishes Kubašta’s fairy tale movable picture books as a noteworthy contribution to the field of children’s literature? His books are set apart by four features — ingenuity of design, artis- tic imagination, humor, and unity of effect. Taken together, the features reflect a standard of excellence seldom equaled or surpassed.
Ingenuity of Design Each page a stage. Kubašta designed his fairy tale movable books with the spine at the top margin and each double-page spread is intended to unfold and be held open as an “L” right angle display. The
spatial effect is that each page becomes a stunning theater-like stage with layered background scenery. The fairy tale movable books have either six or eight pages and are about the same size, . x . cm. The tales are retold to fit the format; the text is always presented in two columns at the lower half of the stage and is enclosed in a red book-like frame. Each theater-like stage reveals three-dimensional scenery. There are stage sets of city streets, country sides, palaces, forests, ballrooms, and even oceans. Open the Shepherdess and the Chimney-Sweep and the stage is grandmother’s table under the big round mirror. Turn another page, the stage is a fireplace; slide the clock pendulum and up the chimney go the porcelain Shepherdess and Chimney-Sweep. Then enjoy the rooftop stage with the two little figurines; it is a view overlooking the city of Prague. The stage on each page sequences the fairy tale so each episode stands out distinctly. Animations. Kubašta’s paper animations are puppet-like figures that are designed to perform on a stage set with movements that are very close to reality. Tabs, levers, and wheels move the figures on the stage. Kubašta’s early fairy tale books have a movable tab as part of the front cover — Cinderella’s dress changes from rags to satin, the dogs guarding the Tinder Box move their extraordinarily huge eyes, Little Red Riding Hood peeks out from behind a tree. The moving visuals captivate reader attention, offer the excitement of active participation, and invite repeated use. The Brave Tin Soldier watches the beautiful ballerina perform on a paper stage that has a three- dimensional pink castle with towers and turrets. Kubašta is the grand choreographer of a pull-tab that moves the ballerina to dance up and down and from side to side, all on one leg. The Tin Soldier watches the ballet as long as the reader cares to push and pull the tab. The paper animations bring the fairy tale to life on the stage and in the mind of the reader, give a degree of concreteness to accompany the fairy tale, and help develop a sense of story plot and sequence. Paper magic. The ultimate ingenuity of design is that all the paper marvels, everything — the stage set, scenery, puppet-like figures, props — fold flat and disappear as the pages and book are closed. And, even more exciting, each page comes instantly to life again as the book is opened and the pages turned. It is Kubašta magic, just like the fairy tales themselves.
Artistic Imagination Color. Kubašta’s imaginative use of color offers unexpected delights. A colorful array of golden glows surrounds the Good Fairy and the Sungod in the Three Golden Hairs. Appealing colors convey and integrate the concepts of the tale. Kubašta creates colorful tableaux in the Seven Ravens (#). Daisy finds her seven brothers after getting directions from the Golden Sun, Moon King, and Evening Star. Moonbeams slide down toward the earth; starry splinters dazzle and shimmer from the glass mountains. Pull a tab and the ravens become handsome young men, Daisy’s brothers. Bold and expressively beautiful, the colors give both warmth and coolness to the tale. Equally well done is the remarkable use of color to emphasize details. The flowers growing outside Daisy’s window bloom with a deep red hue and water from the broken pitcher shimmers on the earth- toned cobblestones. Children inevitably derive limitless satisfaction and pleasure from Kubašta’s colorful and detailed illustrations of these well-known fairy tales. Sensory impressions. Kubašta fills his fairy tale books with sensory impressions — mosaic tiles on palace walls and floors, beautiful flowers growing in abundance in palace gardens, magnificent jewels in heavy chests, and exquisite porcelain figures on grandmother’s table. It is easy to imagine that we are invited guests at the tables laden with delicious cheeses, chilled wines, and every kind of fruit. The splendor of a sultan’s entire city is illuminated with bursts of rockets, Catherine wheels, and Roman candles as the Flying Trunk soars up into the night sky. For the reader, the result is tremendous eye appeal and a personal friendship with the book.
(#)
Humor Kubašta’s movable picture books take a new look at the old fairy tales. He brings smiles and gig- gles with funny situations, playful surprises, and comic details. Smiles and giggles are an important ingredient for children’s healthy emotional growth. Children who laugh at the Brave Little Tailor swatting at the flies with his kerchief are developing healthy reactions. When the King and Queen ask the merchant’s son from the Flying Trunk (#) to tell them a story, they set a rule: “But let it make us laugh.” Kubašta follows the rule and makes us laugh. Funny situations. Kubašta elaborates funny situations with clever moving visuals. In the Runaways and the Robbers, Rufus the cock, Gruff the dog, and Mog the cat are precariously balanced, one atop the other, on Bray the donkey (#, ). The stacked animals amuse children, but the situation becomes hilarious when the robbers see only a tall, scary figure. The robbers scatter their cards and take to their heels, all set in motion with a slide tab. The robbers’ life-like running and puffing movements add immeasurably to the fun. The simple pull-tab will keep the robbers running and running and running; each comic movement contributes to the amusing situation. Surprises. Surprises add playfulness to the fairy tales and have universal appeal. Kubašta selected his surprise actions carefully to match the tale. For example, push down the canary and instantly a conjuror, with a long funny tongue, leaps out of a snuffbox to surprise both the Brave Tin Soldier and the reader. In the Wolf and the Seven Little Goats (#), the clock pendulum moves with a pull-tab and pell-mell, out from behind the clock, runs a smiling Little Goat, right into the hugging arms of Mother Goat. Comic details. Comic details add to the overall pleasure of the fairy tales. The Brave Little Tailor, impeccably dressed in his best green coat and matching top hat, and with his fragile glasses perched on
#
his nose, sets out to defeat the giants and win the hand of the princess. The incongruity of his “fighting” uniform amuses children. Each dwarf in Snow White has a number on his floppy cap to designate Dwarf , Dwarf , and so on. The supper stage display has Dwarf playing a concertina and doing a stomping jig with Dwarf ; the others sing, clap, and cheer. Dwarf , however, calmly ignores all the high spirits and diligently concentrates on eating his soup. Food is clearly his priority! The details make for visual fun.
Unity of Effect Keeping all the parts harmoniously related — story, design, stage set, sensory impressions, animations, illustrations, humor, everything — is the unity of effect. All of Kubašta’s choices of art and movement contribute to the total effect of a synchronous whole; the result is a movable picture book of excellence. The Fisherman and His Wife (#) is a visual astonishment of what Kubašta achieves with unity of effect. On the last stage set, against a darkening sky, the wind fills the tattered sail as the fisherman’s tiny three-dimensional boat rocks up and down on the white-capped waves. The frightened fisherman tells the magic fish that his wife wants to be like the sun. The magic fish leaps from the water in golden splendor, scales reflecting the remaining sunlight before the full force of the storm arrives, and says: “Just go home, she’s sitting back in her shack.” Close the page and, yes, the illustration on the back cover shows the fisherman’s wife doing laundry by hand in a wash tub! Unity of effect
gives the Kubašta fairy tale movable books a unique place in the field of literature for children. The Legacyˆ One of Vojtech Kubašta’s lasting legacies to the field of children’s literature is his work with movable picture books and the classic fairy tales of the Brothers Grimm (#, , , ) and Hans Christian Andersen (#). His work is distinguished by ingenuity of design, artistic imagination, humor, and unity of effect. He invites us to a kingdom far, far away beyond the forest where the
princess and the prince (alias the frog) are riding inside a three-dimensional royal coach and where, unnoticed except by Kubašta and the reader, the court jester hitches a ride on the back and smiles mischievously. Kubašta’s movable books inevitably enhance the tale and forever enchant the reader.
______NOTES THE BROTHERS GRIMM (Jacob and Wilhelm) Websites Brothers Grimm, biographical. http://Scandinavian.wisc.edu/hca/glossary/grimm.html Tales collected by the Brothers Grimm. http://www.ucs.mun.ca/~wbarker/fairies/grimm/ Selected tales from the Brothers Grimm: (Brave little tailor) Das tapfere schneiderlein. Gondrom Verlag, Bindlach (Aventinum, Prag), . Cinderella. Bancroft & Co. (Artia, Prague), London, . (Fisherman and his wife) Von dem Fischer und seiner Frau. Carlsen Verlag, Artia, Prag, . (Frog prince) Der Froschkönig. Gondrom Verlag, Bindlach (Artia, Prague), . Red Riding Hood. Bancroft & Co. (Artia, Prague), London, . Runaways and the robbers. Bancroft & Co. (Artia, Prague), London, . Seven ravens. Bancroft & Co. (An Artia Production), London, ?. (Three golden hairs) Les trios cheveus d’or. Editions del Duca Paris Mondiales, Artia, Prague, . (Wolf and the seven little goats) Der Wolf and die sieben Geisslein. Carlsen Verlag, Artia, Prag, .
HANS CHRISTIAN ANDERSEN Websites Hans Christian Andersen, fairy tales and stories, a list of his tales. http://hca.gilead.org.il/ Hans Christian Andersen , celebration of the bicentenary of his birth. http://www.hca.com/HCA/caprint/ Selected tales from Hans Christian Andersen: Brave tin soldier. Murrays Childrens Books (Artia, Prague), London, . Flying trunk. Bancroft & Co. (An Artia Production), London, ?. Shepherdess and the chimney-sweep. Artia, Prague, . Tinder box. Bancroft & Co. (An Artia Production), London, ?.
SELECTED BIBLIOGRAPHY/WEBLIOGRAPHY Selected References ˆ
Dawson, John Michael, “The collectible children’s curiosities of Vojtech Kubašta,” Biblio, :-, January
. ˆ Gubig, Thomas and Kopcke,ˆ Sebastian, (Pop up: the three dimensional books of Vojtech Kubašta) Pop up: die dreidimen- sionalen Bücher des Vojtech Kubašta. Berlin, Published by authors, . Huck, Charlotte S., et al, Children’s literature in the elementary school. New York, McGraw-Hill, . McGhee, Paul E., Humor and children’s development. New York, Haworth Press, . Selected Children’s Literature Websites Worth of fairy tales. http://www.sacred-texts.com/etc/sft/sft.htm Defining the fairy tale. http://www.northern.edu/hastingsw/ftdefine.htm Children’s literature and humor. http://education.umn.edu/ceed/publications.earlyreport/fall.htm
. (Left to right): VK, Dagmar, Helena, and Helena.
. (Left to right): VK, Dagmar, and friend.
. (Left to right): Dagmar and VK.
.VK.
. VK photo by Nick B. Vrkljan.
MY FATHER, MY BESTˆ FRIEND Reminiscences of Vojtech Kubašta: A Daughter’s Perspective
by Dagmar Kubaštová Vrkljan
hen I was a child, my father’s studio was our family’s living room. He worked at a large wooden desk (#) that had two sets of drawers on each side. Behind his desk, my Wsister and I had our play area. With our father working so close by, he was always available to answer any of our questions or to settle our disputes. He was an extremely patient man. I remember a time when a visitor came for an appointment with our dad. At the end of the appointment, the visitor pointed at my sister and me playing on the floor and asked, “That noise . . . it does not bother you?” My father responded emphatically with a question: “What noise?” As my sister and I grew older, the play area gradually disappeared. It was replaced by a comfortable green chair that sat directly across from my father’s desk. I remember sitting in the chair and staring at the abundance of papers, scissors, rulers, protractors, paints (#), and brushes that seemed to forever cover the top of that enormous wooden desk. In the green chair, I would often sit and talk to my dad while he continued with his work. The topics of our discussion were vast and varied. My father was a wonderful conversationalist. We discussed fashion, travel, politics, art, literature, religion, and even hockey. He read several daily newspapers, weekly magazines, and rarely missed the evening news broadcast on television. He took great pride in being well informed. In , I left Czechoslovakia for Canada. After I moved, I missed that green chair and I missed my best friend, my father. Fortunately, he was a prolific letter writer (#). Through this method of correspondence my conversations with him continued long after my departure from Prague. A frequent topic of his correspondence was the world of publishing. My father described how the business of publishing changed after the Communists severed Czechoslovakia’s ties with Western Europe in February, . Prior to the Communist takeover, my father reported that his graphic designs and illustrations were in high demand. He recounted how thirty to forty publishers sought his designs. However, with the Communist’s iron grasp came radical changes at every level of society. When all the publishing houses in Czechoslovakia were closed or nationalized by the Communist regime, my father was forced to find a way to continue his artistic journey. Under the regime, his first assignment came from Prague’s Chamber of Commerce. He was required to produce designs that would be utilized to promote Czechoslovakian products abroad. Although his graphic designs included a long list of mundane products such as sewing machines (#, ), porcelain, Pilsner beer (#), light bulbs (#), or radios (#), it did not stifle his ingenuity or creativity. My father decided to make these advertising flyers “come to life” by making them three-dimensional and moveable. In , ARTIA (# [detail]) (i.e., the state owned and operated trade company) decided to resume work on my father’s folding nativity sets (i.e., crèches) (#, , , ). The work on this product had stopped following the Communist takeover and subsequent nationalization of
the printing industry. It was the beginning of what was to be a long and prolific collaboration between my father and the ARTIA publishing house. Through his business relationship with ARTIA, he was permitted to do what he desired most: he was allowed to illustrate children’s fairy tales. In particular, he wanted to convey these stories in a way that made them come to life to the reader. My father often used the term “small puppet theatre” to describe his illustrations. Children all over the world commonly refer to them as “pop-ups.” By the monetary standards of the era, my father was well paid. He worked almost exclusively for ARTIA and had a unique relationship with the general manager who was a political appointee of the Central Committee of the Communist Party. With demand for his books growing exponentially, the publisher exported his books to the West and in turn earned millions in Western currency. Hundreds of women worked in two Czechoslovakian factories hand assembling the intricately engineering and illustrated pop-ups. As my father often stated, these women had jobs thanks to the many children who purchased his books. Although the books were available in almost every corner of the world, they were not permitted in his homeland of Czechoslovakia. When my father questioned this decision, he was told that these kinds of books were meant only for capitalist children and would serve to corrupt the taste of socialist children. Although it saddened and angered him, he realized that fighting the iron grasp of Communism would be in vain. He told me many times that his only solace was that he knew there were children in the world who were able to enjoy his illustrations. These thoughts helped to sustain his motivation to continue his work. Although the Communist government in Czechoslovakia bestowed numerous awards on ARTIA and its employees, my father’s name was omitted in the th commemorative publication that celebrated the company’s most prominent illustrators. (His name was, however, included in its th anniversary book). In reading over his letters from that time, I realize how he was manipulated and forced to accept author’s fees that were substandard to what he might have earned had he lived in Western Europe. My father accepted these fees because he loved his country and he loved his work. He wrote to me about how the company had declared an open competition for new artists of “pop-up” books. A few artists submitted their portfolios. In his letter to me, my father mentioned the names of “Trnka, Lukeš and Šeda.” The books these artists produced were offered to different distributors. However, their books did not sell and stayed in warehouses for many years. Conversely, the books illustrated by my father continued to sell millions of copies and were available in seventeen different languages around the world. My father never belonged to the Union of Czechoslovak Creative Artists. Most who belonged to the union were also members of the Communist Party. He told me how he was required to submit his portfolio to the group for their inspection. If he passed the inspection, he would be permitted to join the union. However, the jury commented that his art was “kitsch,” meaning that his work appealed only to capitalist tastes. He often stated that he was proud that he was not accepted, and, as a result, he never sold-out to the Communist regime. In retrospect, I now realize that his ‘non- membership’ status may have impacted his ability to form relationships with those who worked in the arts. He only had one close relationship with a Czechoslovakian artist. His name was Cyril Bouda (-). This great, world-renowned artist admired my father’s work. Bouda, like my father, avoided dissonance. Dad later wrote to me how inspired he felt after spending a few hours in the company of this great man. He enjoyed his visits with the tall handsome artist who worked quietly at his house in the old part of Prague. They shared similar interests and passions, particularly their collections of Old Master prints, porcelain figurines, antiques, gardening, and music. Unlike Bouda, my father did not play a musical instrument. However, he was a patron of the performing arts. He attended many concerts and operas in Prague and his passion for “Mozartiana” is well documented. My father completed his first portrait of Mozart when he was only sixteen years of age. His love for Mozart permeated his entire artistic life as reflected in his many illustrations of “Mozart & Prague” (#, ).
My father also had an enormous respect and love for nature. Having grown up in the out- skirts of Prague, he reminisced about how he played in the open fields as a young boy, ran through the woods, and swam in the Vltava River. While he was an architecture student, he recounted tales of traveling on his bicycle with his knapsack strapped to his back. He cap- tured the beauty of Southern Bohemia during this time in his sketchbooks (#, ). In his youth, he also enjoyed the challenge of moun- tain climbing. He traveled through Eastern Europe, including Yugoslavia (#), Bulgaria and Turkey, and captured magnificent views of those countries in his paintings of old monas- teries, sultan palaces, surrounding landscapes, and the local fauna (#, ). When he could no longer travel, he enjoyed browsing the pages of the latest National Geographic magazine. He was captivated by Mother Nature and reveled at her abundance of colors and the diversity of her flora and fauna, both on land and under # the sea. In a letter to me, he once stated: . . . let somebody prove to me that there is no higher being — that there is no God . . . look how Mother Nature has synchronized everything and everybody so everything has a purpose on this Earth . . . As one of his longtime friends told me during a recent visit, my father never wore “religion on his sleeve.” He was raised to be respectful of God and other religions. His letters to me do not reveal any particular religiosity. However, my cousin shared with me that during her visit with my father in the hospital, he told her that he would quietly pray at night. He had only one true wish in life. He wanted to live in harmony surrounded by his family. Unfortunately, the end of his life was unlike the beginning. He died alone in a hospital for long-term care, not too far from his beloved weekend home (#). My father would often tell me how fortunate he was to earn a living by doing what he loved the most: drawing pictures for children. His life’s ambition, he maintained, was to enrich the lives of children. He loved to observe children as they opened his books for the first time and, watch as their eyes filled with amazement: “Dagmar, there is nothing more beautiful then a smile of a child and the spark that it creates in their eyes.” My father’s greatest accomplishment was knowing that he was able to make children smile all over the world. In November , I returned to my childhood home in Czechoslovakia. I walked into our living room. My dad’s desk and the green chair were still there. However, the desktop that had once been barely visible under his work was bare. The walls were stripped of his pictures and the art he had collected over the years was gone. For a moment I lingered in the room, hoping that somehow my father would magically reappear behind his desk, but the room remained quiet. I walked out of the room, shutting the door behind me.
#3
EXHIBITION CHECKLIST
HE EXHIBITION CHECKLIST is arranged chronologically by earliest date. When known, the T information provided for each entry is presented in the following order: format, date and/or reprint date, language(s) of the item, artist and/or author and other statements of responsibility; title, sub-title, and statement of responsibility (as it appears on the item), edition statement, place of publication, publisher, date of publication, pagination, illustration statement, size (height x width x depth), series title and number, and notes. Except in the notes field, brackets [ ] are used to enclose additional information generally taken from sources other than the actual item in hand.
#
[Sketchbook: ˆ: Czech]
ˆ
Kubašta, Vojtech,ˆ - [Artist]
Nácrtníkˆ – Vojtech Kubašta = [School workbook – Vojtech Kubašta] ˆ Praze: Hynek Votocek, [] sketch book ([] p.): ill. (some col.); cm.
[Cover title. – Sketchbook with farm drawings in pencil (some colored) by Kubaštaˆ when he was eight years old. – Signed in ink on cover: Vojtech Kubašta] Collection of Dagmar Kubaštová Vrkljan
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[Watercolor painting:ˆ ] Kubašta,ˆ Vojtech, - [Artist] Rytír = [Medieval knight] Watercolors, paper; . cm. [Signed: “Kubašta, ”] Collection of Dagmar Kubaštová Vrkljan
# [Watercolor painting:ˆ ?] Kubašta, Vojtech, - [Artist] [Man and woman with radio] Watercolors, paper; cm. [Signed: KU [castle symbol] Collection of Dagmar Kubaštová Vrkljan #
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# [Jewelry (pin):ˆ-] Kubašta, Vojtech, - [Artist] [Firebird] Silver; cm. [Silver pin. See also #] Collection of Dagmar Kubaštová Vrkljan
# # [Drawing: ˆ-?] Kubašta, Vojtech, - [Artist] [Magician?] Pen, ink, watercolors, paper; . x cm. [Signed: Kubašta] Collection of Ellen G.K. Rubin
# [Watercolor painting:ˆ -?] Kubašta, Vojtech, - [Artist] [Czech country house at night] Watercolors; paper; . x cm. [Drawing for a class assignment circa . The class was directed # to visit areas in Czechoslovakia that were losing their identity. The sketch is from the region where VK’s family originated. – Signed in pencil: VKubašta] Collection of Dagmar Kubaštová Vrkljan
#
# #
ˆ [Cup: -?]ˆ [Watercolor painting: ] Kubašta, Vojtech, - [Artist] Kubašta, Vojtech, - [Artist] [Monkey carrying a jug of wine?] [Self portrait at age ] Praha: K. Kral; Kr. Vinohrady [Praha: Jemný Cín: -?] Watercolors, paper; . x cm. Pewter; x x cm. Collection of Dagmar Kubaštová Vrkljan [Pewter cup – one of a set of six designed by Kubašta for Jan
Pokorny’s (one of VK’s college classmates) parents’ anniversary] # Collection of Jan Hird Pokorny [Painting: ˆ] Kubašta, Vojtech, - [Artist] # [Seamstress in window]
[Mosaic (photograph):ˆ -?] Oil on canvas; x cm. (framed: x cm.) Kubašta, Vojtech, - [Artist] [Thought to be VK’s mother, who was a seamstress and who [St. Christopher] worked in her mother’s fine clothing and lingerie shop in Vienna, Color photograph; . x cm. Austria. – Signed: Kubašta] Collection of Dagmar Kubaštová Vrkljan [Color photograph of a mosaic by VK from the Hotel Sykovec also designed by VK and college classmates – Signed: VK [castle
symbol]] # Collection of Ellen G.K. Rubin [Sketchbook: ˆ-] Kubašta, Vojtech, - [Artist] # - [sketchbook].
[Prague: The artist] -. [Photomontage:ˆ -?]
[] leaves: col. ill.; x cm. Kubašta, Vojtech, - [Artist] ˆ [Satirical stage set and performance of Robert Jecný [Spiral bound] directing four dancing Jan Pokornys] Collection of Dagmar Kubaštová Vrkljan
Tempera, photographs, card stock; . x cm. [Temperaˆ on card stock with altered black and white photographs. – Jecný and Pokorny were college classmates of VK] Collection of Jan Hird Pokorny
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# [Watercolor painting:ˆ -?] Kubašta, Vojtech, - [Artist] [Volkswagon beetle towing cloud with King and his court?] Pen, ink, watercolors, paper: . x cm.
# [Signed in ink: VKubašta]
[Ceramic; ˆ?] Collection of Ellen G.K. Rubin Kubašta,ˆ Vojtech, - [Artist] [Vojtech Kubašta’s sister, Jarmila, -] #
Clay; glazed enamel; x x . cm.
[Book: : Czech]ˆ
ˆ [Glazed ceramic face of VK’s sister, Jarmila] Kubašta, Vojtech, -ˆ [Artist]
Collection of Dagmar Kubaštová Vrkljan Co vyprávela Afrika detem = [Folk tales of Africa] / [Ilustroval V. Kubašta] ˆ [Prague]: Nakladatel Dolezal, .
# p. : ill. ; x . cm.
[Photograph: ˆ-?] Kubašta,ˆ Vojtech, - [Hard bound] [Vojtech Kubašta teaching at Rotter School of Graphic Collection of Dagmar Kubaštová Vrkljan Design, Prague]
Black and white photograph; x cm. # Collection of Dagmar Kubaštová Vrkljan [Book: : Czech]ˆ
Kubašta, Vojtech, - [Artist]
ˆ
# Burian, Vlasta [Author]ˆ
[Watercolor painting:ˆ -?] Veselé vyprávení detem = [Joyful stories for children] / Kubašta, Vojtech, - [Artist] Vlasta Burian; [s ilustracemiˆ V. Kubašty]. [Still life with flowers] [Prague]: Nakladatel Dolezal, . Watercolors, paper; . x . cm. (framed: x cm.) , i.e. [] p. : ill.; x cm. [Signed in pencil: VKubašta] [Hard bound. – Photographic portrait of Burian – Frontispiece] Collection of Dagmar Kubaštová Vrkljan Collection of Ellen G.K. Rubin
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[Book: : Czech]ˆ
Kubašta,ˆ Vojtech, - [Artist]
ˆ ˆ
Sovák, Cenék, - [Author]ˆ
Jezek Píchácek mezi zvírátky =ˆ [Prickly Hedgehog
among the animals]ˆ / Napsal C. Sovák; nakreslil V. Ku- bašta; vydal Y. Dolezal.ˆ [Prague]: Dolezal, . , i.e., [] p.: col. ill.; . x . cm. [Paper bound with illustrated book jacket. – Endpapers, chapter borders, marginalia, and color illustrations by Kubašta] Collection of Ellen G.K. Rubin
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[Photograph: ˆ] Kubašta,ˆ Vojtech, - [Photographer] [Vojtech Kubašta self-portrait in Arab dress] Black and white photograph; x . cm.
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[Book: : Czech]ˆ [Three superimposed images of VK in Arab dress] Kubašta,ˆ Vojtech, - [Artist] Collection of Dagmar Kubaštová Vrkljan
Bednár, Kamil [Translator]
ˆ ˆ
Arabské pohádky z noci =ˆ [ Arabian nights] / #
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[Prelozil a upravilˆ Kamil Bednár; ilustroval V. Kubašta] [Portfolio: : Czech] [Prague]: Dolezal, . Kubašta, Vojtech,ˆ - [Artist]
, i.e., [] p.: col. ill.; . x cm. Wirth, Zdenek, - [Author] ˆ [Hard bound. – Endpapers, chapter borders, marginalia, and Štorch-Marien, Otakar, - [Publisher]
° illustrations by Kubašta] Valdštejnský Palác v Praze: pet puvodních kolorovaných
ˆ Collection of Ellen G.K. Rubin grafik = [Waldensteinˆ Palace in Prague: five original col- ored plates] / Zdenek Wirth; Vojtech Kubašta. [Prague: Aventinum], . portfolio [ p., + col. mounted plates]; . x cm.
# #
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[Hard bound portfolio. – Title page illustration also by V.
Kubašta. – Number of an edition of , signed by the author and artist on p. []. Each print signed in pencil,ˆ V. Kubašta. – “...Kreby v textu a vignetu nakreslil Vojtech Kubašta. Exp. Ot. Štorch-Marien ...– Colophon] Collection of Ellen G.K. Rubin
# [Watercolor painting:ˆ ?] Kubašta, Vojtech, - [Artist] [Goat with blue butterfly]
Pen, ink, watercolors, paper; x cm.
ˆ
[Original illustration (not used in the pop-upˆ versions) for the #
ˆ
ˆ ° following flat book: Zvírátka a sedm loupezníku= [The run- [Lithograph: ˆ ?] aways and the robbers] / Cenék Sovák; Vojtech Kubašta . – Kubašta, Vojtech, - [Artist]
Praha: Nakl. Vysehrad, .– v. (unpaged). – Story based on Hus, Jan, c. - ˆ the Grimm’s fairytale: The Bremen town musicians (#) (see also #)] [Jan Hus]: IV Bud’. Národe Posvecený v Bohu. Neumírej: - Collection of Ellen G.K. Rubin Lithograph; x . cm. [Printed signature. Also signed in pencil: V. Kubašta. – Jan Hus, c. -, th-century Czech religious reformer, was born in Husinec [now is in the Czech Republic], and died July , , Konstanz, Germany] Collection of Ellen G.K. Rubin
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[Portfolio: ˆ : Czech] Kubašta, Vojtech,ˆ - [Artist] Kalista, Zdenek, - [Author]
Štorch-Marien, Otakar, -
[Publisher] ˆ
Klementinum / [Text] Zdenek Kalista;ˆ [kresby a pu° vodníˆ litografie Vojtecha Kubašty] Vojtech Kubašta. Prague: Aventinum, . portfolio [ p. + col.mounted plates]; . x . cm. [Hard bound portfolio. – Title page illustra- tion, portfolio covers, and end papers by V. Kubašta. – Signed by the author and artist on p. []. – Each print signed in pencil, V. Kubašta. – Aventinum, nakladatelství Dra. Ot. Štorch-Marien . . .] Collection of Ellen G.K. Rubin
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# [Watercolor painting:ˆ ?] Kubašta, Vojtech, - [Artist] [Rooster, cat, dog, sheep and man]
Pen, ink, watercolors, paper; x cm.
[Original illustration (not used in the pop-upˆ
versions) for theˆ following flat book: Zvírátka
ˆ a sedm loupezníku° = [The runawaysˆ and the robbers] / Cenék Sovák; Vojtech Kubašta . – Praha: Nakl. Vysehrad, .– v. (unpaged). – Story based on the Grimm’s fairytale: The Bremen town musicians (#). See also #] Collection of Ellen G.K. Rubin
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[Poster: :ˆ Czech]
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Kubašta, Vojtech, - [Artist] ˆ
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Sjezd Remesla: Praha - . Ríjna . ˆ. Ríjna:
ˆ Manifestacní Pru° vodˆ Prahou: USCSR: Ustrední Svaz Ceskoslovenského Remesla: První v Boji První v Praci = [Trade Convention, Prague October -: Parade through Prague on October : Central Union of Czechoslovak Trade: First in Battle, First in Labor] [Prague: s.n.], . poster: col. ill.; x cm. [“Impressa” – Bottom left corner] Collection of Ellen G.K. Rubin #
# [Book: : Czech]ˆ Kubašta, Vojtech, - [Artist]
Janouch, Jaroslav, - [Author]
Cid, ca. - [Author] ˆ U Toledskéˆ brány : Román pro mládezo bohatýrském
zivote Cida Campeadora = [At the Gates of Toledo, Spain: a novel for young people about the heroic life ofˆ El Cid] / Jaroslav Janouch [kresby, obálka, výprava, Vojte ch Kubašta] . vydání = [nd ed.] Praze: Vyšehrad, . , i.e., [] p.: ill. (some color); . x cm. # [Hard bound] Collection of Dagmar Kubaštová Vrkljan
# #
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[Book jacket: ˆ : Czech] [Birth announcement: : Czech]
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Kubašta, Vojtech, - [Artist] Kubašta, Vojtech, - [Artist] ˆ MacDonald, Betty Bard [Author] Helena, Helenka a Vojtech Kubaštovi oznamují ˆ ze se jim
Havlík, L. [Translator] narodila DAGMAR = [Helena, Helenka a Vojtech Vejce a já = [Theˆ egg and I] / Betty MacDonald. Kubaštovi announce the birth of DAGMAR] Praha: Vladimír Zikeš, . [Prague: The artist, ] , i.e., [] p.; x . cm. birth announcement (card): ill.; x . cm.
[Paper bound. – Book jacket designed by Kubašta. Features black Collection of Ellen G.K. Rubin
ˆ and white photographic portrait of Claudetteˆ Colbert (with red lips) and Fred MacMurray. – “Prelozil z amerického originálu
The Egg and I. L. Havlík....”– Colophon] # ˆ Collection of Ellen G.K. Rubin [Book: : Czech] Kubašta, Vojtech, - [Artist] Novotný, Antonín, - [Author]
# Stará Praha: pru° vodce po jejích krásách, památkách a
[Poster: :ˆ Czech] zákoutích = [Old Prague: a guide to its beautiful,
Kubašta, Vojtech, ˆ- [Artist] historical, and secluded places] / Ant. Novotný; S
ˆ ˆ
Ministerstvo vnitrního obchodu: -: Disbribuce kresbami a plánemˆ V. Kubašty.
ˆ slouzí celemu národu = [Ministry of Domestic Praha: Vladimír Zikeš, . ˆ
Commerce, - : Distribution service to the entire , [i.e.,ˆ ] p.: ill.; . x . cm. – (Zikešova prazského nation] špalícku; ) Praha: M. Schulz-“Svoboda”, [] [Hard bound in dust jacket. – Dust jacket with Charles Bridge by poster: col. ill.; x cm. Kubašta. – Bienes Center’s copy lacking map inserted in back [“M. Schulz-“Svoboda”, Praha” – Lower right corner] cover] Collection of Ellen G.K. Rubin Collection of the Bienes Center for the Literary Arts
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# [Lithograph (reliefˆ plate); n.d.] Kubašta, Vojtech, - [Artist] [Prague street scene] Copper gild; plastic; x cm. [Souvenir copper gilded lithographic relief plate] Collection of Ellen G.K. Rubin
# [Watercolor painting:ˆ -?] Kubašta, Vojtech, - [Artist] [Development of cloth weaving methods]
Watercolor paints, ink, paper; . x cm. # [framed: x x . cm.] [Two couples dancing surrounded by Sleeping Beauty and a blond woman spinning yarn; a man weaving at a loom; and a modern industrial complex with belching smoke stacks in background] Collection of Ellen G.K. Rubin
# [Book: : Czech]ˆ Kubašta, Vojtech, - [Artist] Milne, A.A., - (Alan Alexander) [Author] Medvídek Pu = [Winnie the Pooh] / A.A. Milne. vyd. = [nd ed.] [Prague]: Vyšehrad, .
, i.e., [] p.: ill.; . x cm.
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[Hard bound. – “Z anglickýchˆ originálu° Winnie the Pooh a The House at Poohˆ prelozila Hana Skoumalová. Ilustrace a obálku nakreslil Vojtech Kubašta.” – Colophon] Collection of Ellen G.K. Rubin
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[Book: : Czech]ˆ
Kubašta,ˆ Vojtech, - [Artist]
Svetlá,ˆ Karolína, - [Author] Zvoneckovሠkrálovna = [Queen of the bells] / Karolína
Svetlá. .vyd.= [nd ed.]ˆ Praze: Nová osveta, . , i.e., [ ] p.: col. ill.; x . cm. # [Hard bound in dust jacket. – Dust jacket and illustrations by Kubašta] Collection of the Bienes Center for the Literary Arts
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[Book: : Czech]ˆ Kubašta,ˆ Vojtech, - [Artist]
Necas, Jaroslav [Author]
ˆ Valašskéˆ pohádky = [Wallachian fairy tales] / Jaroslav Necas; [ilustroval Vojtech Kubašta] [Praha]: Melantrich, .
, i.e., [] p.: ill. (some col.); x cm. [Hard bound] ˆ Collection of the Bienes Center for the Literary Arts glasses on front cover. – Cover title. – “Dolonit. COK f– . Imprimé en Tchécoslovaquie” – On page []
# Collection of Ellen G.K. Rubin [Advertisement:ˆ -?: French]
Kubašta, Vojtech, - [Artist] # Dolonit [Company?] [Advertisement:ˆ -?: English] Adoptez-les sans hésitation = [Use them without Kubašta, Vojtech, - [Artist] hesitation]. Tesla Electric Bulbs [Company] [Prague]: Dolonit, [-?] Bright light during the day . . . bright light in the advertising card, [] p.; col. ill., [ double-page pop-up]; evening ensured by the Tesla Electric Bulb. x cm. Praha: Tesla, [-?] advertising card, [] p.: col. ill. [ double-page pop-up]; [Die-cut of one lens (with clear cellophane) of a pair of sun- x . cm.
# [Die-cut window that opens onˆ front cover. – Cover title. – “Kovo, Praha, Czechoslovakia. COK . Made in Czechoslovakia. Printed in Czechoslovakia” – p. [] Collection of Ellen G.K. Rubin
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[Greeting card:ˆ -?: Czech]
ˆ Kubašta, Vojtech, ˆ - [Artist] Brnenské Výstavište: pozdrav z Brna = [Brno Exhibition Grounds: welcome to Brno] [Prague?; s.n., -?]
card: col. ill., [ double-page pop-up]; . x cm. ˆ
ˆ # [V. Kubašta. Brnenské Výstavište. – – F”] Collection of Ellen G.K. Rubin
# [Advertisement:ˆ -?: Spanish] Kubašta, Vojtech, - [Artist] Lada [Sewing Machines] [Company] Cuento del principe rico y de la muchacha diligente = # [The tale of the rich Prince and the diligent girl] [Prague]: Lada, [-?]
[ ] p.: col. ill.; x ˆ. cm. [Cover title. – “Lada. COK Šp – . Impreso en Checoslovaquia” – p. [] Collection of Ellen G.K. Rubin
# [Poster: -ˆ ?: Czech] Kubašta, Vojtech, - [Artist] Jasná: Nízké Tatry = [Jasná: The Low Tatras] [Prague?]: Orbis-,[-?] poster: col. ill.; . x cm. [Jasná is the name of a ski area located in Nízké Tatry [The Low Tatras] mountains of what is now the Slovak Republic. See also #a-d] Collection of Ellen G.K. Rubin
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[Greeting cardˆ (souvenir card): -?: Czech] Kubašta, Vojtech,ˆ - [Artist] Národ Sobe!: Pozdrav z Prahy = [From the Nation to the Nation: Greetings from Prague] [Prague]: KLHU, [-?] greeting card: col. ill., [ double-page pop-up]; x cm. [“V. Kubašta: Národní divadlo. --O F ” – On back of card] Collection of Ellen G.K. Rubin
# # [Advertisement:ˆ -?: English] Kubašta, Vojtech, - [Artist] Pilsner Beer [Company] Pilsner Urquell: the beer which is popular all over the world. [Prague: s.n., -?]
[ ˆ] p.: col. ill. [one double-page pop-up]; . x cm. [Cok /Ce-a-. Printed in Czechoslovakia – p. [] Collection of Ellen G.K. Rubin
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# [Poster: -ˆ ?: Czech] Kubašta, Vojtech, - [Artist] Praga: Aladin. [Prague?: s.n., -?]
poster: col. ill.; x . cm. ˆ [Poster advertising light bulbs. – COK - – Bottom left. – // A - DDR / – Bottom right] Collection of Ellen G.K. Rubin
# [Advertisement:ˆ -?: French]
Kubašta, Vojtech, - [Artist] #
Lada [Sewing Machines] [Company] [Poster: -ˆ ?: Slovak] Que dois-je offrir à ma bien-aimée? La machine à Kubašta, Vojtech, - [Artist]ˆ coudre, Lada, pour laquelle soupirent toutes les femmes! Turista-ochranca Prírody: nenivocí, nepoškodzuje, = [What should I give my darling? Lada, a sewing neplaší = [The tourist: a protector of nature: does not machine that every woman dreams of owning!] destroy, does not damage, and does not disturb] Praha: Kovo, [-?] [Prague?: s.n., -?]
sheet: col. ill., [one pull-tab]; x cm. poster: col. ill.; . x . cm. ˆ [“ f– . Imprimé en Tchécoslovaquie”] [“Neografia Turc. Sv. Martin” – Bottom left corner] Collection of Ellen G.K. Rubin Collection of Ellen G.K. Rubin
# # [Advertisement:ˆ -?: English] Kubašta, Vojtech, - [Artist] Tesla Electric Bulbs [Company] What do we need to add to our contentment? A Tesla radio! Praha: Tesla, [-?]
sheet:ˆ col. ill., [one pull-tab]; x . cm. [“COK a – . Printed in Czechoslovakia”] Collection of Ellen G.K. Rubin
# [Book: : Czech]ˆ Kubašta, Vojtech, - [Artist]
Hons, Josef, - [Author]
O tratích a mostech ˆ= [Tracks and bridges] / Josef Hons; ilustroval Vojtech Kubašta.ˆ Praha: Státní nakladatelství detské knihy, . , i.e., [] p.: chiefly col. ill.; . x . cm. # [Hard bound. – Endpapers, chapter borders, and color illustrations by Kubašta] Collection of Ellen G.K. Rubin
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# [Postcard: ˆ: Czech] Kubašta, Vojtech, - [Artist] # Mozart, Wolfgang Amadeus, - [Composer] Mikysa, Karel [Author] Mozart v Praze = [Mozart in Prague] / Dr. Karel Mikysa; [litografie V. Kubašty] [Prague: KLHU, ?] [] p. booklet + [] col. postcards + cover; x cm. [Cover title. – Scenes of Prague associated with Mozart. – “WAM -: Mozart a Praha / Dr. Karel Mikysa – Title on booklet] Collection of Ellen G.K. Rubin
# [Pop-up book;ˆ shaped book: ?: Slovak] Kubašta, Vojtech, - [Artist] Swift, Jonathan, - [Author]
Šugar, V. [Designer] Telgársky,ˆ J. [Compiler]
Mac, J. [Translator]
ˆ ˆ
Gulliver v Liliputu = [Gulliver in Lilliput] / [J. Swift;ˆ Návrhˆ inz. V. Šugar; zpracoval dr. J. Telgársky; prelozil
J. Mac; obrázky V. Kubašta] . vydáni = [nd ed.] ˆ Bratislava: Vytiskly Severoslovenské tlaciarne, [?] [] p.: col. ill., [ double-page pop-ups]; x . cm. [Hard bound. – Cover title. – Die-cut window with cellophane on front cover] Collection of Ellen G.K. Rubin
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[Calendar (appointment): : English, French, German, Spanish] ˆ Kubašta, Vojtech, - [Artist] Artia [Company] Artia: P.F., . [Prague]: Artia, [?] v. (unpaged): col. ill.; x cm. [Spiral bound. – Thumb indexed for the months of .– Cover title. – Calendar for on back cover. – Contains seven pop-up and/or pull-tabs by Kubašta]
Collection of Ellen G.K. Rubin # [Book: ?: English]ˆ Kubašta, Vojtech, - [Artist]
# Mozart, Wolfgang Amadeus, - [Composer]
[Pop-up book;ˆ shaped book: ?: English] Buchner, Alexandr [Author]
Kubašta, Vojtech, - [Artist] Mozart and Prague / byˆ Alexander Buchner, Karel Koval,
ˆ Defoe, Daniel, ?- [Author] Karel Mikysa, Antonín Cubr; translatedˆ by Daphne Robinson Crusoe / [Daniel Defoe; Vojtech Kubaša] Rusbridge; jacket and binding by Vojtech Kubašta. London: Bancroft & Co. (Publishers) Ltd., ? Prague: Artia, [?] [] p.: col. ill., [ double-page pop-ups]; . x cm. , i.e., [] p.; [] p. of plates ( color plates, ports., [Paper bound. – Cover title. – “Designed and produced by Artia facsims.); x . cm. . . .”, p. [ ] – Die-cut window with cellophane (lacking) on front [Hard bound, with book jacket. – Decorative pink and white cover. – Top edge and fore-edge in the shape of a parrot] cloth binding by Kubašta with silhouette of Mozart and Prague Collection of Ellen G.K. Rubin street scene on front cover. – “Designed and produced by Artia,
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Prague. (A-). Printed in Czechoslovakia. – verso of title page. – “A view of Prague from Mozart’s statue on the roof of the House of Artists” [by Kubašta] – Front of book jacket. – “A view of Bertramka from the garden with Mozart’s bust” [by Kubašta] – Back of book jacket] Collection of Ellen G.K. Rubin
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[Cut-out bookˆ (die-cut): (): Slovak] Kubašta,ˆ Vojtech, - [Artist] Vojcek, A. [Designer]
Hal’amová, Maša [Translator]
Novák,ˆ Jirí Zdenek [Author]
ˆ Svrcek a mravce = [The grasshopper andˆ the ants] / [Návrh A. Vojcek; verše J.Z. Novák; prelozila M. Hal’amová; ilustroval V. Kubašta] Bratislava: Vydali Mladé létá, c, . [] p.: col. ill.; x cm. [Hard bound. – Cover title. – See through cut-outs on pp. , , # and . — © J. Z. Novák ; Translation © Maša Hal’amová
; Illustrations © V. Kubašta ]
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ˆ Collection of Ellen G.K. Rubin ˆ
Cajda; návrh J. Háj; prelozila R. Illnerová; ilustroval V.
ˆ Kubašta. ˆ
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[Pop-up book:ˆ ?: Slovak] Bratislave: Vytiskly Tlaciarne SNP, [ ?] ˆ Kubašta, Vojtech, - [Artist] [ ] p.: col. ill., [ double-page pop-ups]; Cajda, Ivan [Author] . x . cm. Háj, J. [Designer] [Paper bound; with die-cut cellophane (lacking) window on front Illnerová, R. [Translator] cover. – Cover title] Letíme vesmírem = [Flying through the universe] / Ivan Collection of Ellen G.K. Rubin
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# [Table displayˆ (pop-up): -?: English] Kubašta, Vojtech, - [Artist] Gloria in Excelsis Deo. [S.l.: s.n., -?] [] p.: double-page color pop-up; . x . cm. [Paper bound, in original manila mailing envelope. – “Made in Czechoslovakia”, p. [] of cover. – “Silent Night” and “”, p. [] of cover] Collection of Ellen G.K. Rubin
# [Puzzle: -ˆ?] Kubašta, Vojtech, - [Artist] [Hansel and Gretel block puzzle] Paper, wood; . x x cm. [Wood block puzzle ( blocks in illustrated box) that forms four different scenes from Hansel and Gretel. See also #, ] Collection of Dagmar Kubaštová Vrkljan
# [Watercolor painting:ˆ -?] Kubašta, Vojtech, - [Artist] Novigrad. Watercolor, paper; . x cm. [Novigrad, a small town in Croatia on the Adriatic coast of the former Yugoslavia where VK frequently vacationed] Collection of Dagmar Kubaštová Vrkljan
# [Table displayˆ (pop-up): -: English] Kubašta, Vojtech, - [Artist] [Polar flight] [S.l.: s.n., -] [] p.: col. ill. [ double-page pop-up]; x . cm. [Paper bound. – “; GT ” – On front cover. – Maps of the Artic and Antarctic on back cover] Collection of Ellen G.K. Rubin
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# [Table displayˆ (pop-up): -?: Arabic] Kubašta, Vojtech, - [Artist] [Mecca] [Prague]: Artia, [-?] col. double-page pop-up; . x cm. [Paper bound. – Cover title. – Six color photographs of Mecca on back cover. – “ GT ” – on front cover] Collection of Dagmar Kubaštová Vrkljan
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ˆ [Postcard: -?: Czech] [Correspondence:ˆ -?; Czech] Kubašta, Vojtech, - [Artist] Kubašta, Vojtech, - [Artist; author] Praha – Orloj = [Prague Old Town clock] / V. Kubašta. [Roman; Pani Zuzana; Jackie = Roman, Mrs. Zuzana [Prague: s.n., -?] [Neff]; Jackie]
postcard: col. ill., [turning wheel]; . x cm. [Prague: The artist, -?] ˆ [-/IV. Kcs ,”] sheet: col. ill.; x cm. Collection of Ellen G.K. Rubin Collection of Dagmar Kubaštová Vrkljan
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ˆ [Pop-up book:ˆ -: English] [Advertisement (display card): -?: English] Kubašta, Vojtech, - [Artist] Kubašta, Vojtech, - [Artist] Goldilocks and the three bears; The three little pigs. Tip, Top: see you in our next book. Westminster, London: Bancroft & Co. (Publishers) Ltd., [London: Bancroft, -?] [-] advertisement: col. ill.; . x cm. [ ] p.: col. ill., [ double-page pop-ups]; x cm. [Stand-up store display advertising Tip + Top books] [Paper bound. – Cover titles. – Printed in continuous strips, Collection of the Bienes Center for the Literary Arts glued, folded, and held together with two rust colored strings. – Spine bound with brown cloth tape. – Text parallel to spine. # – Two titles bound back-to-back and inverted. – “An Artia production. Printed in Czechoslovakia. .” – Colophon] # Collection of Ellen G.K. Rubin
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# [Pop-up book:ˆ ?: English] Kubašta, Vojtech, - [Artist] The tournament. Westminster, London: Bancroft & Co. (Publishers) Ltd., [?] , i.e., [] p.: b & w and col. ill., [ double-page pop-up]; . x . cm. – (Panascopic Model Books, ) [Paper bound. – Caption title] Collection of Ellen G.K. Rubin
# [Pop-up book:ˆ ?: English] Kubašta, Vojtech, - [Artist] Carroll, Lewis, - [Author] Alice in Wonderland. Westminster, London: Bancroft & Co. (Publisher) Ltd., [?] [] p.: col. ill., [ double-page pop-ups]; x cm. [Hard bound. – Cover title. – Cover has an oval die-cut center made of cellophane that gives the illusion of Alice falling down the rabbit’s hole. – “An Artia production. Printed in Czechoslovakia. ”, p. [] Collection of Ellen G.K. Rubin
# #
ˆ [Pop-up book:ˆ : English] [Book: : English]
Kubašta, Vojtech, - [Artist] Kubašta, Vojtech, - [Artist] A Christmas tale. Sing a song of sixpenceˆ and other nursery rhymes / Westminster, London: Bancroft & Co. (Publishers) Ltd., . illustrated by Vojtech Kubašta. , i.e., [] p.: b & w, col. ill., [ double-page pop-up]; London: Paul Hamlyn, . x . cm. – (Panascopic Model Books; ) [] p.: col. ill.; x cm. [Paper bound. – Caption title. – “© Artia Prague. S/. [Hard bound. – “©copyright , Books for Pleasure Ltd. and Printed in Czechoslovakia”, p. [] Artia. Printed in Czechoslovakia. T ” – verso of title page] Collection of Ellen G.K. Rubin Collection of Ellen G.K. Rubin
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# [Pop-up book:ˆ : English] Kubašta, Vojtech, - [Artist] How Columbus discovered America. Westminster, London: Bancroft & Co. (Publishers) Ltd., . , i.e., [] p.: col. ill., [ double-page pop-up]; . x cm. – (Panascopic Model Books; ) [Paper bound. – Caption title. – “© Artia, Prague. /. Printed in Czechoslovakia” – Colophon] Collection of Ellen G.K. Rubin
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[Pop-up book and original package with advertising label: : English]ˆ Kubašta, Vojtech, - [Artist] Moko and Koko in the jungle. Westminster, London: Bancroft & Co. (Publishers) Ltd., c. , i.e., [] p.: b & w and col. ill. [ double-page pop-up]; x . cm. – (Panascopic Model Books; ) [Paper bound, in original plastic package with advertisement: “In the jungle, unusual large -D pop-up scene in full color. Includes two free-standing cut-outs of Moko and Koko. – One of dif- ferent styles. Published by Bancroft, London. Printed in # Czechoslovakia.” – on front and back of advertising label.– Includes separate advertising sheet: “Panascopic Model Books”, listing the titles in the series: , Circus Life; , In the Jungle; , An American Indian Camp; , On the Farm; , Ricky the Rabbit; , Christopher Columbus; , A Christmas Crib; , Father Christmas; , Prelude to Christmas; , Noah’s Ark; , Marco Polo; , The Castle Tournament] Collection of Ellen G.K. Rubin
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[Pop-up book and original package with advertising label: : English]ˆ
Kubašta, Vojtech, - [Artist] Perrault, Charles, - [Author] ˆ Sleeping beauty / [Charles Perrault; Vojtech Kubašta] Westminster, London: Bancroft & Co. (Publishers) Ltd., [] [] p.: col. ill. [ double-page pop-ups]; x cm. [Paper bound, in original plastic package with advertisement: “Sleeping Beauty, animated pop-up story book. pages of -D – Figures move. Fun! Educational! Only . [cents] – on front of advertising label.– “; Red Riding Hood; , Snow White; Hansel and Gretel; Sleeping Beauty; Puss in Books; Cinderella; Goldilocks and the Three Bears, and The Three Little Pigs; Jack and the Bean Stalk, and Hop O’My Thumb; The Tinder Box; The Flying Trunk; The Runaways and the Robbers. Published by Bancroft, London. Printed in Czechoslovakia” – on back of advertising package label. – Cover title. – Text parallel to spine. – Printed in continu- ous strips, glued, folded, and held together with two light blue # strings. – Spine bound with light blue (faded) cloth tape] Collection of Ellen G.K. Rubin
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# [Pop-up bookˆ (diorama book)]: : Slovak] Kubašta, Vojtech, - [Artist] Rázusová-Martáková, Mária, - [Author]
Aladin a kouzelná lampa = [Aladdin and the magic lamp] / ˆM. Rázusová-Martáková; ilustroval V. Kubašta. Bratislave: Mladé létá, . [] p.: col. ill., [ pop-ups]; x . cm. [Hard bound. – Includes four dioramas] Collection of Ellen G.K. Rubin
# [Pop-up book:ˆ ?: English] Kubašta, Vojtech, - [Artist] The day of the bison hunt.
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Westminster, London: Bancroft & Co. (Publishers) [?] Ltd., [?] , i.e., [] p.: col. ill., [ double-page pop-up]; . x . cm. – , i.e., [] p.: col. ill., [ double-page pop-up]; x cm. – (Panascopic Model Books; ) (Panascopic Model Books; ) [Paper bound. – Caption title. – Cover title: Marco Polo.– “An [Paper bound. – Caption title. – “An Artia production. Printed Artia production. . Printed in Czechoslovakia.” – Colophon] in Czechoslovkia. ”, p. [] Collectioni of Ellen G.K. Rubin Collection of Ellen G.K. Rubin
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# [Pop-up book:ˆ : German] [Photograph: ˆ?] Kubašta, Vojtech, - [Artist] Kubašta, Vojtech, - [Artist] Andersen, H.C., - (Hans Christian) [Author] [My father, myself, and my friend, posing for a home Der fliegende Koffer = [The flying trunk] picture for Tip and Top series] Hamburg: Carlsen Verlag, [] Color photograph; x . cm. [] p.: col. ill., [ double-page pop-ups]; Collection of Dagmar Kubaštová Vrkljan . x . cm. [Paper bound. – Cover title. – Text parallel to spine. – Printed in continuous strips, glued, folded, and held together with two light
# blue strings. – Spine bound with gray cloth tape. – “/”– ˆ [Pop-up book: ?: English] Colophon. – Tab-operated mechanical on front cover opens and Kubašta, Vojtech, - [Artist] closes the flying trunk] The voyage of Marco Polo. Collection of Ellen G.K. Rubin Westminster, London: Bancroft & Co. (Publishers) Ltd.,
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# [Pop-up book:ˆ : English] Kubašta, Vojtech, - [Artist; author] Tip + Top build a motorcar / Designed by V. Kubašta. Westminster, London: Bancroft & Co. (Publishers) Ltd., c. [] p.: col.ill., [ double-page pop-ups] . x . cm. [Paper bound. – Cover title. – Text parallel to spine. – Printed in continuous strips, glued, folded, and held together with two light blue strings. – Spine bound with light blue cloth tape illustrated with auto parts. – “© Artia, Prague. Printed in Czechoslovakia. ”– Colophon] Collection of Ellen G.K. Rubin #
# [Pop-up book:ˆ : English] Kubašta, Vojtech, - [Artist] Three is a crowd. London: Bancroft & Co. (Publishers) Ltd. (Greencoat House, Francis St.), . [] p.: col. ill. [ double-page pop-ups]; x cm. – ([Counting series]) [Paper bound. – Cover title. – Text parallel to spine. – Printed in continuous strips, glued, folded, and held together with a yellow string – “This series includes: There was one white daisy; Two is company; Three is a crowd; Four wheels to carry us. Further titles in perparation. “© by V. Kubašta and Bancroft & Co. (Publishers) Ltd. All rights reserved. Printed in Czechoslovakia. ”– Colophon. – See also #] Collection of Ellen G.K. Rubin # [Copenhagen]: Forlaget Fremad, []
# [] p.: col. ill., [ double-page pop-ups]; . x cm. ˆ [Pop-up book: : Danish] [Paper bound. – Cover title. – Text parallel to spine. – Printed in Kubašta, Vojtech, - [Artist] continuous strips, glued, folded, and held together with a yellow [Grimm, Jacob, -] [Author] string. – “© Artia, Prague. Printed in Czechoslovakia. .” [Grimm, Wilhelm, -] [Author] – Colophon. See also #, ] Hans og Grete = [Hansel and Gretel] Collection of Ellen G.K. Rubin
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ˆ sheet: col. ill., [one double-page pop-up]; x cm. ˆ [Pop-up book: : English] ˆ Kubašta, Vojtech, - [Artist; author] [“V. Kubašta: Hradcany. -/II F .Kcs ,”] Tip + Top [+] Tap go flying. Collection of Ellen G.K. Rubin London: Bancroft & Co. (Publishers) Ltd. (Greencoat House, Francis St.), c.
[] p.: col. ill., [ double-page pop-ups] . x . cm. # [Pop-up book:ˆ : Spanish] [Paper bound. – Cover title. – Text parallel to spine. – Printed in Kubašta, Vojtech, - [Artist] continuous strips, glued, folded, and held together with two yel- Perrault, Charles, - [Author] low strings. – Spine bound with blue cloth tape illustrated with clouds. – “© by V. Kubašta and Bancroft & Co. (Publishers) La bella durmiente = [Sleeping beauty] Ltd., London. All rights reserved. . Printed in Czechoslovakia” London: Bancroft & Co. (Publishers) Ltd. (Greencoat – Colophon] House, Francis St.), c. Collection of Ellen G.K. Rubin [] p.: col. ill., [ double-page pop-ups]; x . cm. [Paper bound. – Cover title. – Text parallel to spine. – Printed in
# continuous strips, glued, folded, and held together with two light
pink strings. – Spine bound with light green cloth tape. – ˆ
[Greeting card (souvenir card): ?: Czech] “© by V. Kubašta and Bancroft & Co. (Publishers) Ltd.
ˆ ˆ Kubašta, Vojtech, - [Artist] Printed in Czechoslovakia. /SP/”– Colophon] Hradcany: pozdrav z Prahy = [Hradcany Castle: welcome Collection of Ellen G.K. Rubin to Prague]
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# [Pop-up book:ˆ : Spanish] Kubašta, Vojtech, - [Artist] [Grimm, Jacob, -] [Author] [Grimm, Wilhelm, -] [Author] El lobo y los siete cabritillos: cuento de dibujos anima- dos en -dimensiones. = [The wolf and the seven little goats: a tale of animated drawings in -D] London: Bancroft & Co. (Publishers) Ltd. (Greencoat House, Francis Street), c. [] p.: col. ill., [ double-page pop-ups]; . x . cm. [Paper bound. – Cover title. – Text parallel to spine. – Printed in continuous strips, glued, folded, and held together with two light pink strings. – Spine bound with red cloth tape. – “© by V. Kubašta and Bancroft & Co. (Publishers) Ltd. PU/ SP. Printed in Czechoslovakia.” – Colophon] Collection of Ellen G.K. Rubin
# [Drawing: ˆ] Kubašta, Vojtech, - Picasso, Pablo, - [Artist] sketch pad. – Includes three used tickets to the “Plaza de Toros [Sketch of a bull’s head] de Fréjus; a black and white photograph of Kubašta holding the Picasso drawing; a “Biglietto d’Ingreso to the “Repubblica
Paper, ink: x cm. Italiana”, dated Mag. ; and a periodical article with a picture
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ˆ [Kubašta and his daughter, Dagmar, and wife, Helena, attended a of Picasso at the bull ˆfight from LN (Literární Noviny Týdeník bull fight in Fréjus, France, on the August th, , where they Ceskoslovenských), rocník XV, ,zarí , hal., ] met Pablo Picasso who made this quick drawing on Kubašta’s Collection of Dagmar Kubaštová Vrkljan
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# ˆ # [“The Bethlehem of Trebechovice represented on this picture postcard is the result of more than years manual work with knife and chisel of the peasant Josef Probošt and two assistants ...This unique woodcarving from the end of the th century is ( m long,
m wide and , high). It is equipped with a mechanism of cog- wheels; it is composed of buildings, trees,ˆ biblical figures and figure-portraits of handicraftsmen of the Trebechovice of those times ( of which are movable). The work into which the builder invested all of his art, skill and even his property, has by its merit become one of the outstanding exhibits at the World Exposition of Montreal .”– back of card] Collection of Dagmar Kubaštová Vrkljan
# [Pop-up book:ˆ : Czech] Kubašta, Vojtech, - [Artist] Brno. Praha: Merkur, . [] p.: col. ill., [ double-page pop-ups]; x . cm. [Paper bound. – Cover title. – “/. //.D-*.” – Colophon. Brno is the second-largest city of the Czech Republic, in southern Moravia] Collection of Ellen G.K. Rubin
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ˆ [Greeting card: ?: Slovak, German, English] [Book: : German]ˆ
Kubašta, Vojtech, - [Artist] Kubašta, Vojtech, - [Artist]
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Probošt, Josef [Artist] ˆ Horák, Jan [Author] Betlehem z Trebechovíc ˆ= Die Krippe aus Trebechovice Stanovský, Vladislav [Author] = The Bethlehem of Trebechovice. Der Hirtenprinz: Die weisse und die schwarze Karoline Bratislava, SFVU, [ ?] = [The Shepherd Prince: the white and black Karolines] col. double-page pop-up; x cm. / Text von J. Horák und V. Stanovský; illustriert von V.
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Prag: Artia, c . [Pop-up book:ˆ : Japanese] [ ] p.: col. ill.; . x . cm. – (Märchen aus aller Welt) Kubašta, Vojtech, - [Artist] [Hard bound. – Includes decorative endpapers by Kubašta. – [Grimm, Jacob, -] [Author] “Der Hirtenprinz: Märchen aus aller Welt: Die weisse und die [Grimm, Wilhelm, -] [Author] schwarze Karoline.” – Title on cover.– “© Artia, Prag. [Buremen no ongakutai = Bremen town musicians] Deutsch von I. Stockklauser. Printed in Czechoslovakia by Prague: Artia, . Polygrafia Prague. S ”– Colophon] [] p.: col. ill. [ double-page pop-ups]; Collection of Ellen G.K. Rubin . x . cm. [Paper bound. – Cover title. – Text parallel to spine. – Printed in
# continuous strips, glued, folded, and held together with blue [Pop-up book:ˆ : French] string – “” – on back cover. – See also: # and #] Kubašta, Vojtech, - [Artist] Collection of Dagmar Kubaštová Vrkljan Le loup et les deux petits cochons = [The wolf and the two little pigs] / dessiné par V. Kubašta. #
Paris: Les Éditions Mondiales, . [Pop-up book:ˆ : German] [] p.: col. ill., double-page pop-ups]; x . cm. Kubašta, Vojtech, - [Artist] [Paper bound. – Cover title. – “© Artia, Prague. Imprimé en [Grimm, Jacob, -] [Author] Tchécoslovaquie. .” – Colophon. – See also # ] [Grimm, Wilhelm, -] [Author] Collection of Ellen G.K. Rubin Von dem Fischer und seiner Frau = [The fisherman and his wife].
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[Table displayˆ (pop-up): : Czech] Kubašta,ˆ Vojtech, - [Artist] Prazský betlém = [Prague nativity scene] [Prague]: Orbis, .
color double-page pop-up; x . cm.
[Nativity scene printed in colorˆ on recto and verso. Includes
ˆ # free-standing pieces. – “Prazskýˆ betlém. Orbis, . Illustrations © Vojtech Kubašta. Cena ,-Kcs. SG – V. Šenov” – Colophon] [Reinbek bei Hamburg]: Carlsen Verlag, . Collection of Ellen G.K. Rubin [] p.: col. ill., [ double-page pop-ups];
. x . cm. # [Paper bound. – Cover title. – © Panorama-Märchen. [Cut-out bookˆ (die-cut): : Slovak] Bestellnummer Carlsen Verlag (). Artia, Prag. .” – Kubašta, Vojtech, - [Artist] Colophon] Hal’amová, Maša [Author] Collection of Ellen G.K. Rubin Hodinky = [Clocks] / [Maša Hal’amová; illustrations,
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[Paper bound. – Cover title. – “Illustrations © V. Kubašta. © Artia, Prag. Sonderausgabe für Südwest Verlag GmbH & # Co., KG, München” – Colophon]
Collection of Ellen G.K. Rubin ˆ Vojtech Kubašta #
Vyd. = [th ed.] ˆ [Pop-up book: : Czech] Bratislava: Mladé létá, . Kubašta, Vojtech, - [Artist]
[] p.: col. ill.; . x cm. Stašková, Hana [Author] ˆ ° [Hard bound. – Cover title. – Die-cut circle on pages [-] that Sedm havranu = [The seven ravens] / [Vojtech Kubašta; reveals a clock on p. [] with movable hands. – This introduction Vypravuje H. Stašková] to telling time follows the activities of two children through the [Prague]: Artia, c. day from getting up to the sound of the alarm to going to bed [] p.: col. ill., [ double-page pop-ups] by the light of the golden moon] . x . cm.
Collection of Ellen G.K. Rubin [Paper bound. – Cover title. – Text parallel to spine. – Printed in
continuous strips, glued, folded, and held together with twoˆ light
ˆ blue strings. – Spine bound with white cloth tape. – ˆ“Vojtech
# Kubašta Sedm havranu° . Pohádka pro nejmenši ctenáre. Vypravuje ˆ [Table display (pop-up): : German] H. Stašková. Vydalo jako svou . publikaci nakladatelství
Kubašta, Vojtech, - [Artist] ARTIA v Praze roku . , AA (text ,, ilustrace ,), , Prague = Praha = Prag = Praga. VA. Náklad výtisku° . ©H. Stašková ˆ, Illustrations © München: Südwest Verlag, c. V. Kubašta . --. /. Cena , - Kcs” – Colophon] col. double-page pop-up; x cm. Collection of Ellen G.K. Rubin
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# # [Pop-up book:ˆ : French] Kubašta, Vojtech, - [Artist] Sesame, ouvre-toi = [Open sesame] / [Dessiné par V. Kubašta] Paris: Éditions Mondiales del Duca, c. [] p.: col. ill., [ double-page pop-ups]; x . cm. [Hard bound. – Cover title. – Text parallel to spine. – “Dessiné par V. Kubašta. © By Artia, Prague. ”– Colophon] Collection of Ellen G.K. Rubin
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[Greeting card:ˆ -?: Czech]
Kubašta, Vojtech, - [Artist] ˆ Mis[s]ˆ Brend[a] [Vr]kljan, P[e]terboro . . . hodnezdraví a štestí! = [Mis[s] Brend[a] [Vr]kljan, P[e]terboro . . . lots of health and happiness] [Prague: The artist, -?] lift-the-flap greeting card; x . cm. [VK’s hand-made greeting card. – Ice skating Snowman with carrot nose delivering a gift box] Collection of Dagmar Kubaštová Vrkljan
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[Magazine article:ˆ -?: Czech]
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Kubašta, Vojtech,ˆ - [Artist]
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Vancura, Jiríˆ [Author]
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Lapácek, Jirí [Photographer] ˆ
ˆ Prostor z papíruˆ = [Paper engineering] / Jirí Vancura; foto Jirí Lapácek. [Prague?: s.n., -?] [] p.: ill. (some col.); . x . cm. [A magazine article that discusses Kubašta’s paper engineering projects] Collection of Dagmar Kubaštová Vrkljan
# ˆ [Hard bound. – Cover title. – Text parallel to spine. – “Designed [Correspondence: : Czech] Kubašta, Vojtech, - [Author; Artist] by V. Kubašta. © by Artia, Prague. Made in Czechoslovakia. ”– Colophon] Ahoj Dagmar! = [Hi Dagmar!] [Prague: The artist, ] Collection of Ellen G.K. Rubin sheet ([] p.): ill.; x cm.
[Letter to Dagmar on the birth of her daughter, Patricia. In the # ˆ letter, which includes a small sketch of a newborn baby, VK gives [Pop-up book: : German] Dagmar instructions on how to put on a diaper] Kubašta, Vojtech, - [Artist] Collection of Dagmar Kubaštová Vrkljan Walt Disney Productions [Company] Walt Disney: das Aufstellbuch von Micky Maus als Filmstar = [Walt Disney pop-up book: Mickey Mouse,
# movie star] [Pop-up book:ˆ : English] Stuttgart; Zürich: Delphin Verlag, c . Kubašta, Vojtech, - [Artist] [] p.: col. ill., [ double-page pop-ups]; x cm. The poor boy and the cats / [Designed by V. Kubašta]. St. Lambert, Quebec, Canada: Amenax Sales, c. [Hard bound. – Cover title. – Text parallel to spine. – “© [] p.: col. ill., [ double-page col. pop-ups] . x . cm. Walt Disney Productions. Alle Rechte vorbehalten. – Delphin Verlag, Stuttgard und Zürich. Verlagsnummer ”– Colophon] Collection of Ellen G.K. Rubin
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# [Pop-up book:ˆ : French] Kubašta, Vojtech, - [Artist] Walt Disney Productions [Corporate author] Bambi. [Beligum?]: Editions LYS Kortrijk/Belgique, c. [] p.: col. ill., [ double-page pop-ups]; x cm. [Hard bound. – Cover title. – Walt Disney présente un album en relief. – At head of title. – “© Walt Disney # Productions” – On cover. – “Réf. . Imprimé en Tchécoslovaquie” – Colophon] Collection of Ellen G.K. Rubin
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Kubašta, Vojtech, - [Artist] Štiplová, Ljuba [Author]ˆ O nemytém dráckovi = [The dragon who would not wash] / Ilustrace Vojtéch Kubašta; verše Ljuba Štiplová. . vydáni. = [nd ed.] Praze: Panorama, c, . [] p.: col. ill., [ double-page pop-ups]; . x . cm. [Paper bound. – Cover title. – Text parallel to spine] # Collection of Ellen G.K. Rubin
# # [Pop-up book:ˆ ;(): French] Kubašta, Vojtech, - [Artist] Walt Disney Productions [Corporate author] Les aristochats: album en relief ...= [The aristo- cats: a pop-up book . . .] ° édition. Courtrai, Belgique: Éditions LYS, c, . [] p.: col. ill., [ double-page pop-ups]; x cm. [Hard bound. – Cover title. – Text parallel to spine. – Walt Disney Productions présente – At head of title. – “© Walt Disney Productions. Éditions LYS, Courtrai/Belgique. ° édition, octobre – ° édition, septembre . Réf. . Imprimé en Tchécoslovaquie” – Colophon] Collection of Ellen G.K. Rubin
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[Poster; ]ˆ
ˆ ˆ ˆ Kubašta, Vojtech,ˆ - [Artist] Devcata – peknevás vítáme: Napanee, R.R.# [Canada]; ..: Praha , Vltavská [Prague]= [Girls – we welcome you: Napanee, R.R.# [Canada]; ..: Praha , Vltavská [Prague] Watercolors, paper; x . cm [VK hand-made poster welcoming his daughter, Dagmar and her daughter to Prague] Collection of Dagmar Kubaštová Vrkljan
# [Pop-up book:ˆ ;(): Turkish] Kubašta, Vojtech, - [Artist] Perrault, Charles, - [Author] Kül Kedisi = [Cinderella] / [Illustrations by V. Kubašta]. n ed. Prague: Artia, c, . [] p.: col. ill., [ double-page pop-ups]; x cm. [Hard bound. – Cover title. – Text parallel to spine. – “Illustrations by V. Kubašta. © Artia, Prague, . Second edition . Printed in Czechoslovakia. ///-”– # Colophon] Collection of Ellen G.K. Rubin
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[Pop-up book:ˆ : Czech]
Kubašta,ˆ Vojtech, - [Artist]
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Špacek, Josefˆ [Author]
ˆ Mourek, kocicí detektivˆ = [Mourek, the mouse detective] / Josef Špacek; Vojtech, Kubašta. l. vydání = [st ed.] [Prague]: Orbis, c.
[] p.: col. ill., [ double-page pop-ups]; x cm.
ˆ [Hard bound. – Coverˆ title. – Text parallel to spine. – “. . . Napsal Josef Špacek. Ilustroval Vojtech Kubašta . . .” – Colophon] Collection of Ellen G.K. Rubin #
# [Pop-up book:ˆ : English] Kubašta, Vojtech, - [Artist] The little auto. London: Murrays Sales and Service Co., c. [] p.: col. ill., [ double-page pop-ups]; x cm. [Hard bound. – Cover title. – Text parallel to spine. – “Pop-ups with moving figures” – On front cover. – “Illustrations © by V. Kubašta. © by Artia, Prague. Printed in Czechoslovakia. ”– Colophon. – “Treasure Hour. ALP . ISBN: . Murrays Sales and Service Co., ‘Cresta House’ -, Holloway Road, London NDE – On back cover] Collection of Ellen G.K. Rubin
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ˆ Kubašta, Vojtech, - [Artist] ˆ Pionýrská stezka: sports, turistika, táborení, dobrodruzství = [Pioneer path: sport, tourism, camping, adventure] Prague: Mladá, -.
Various issues; . x cm.
ˆ ˆ [Czechoslovakian pioneer youth magazineˆ with frequent illustrations by Vojtech Kubašta. – Rocník ,#; Rocník IV, #, , , -, -] Collection of Dagmar Kubaštová Vrkljan
# [Greeting card:ˆ : Czech] Kubašta, Vojtech, - [Artist] [Little Red Riding Hood and the wolf] [Prague: The artist], .
# [Pop-up book:ˆ : Czech] col. pull-tab greeting card; . x . cm. Kubašta, Vojtech, - [Artist] [VK’s hand-made greeting card (Little Red Riding Hood and the
Balcar, Lubomir [Author] wolf) for Canadian granddaughters] Perníková chaloupka = [Hanselˆ and Gretel] / Verše, Collection of Dagmar Kubaštová Vrkljan Lubomir Balcar; ilustrace Vojtech Kubašta] .vyd.= [rd ed.] #
Praha: Orbis, c, . [Pop-up book:ˆ : Czech] [] p.: col. ill., [ double-page pop-ups]; x cm. Kubašta, Vojtech, - [Artist]
[Paper bound. – Cover title. – Text parallel to spine. – Printed in Fischerová, Daniela, - [Author]
continuous strips, glued, folded, and held together with two light O ptáku ohniváku a lišce ryšce = [Theˆ firebird and the
blue strings. – Spine bound with white cloth tape.ˆ – “Perníková clever fox] / Daniela Fischerová; Vojtech Kubašta. chaloupka.ˆ Verše Lubomir Balcar. Ilustrace Vojtech Kubašta. .vyd.= [n ed.] Praha: Orbis, c. Odpovedná redaktorka L. Junková. Výtvarný redaktor Jaroslav
Smutný. Vydal Orbis v Praze . Tisk Severografia Velký [ ] p.: col. ill., [ double-page pop-ups]; . x . cm.
ˆ Šenov.ˆ --. Vydáni . Náklad výtisku° . /. Cena [Hard bound. – Cover title. – Text parallel to spine. See also #] Kcs , - © Lubomír Balcar, – Illustrations © Vojtech Collection of Ellen G.K. Rubin Kubašta ”– Colophon. See also #, ] Collection of Ellen G.K. Rubin
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[Photograph: ] Sychrov, . ˆ Kubašta, Vojtech, - Paper; . x cm. [Ing. Arch. Vojtech Kubašta during a TV interview, Oct. , ] [Print of Kubašta’s country home in Sychrov, a small village outside Black and white photograph; x . cm. of Prague. Depicts VK in the garden and Mrs. Kubaštová on porch. See also #] Collection of Dagmar Kubaštová Vrkljan Collection of Dagmar Kubaštová Vrkljan
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# [Pop-up book:ˆ ;(): English] Kubašta, Vojtech, - [Artist] Animal band / [Illustrations by V. Kubašta] [London]: Brown Watson, c, . [] p.: col. ill., [ double-page pop-ups]; x . cm. [Hard bound. – Cover title. – Text parallel to spine. – “Illustrations by V. Kubašta. © Artia, . Reprinted . Printed in Czechoslovakia. ///-”– Colophon. – “PU -. Brown Watson. ISBN: -” – On back cover] Collection of Ellen G.K. Rubin
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Kubašta, Vojtech, - [Artist]
# Štíplová, Ljuba [Author]ˆ
ˆ [Shield (armor):ˆ ?] Pluje lod’ka po Vltave= [Sailing on the Vltava River] / Kubašta, Vojtech, - [Artist] Ljuba Štíplová, Vojtech Kubašta. Sir Vrkljan. . vydání. = [st ed.] Paper, paint, sequins, string, plastic; x cm. Praze: Orbis, . sheet ([] p.): col. ill.; x . cm. [Part of a knight’s costume Kubašta made for his granddaughter Brenda. – Includes accompanying color photograph of Brenda [Hard bound (unfolds in one continuous strip) – Cover title. See wearing the entire knight’s costume] also #] Collection of Dagmar Kubaštová Vrkljan Collection of Dagmar Kubaštová Vrkljan
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[Pop-up book:ˆ ;(): German] Watercolor; paper; x cm. Kubašta, Vojtech, - [Artist] [Original watercolor for #] Safari / [Illustrationen V. Kubašta] Collection of Dagmar Kubaštová Vrkljan Bayreuth: Gondrom, c, .
[ ] p.: col. ill., [ double-page pop-ups]; x cm. # [Hard bound. – Cover title. – Text parallel to spine. – [Watercolor painting:ˆ : English] “Sonderausgabe für Gondrom Verlag Bayreuth .© Artia Kubašta, Vojtech, - [Artist] Verlag, Prag. © Illustrationen V. Kubašta” – Colophon] Lennox: [Ontario Hydro, Kingston, Ontario, ] Collection of Ellen G.K. Rubin Watercolors, paper; . x . cm. [Original watercolor with schematic die-cut drawing overlayed.
# Dummy (mock-up) of a pop-up advertisement card for Lennox,
[Watercolor painting:ˆ ] Ontario Hydro, Kingston, Ontario, Canada, employer of VK’s Kubašta, Vojtech, - [Artist] ˆ son-in-law. Ad was never made] [Original watercolor for: Pluje lod’ka po Vltave = Collection of Dagmar Kubaštová Vrkljan
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ˆ [Greeting card (dummy) (souvenir card): : English] [Book: -ˆ : Czech] Kubašta, Vojtech, - [Artist] Kubašta, Vojtech, - [Artist]
Lennox: [Ontario Hydro, Kingston, Ontario, ] Škodová, H. (Helena) [Author]
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[Ontario, Canada: The artist, ] Škoda, Eduardˆ [Author] col. double-page pop-up (paper, watercolor, ink); Uz vím proc=ˆ [I know why] / Helena a Eduard Škodovi; x . cm. ilustroval Vojtech Kubašta. [Dummy (mock-up) of an advertisement card for the Canadian Praha: Albatros, - . “Lennox” power plant] v. (, p.) : col. ill.; . x . cm. Collection of Dagmar Kubaštová Vrkljan [Hard bound. – Includes illustrated endpapers by Kubašta] Collection of Dagmar Kubaštová Vrkljan
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[Greeting cardˆ (souvenir card): : Slovak] ˆ #
Kubašta, Vojtech, - [Artist] [Watercolor painting:ˆ -?] Jasná: Nízké Tatry CSSR. Kubašta, Vojtech, - [Artist] [Bratislava; s.n.], . [Head of a falcon] greeting card ([] p.); col. ill.; x . cm. Watercolor; paper; . x cm. [“-: Nízké Tatry, Jasná” – on cover. – Jasná is the name of a ski area located in Nízké Tatry [The Low Tatras] mountains Collection of Dagmar Kubaštová Vrkljan of what is now the Slovak Republic. See also #]
Collection of Dagmar Kubaštová Vrkljan #
[Packaging; calendar:ˆ -?: English; Czech]
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#b Kubašta, Vojtech, -ˆ[Artist] [Advertisement:ˆ n.d.: Slovak] Milk chocolate = Mlécná cokoláda. Kubašta, Vojtech, - [Artist] [Prague?: Tuzex, -?] Jasná: Nízké Tatry. package (with empty chocolate candy tray and attached [Prague: s.n., n.d.] display); x . cm. sticker; col. ill.; x . cm. # [Logo on self-adhesive sticker designed by Kubašta for the Jasná ski area located in Nízké Tatry [The Low Tatras] mountains of what is now the Slovak Republic. See also #] Collection of Dagmar Kubaštová Vrkljan
#c [Advertisement:ˆ n.d.; Slovak] Kubašta, Vojtech, - [Artist] Jasná: Nízké Tatry. [Prague: s.n.,n.d.] stamp; x . cm. [Logo on stamp designed by Kubašta for the Jasná ski area locat- ed in Nízké Tatry [The Low Tatras] mountains of what is now the Slovak Republic. See also #] Collection of Dagmar Kubaštová Vrkljan
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[Postcard: ˆ ?: Slovak; Russian; German, English] Kubašta,ˆ Vojtech, - [Artist] Blazek, J. [Photographer] Nízké Tatry = [Russian text] = Niedere Tatra = The Low Tatras. [Bratislava: Press Foto], ? color postcard; . x . cm. [Postcard with logo designed by Kubašta with four photographs of the Jasná ski area located in Nízké Tatry [The Low Tatras] mountains of what is now the Slovak Republic. See also #] Collection of Dagmar Kubaštová Vrkljan
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[Advent calendar featuring a movable snowman with a carrot nose #
bearing gifts. Below are punch-out numbers (the days of [Book: : English]ˆ December leading up to Christmas) in random order revealing a plastic tray (empty) originally holding pieces of milk chocolate Kubašta, Vojtech, - [Artist] candy. Sold only in Friendship shops for tourists and people with Tvrdíková, Michaela [Author]
foreign currency. – The tradition of the Advent calendar arose in Gissing, Vera [Translator] Germany in the mid-s. They were used by children to mark Folk tales and legends / Retold by Michaela Tvrdíková;ˆ the days of December leading up to Christmas. By the early th translated by Vera Gissing; illustrations by Vojtech century, calendars were printed commercially and consisted of a Kubašta. large card, decorated with a Christmas scene, incorporating little London: Octopus, . “doors,” one for each day of December up to Christmas Eve. Children would open that day’s door to discover another Christmas , i.e., [ ] p.: col. ill.; . x cm. picture (or piece of candy)] [Hard bound. – “This edition © by Artia, . – ISBN: Collection of Dagmar Kubaštová Vrkljan . Printed in Czechoslovakia. ///-” – Verso of title page. – See also #]
# Collection of Ellen G.K. Rubin [Postcard: ˆ-; Czech]
Kubašta, Vojtech, - [Artist] [Czechoslovakianˆ winter holiday scenes] / Kresba Vojtech Kubašta. Praha: Panorama, [-] color postcards [traveled]; . x . cm. [Published in Prague by Panorama and CSTK Press Foto] Collection of the Bienes Center for the Literary Arts
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# [Greeting card:ˆ : Czech] [Pop-up book:ˆ (): Arabic] Kubašta, Vojtech, - [Artist] Kubašta, Vojtech, - [Artist] Ahoj Philipe! = [Hi Philip!] Perrault, Charles, - [Author] [Prague: The artist, ] [Besbes, Al-Quitt al-theki = Puss in boots] / col. double-page pop-up; x cm. Illustrations by V. Kubašta. [Hand-made greeting card for VK’s grandson, Philip (image of ed. Benji, the dog, and “Cap’n Crunch cereal box)] [Algeria: Al-Muassasa al-watanyah lilkitab], . Collection of Dagmar Kubaštová Vrkljan [] p.: col. ill., [ double-page pop-ups]; x cm. [Hard bound. – Text in Arabic. – Cover title. – Text parallel to
spine. – “© by Artia, Prague. Second edition, . # ˆ ////. Printed in Czechoslovakia.” – Colophon] [Table display (pop-up): : Czech] Collection of Ellen G.K. Rubin Kubašta, Vojtech, - [Artist] Radostné Vánoce a st’astný Nový Rok = [Merry Christmas, Happy New Year]
# Praha: [s.n.], c. ˆ [Watercolor painting: ?] [] p.: col. ill., [one double-page pop-up]; x cm.
Kubašta, Vojtech, - [Artist] ˆ [Golem] [Nativity scene on the Charles bridge. – “...?j. / /TK. © Vojtech Kubašta, Praha, ”] Watercolor; paper; x . cm. Collection of Ellen G.K Rubin [Illustration for “Folk tales and legends. See item #, ]
Collection of Dagmar Kubaštová Vrkljan # [Book: : German]ˆ
# Kubašta, Vojtech, - [Artist] [Watercolor painting:ˆ ?] Tvrdíková, Michaela [Author]
Kubašta, Vojtech, - [Artist] Sagen aus aller Welt = [Folk tales and legendsˆ ] / Erzählt [Beowulf] von Michaela Tvrdíková; Illustrationen von Vojtech Kubašta. Watercolor; paper; x . cm. Erlangen: Verlag Karl Müller, c. [Illustration for “Folk tales and legends. See item, #, ] , i.e., [ ] p.: col. ill.; . x cm. Collection of Dagmar Kubaštová Vrkljan [Hard bound. – See also #] Collection of Ellen G.K. Rubin
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# [Watercolor painting:ˆ ] Kubašta, Vojtech, - [Artist] [Shrew and friends] Watercolor, paper; . x . (Framed: x cm) [“Sychrov; .X,, [signed] V. Kubašta” – on top left – He painted this picture the day his wife gave him a gravesite for his th birthday. See also #] Collection of Dagmar Kubaštová Vrkljan
# [Greeting card:ˆ : Czech] Kubašta, Vojtech, - [Artist] Veselé velikonoce, = [Happy Easter, ] [Prague: The artist], . col. pop-up; . x . x cm. [VK’s hand-made family greeting card (pink rabbit holding an Easter basket with colored eggs). His daughter, Dagmar, was instructed to fill the basket with candy for her children] # Collection of Dagmar Kubaštová Vrkljan
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ˆ [Watercolor paint set: ?] [Watercolor painting:ˆ ] Kubašta, Vojtech, - [Artist] Kubašta, Vojtech, - [Artist] [Watercolor paints] [Still life: floral arrangement in mug] Tin; x . x cm. Watercolors, ink, paper; x . cm. [Two watercolor paint sets used by Kubašta with handkerchief [Signed: V. Kubašta. Peterborough, [Ont.]: ..] used to clean brushes] Collection of Dagmar Kubaštová Vrkljan Collection of Dagmar Kubaštová Vrkljan
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[Greeting card:ˆ : Czech] col. double-page pop-up; x cm. Kubašta, Vojtech, - [Artist] [VK’s hand-made pop-up greeting card (Native American scene [Knight on horse carrying a bag of candy and a flag: with teepee) for his Canadian granddaughter] dated ..] Collection of Dagmar Kubaštová Vrkljan [Prague: The artist], .
col. greeting card; x cm. # [Vk’s hand-made birthday card for his Canadian grandson, [Greeting card:ˆ : Czech] Philip] Kubašta, Vojtech, - [Artist] Collection of Dagmar Kubaštová Vrkljan Ahoj!!! Philip! = [Hi!!! Philip!] [Prague: The artist, ]
# col. double-page pop-up; x cm. ˆ [Greeting card: : Czech] [VK’s hand-made pop-up greeting card (Native American scene Kubašta, Vojtech, - [Artist] with totem pole) for his Canadian grandson] Ahoj!!! Brenda! = [Hi!!! Brenda!] Collection of Dagmar Kubaštová Vrkljan
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[Pop-up book: : English] [Invitation: ˆ : Czech]
Kubašta, Vojtech, - [Artist; author] Kubašta, Vojtech,ˆ- [Artist] All at sea [Tip + Top] / [Illustrations by V. Kubašta] Ze zásuvek V[ojtecha] Kubaštyˆ . . . , - = [From the st ed. chest of drawers of V[ojtecha] Kubašty . . . , -] England: Brown Watson, . [Prague]: Louny, . [] p.: col. ill., [ double-page pop-ups]; invitation ([] p.); ill.; x cm.
. x . cm. – (An all-action pop-up picture storybook; ˆ ˆ
[“Okresní knihovna K. Konráda v Lounech, zve Vás a Vašeˆ [AAP ]) prátele na výstavu,ˆ Ze zásuvek Vojtech Kubašty ...Vernisáz [Hard bound. – Cover title. – Text parallel to spine. – výstavy je . ríjna v hodin, po ní následuje beseda s
“Illustrations by V. Kubašta. ©Artia, Prague . First edition, autorem” = “The K. Konrad’s District Library in Louny invites . Printed in Czechoslovakia. ////-”– Colophon. you andˆ your friends to the exhibition ‘From the chest of drawers – “All-action pop-up picture storybooks. Collect all the titles in of Vojtech Kubašta.’ The opening is on October , ,at a.m. this exciting series ...Down on the farm; Day at the zoo; Up in and will be followed by a conversation with the author.”– p. [ ] the air; Moon rocket; All at sea. AAP-. Brown Watson, England. Collection of Dagmar Kubaštová Vrkljan ISBN X” – On back cover]
Collection of Ellen G.K. Rubin # [Greeting cardˆ (souvenir card): ?: English, etc.]
# Kubašta, Vojtech, - [Artist] [Pop-up book:ˆ ;(): German] Kubašta, Roman [Maker] Kubašta, Vojtech, - [Artist; author] Praha: Prague: Old Jewish Cemetary = Prag: Alter Reise zum Mond [Tip + Top] = [Tip + Top and the Jüdischer Friedhof = Prague: vieux cimetare juif = moon rocket] / [Illustrationen von V. Kubašta] Praga: viejo cementerio judio / Illustrations V. Kubašta. [Germany]: Gondrom, c, . [Prauge: s.n., ?] [] p.: col. ill., [ double-page-pop-ups]; . x . cm. – greeting card: col. ill., [ double-page pop-up]; . x cm. ([An all-action pop-up picture storybook]) [“© R. Kubašta GPS. Contact: Prague , Vltavská , [Hard bound. – Cover title. – Text parallel to spine. – “Mit Czechoslovakia, [tel] /, /”] beweglichen Bildern” – On front cover. – “Sonderausgabe für Collection of Ellen G.K. Rubin den Gondrom Verlag Bindlach . Illustrationen von V. Kubašta. © Artia, Prag . ///-”– Colophon.–
“Mit den Bildern in diesem Buch kann man spielen. In dieser Reihe # liegen vor: Im Zoo; Reise zum Mond; Schiffe; Flugzeuge; Auf dem [Greeting card:ˆ ?: English, etc] Bauernhof. Gondrom. ISBN ” – On back cover] Kubašta, Vojtech, - [Artist]
Collection of Ellen G.K. Rubin Kubašta, Roman [Maker] [Rickyˆ the Rabbit Easter display card] / Illustrations: Vojtech Kubašta; Roman Kubašta.
Praha: Gamon Studio, ?
greeting card: col. ill., [ double-page pop-up]; . x cm. [Greeting card + envelope + instructions (English, German,ˆ French, Italian, Czech, Slovak). – “Illustrations: Vojtech Kubašta. Made in Gamon Studio, Roman Kubašta, P.O. Box , Praha , Czech Republic”] Collection of Ellen G.K. Rubin
# # [Table displayˆ (pop-up): ?: Czech]
Kubašta, Vojtech, - [Artist]
Kubašta,ˆ Roman [Maker] Vánocní Betlém =ˆ [Bethlehem Christmas] / Illustrations, Vojtech Kubašta; Roman Kubašta. Praha: Gamon – Roman Kubašta, [?] table display: col. ill., [ pop-up]; x cm.
#
#
# ˆ [Table display + instructions sheet. – “Illustrations: Vojtech Kubašta. Vydalo nakladatelství a vydavatelství. Gamon – Roman Kubašta, P.O. Box , Praha , Czech Republic. Tel./Fax: () ”] Collection of Ellen G.K. Rubin
# [Pop-up book:ˆ : Czech] Kubašta, Vojtech, - [Artist; author]
Škodová, H. (Helena) [Author] Škoda, Eduard [Author] ˆ
[Counting Series] Byla jednou jedna ...Dvanáct mesícu° = [There was one daisy ...The twelve months]ˆ / Text, Helena a Eduard Škodovi; illustrations, Vojtech Kubašta. Prague: Aventinum, . – ([Counting series])
v.; col. ill.; x cm.
ˆ
ˆ ˆ ˆ
[Paper bound in slip case. – CONTENTS: , Bylaˆ jednou jedna;
ˆ
, DVA kamarádi; , Triˆ prání; , Ctyrí kola; , Pet malých
ˆ
prasátek; ˆ, Šest zpevácku° ; , Sedm trpaslíku° ; , Osm tónu° ; , Devet kuzelek;ˆ , Deset medvídku° ; , Jedenáct proti jedenácti; , Dvanáct mesícu° . – See also #] Collection of Ellen G.K. Rubin
#
[Death notice:ˆ: Czech] Kubašta,ˆ Vojtech, - Ing. Vojtech Kubašta. [Prague], Helena Kubaštová, . leaf; x cm. [Death notice prepared by VK’s wife, Helena] Collection of Dagmar Kubaštová Vrkljan
#
# [Advertisementˆ (souvenir card): ?: Czech]
Kubašta, Vojtech, - [Artist] Kubašta,ˆ Roman [Maker] CSL: Praha = Prag = Prague = Praga / For Czech Airports Administration. [Prague]: Gamon Studio, ? advertisement: col. ill.; [one double-page pop-up]; . x . cm. [“For Czech Airports Administration, made by Gamon© studio, Vltavská , Praha , Czech Republic”] Collection of Ellen G.K.Rubin
# [Map: ?: Czech]ˆ Kubašta, Vojtech, - [Artist] Praha. [Prague: s.n., ?] sheet; col. ill.; x cm. Collection of Ellen G.K.Rubin
#
SELECTED BIBLIOGRAPHY/WEBLIOGRAPHY
Artia Verlag. Bücherverzeichnis, -. Praha, Artia, . p. Becker, Edwin; and Roman Prahl; Petr Wittlich; editors. Prague : poetry and ecstasy. Amsterdam: Zwolle: Van Gogh Museum; Waanders Uitgevers, . p. Bethnal Green Museum of Childhood. The Renier Collection of Historic and Contemporary Children’s Books: moveable books. London, England: The Musuem, . p. Bibliothèque municipale de Rouen. Livres animés e-e siécle / Christian Nicaise. [Rouan, France]: The Library, . p. (Exhibition Sept.-Oct. ) Bohatcová, Mirjam. The Czech book and the world. Prague, Artia, (c). p. Bohning, Gerry; Ann Phillips; Sandra Bryant. Literature on the move: making and using pop-up and lift-flap books by Gerry Bohning, Ann Phillips, Sandra Bryant; illustrated by Sandra Bryant. Englewood, CO: Teacher Ideas Press, . p. Book Finders International. The modern pop-up, -. Elgin, SC: Book Finders International, [?]. p.
Canemaker, John. The art and flair of Mary Blair: an appreciation. st ed. New York: Disney Editions, . p. Carter, David A. The elements of pop-up: a pop-up book for aspiring paper engineers. New York: Little Simon, c. v. (unpaged)ˆ The Czech bookworld: basic facts about the book culture in the Czech Republic = Tschechische Buchwelt. [Prague?]: Svazcych knihkupcu° a nakladatelu° ,c. p. Cooper-Hewitt Museum. Surprise! Surprise! : pop-up and moveable books: checklist of the exhibition, Cooper-Hewitt Museum, October --February , / curated by Katharine Martinez. [New York: The Museum?, ?] [] leaves. Dawson, John Michael. Children’s pop-ups, movables and novelty books: a short history for collectors, part II. Movable Stationery,v.,#
(Dec. ). ——-. The collectible children’s curiosities of Vojtech Kubasta.ˆ Biblio, v. # (Jan. ), -. ——-. The pop-up and movable children’s books of Vojetch Kubašta: a tentative check-list of titles. [Self-published], August .[] p. ——-. A short history of pop-ups and movable books. Children’s Books History Society Newsletter,# (July, ), -. de Geest, François. Jos. Lefebvre: Felmish publisher of pop-up books with Artia and Carvajal. Movable Stationery,v.,# (August ). ——-. Diogenes from Antwerp: a Publisher of Kubašta Books in Belgium. Movable Stationery,v.,# (Nov. ), , -.
Disney, Walt. The quotable Walt Disney / edited by Dave Smith. st ed. New York: Disney Editions, . p. Eyre, Frank. British children’s books in the twentieth century. New York:ˆ E.P. Dutton, . p. Findlay, James A. Paper Engineering: the Pop-up Book Structures of Vojetch Kubašta, Robert Sabuda, and Andrew Binder. Ft. Lauderdale, FL: Bienes Center for the Literary Arts, . p. ——-. Pop-up, peek, push, pull, scratch, sniff, slide, spin, lift, look, listen, raise, lower, unfold, turn, open, close: an exhibition of mov- able books and ephemera from the collection of Geraldine Roberts Lebowitz. Ft. Lauderdale, FL: Bienes Center for the Literary Arts, .– p. Fox, Geoff. Movable books [IN: Children’s book publishing in Britain since / edited by Kimberley Reynolds and Nicholas Tucker] Aldershot, England: Scolar Press, .pp.-. Franchi, Pietro. Apriti libro! : meccanismi, figure, tridimensionalità in libri animate dal XVI al XX secolo. Ravenna, Italy: Essegi, c. p. Fundació Caixa de Girona. Pop-up: llibres movibles i tridemensionals: exposició, del de desembre del al de gener del [by]
Arcadi Calzada; Quim Corominas. Girona: Fundació Caixa de Girona, Centre Cultural de Daixa de Girona, . p. Gielen, Theo. Vojtech Kubašta: an Exhibition in Berlin. Movable Stationery,v.,# (Feb.ˆ), , -. Gubig, Thomas and Sebastian Köpcke. Pop-up: die dreidimensionalen Bücher des Vojtech Kubašta. Berlin, Germany: Gubig & Köpcke, . p. Haining, Peter. Movable books: an illustrated history: pages & pictures of folding, revolving, dissolving, mechanical, scenic, panoramic, dimensional, changing, pop-up and other novelty books from the collection of David and Briar Philips. London: New English Library, . p. Hemingway Western Studies Center. Pop-up books for adults & other children: July- September , Hemingway Western Studies Center, Boise State University, Boise, Idaho / Tom Trusky. Bosie: The Center, . p. Holesovský, Frantisek. Cestí ilustrátori v soucasné knize pro deti a mládez. . vyd. Praha, Albatros, . p.
Hoole, John and Tomoko Sato. Alphonse Mucha. London: Lund Humphries in association with Barbican Art Gallery, . p. Hürlimann, Bettina. Three centuries of children’s books in Europe. [st. US ed.] Cleveland, OH: World Publishing, c, . p. Laub, Peter; mit einem Beitrag von Hildegard Krahe; herausgegeben vom Salzburger Museum Carolino Augusteum. Spielbilderbücher: aus der Spielzeugsammlung des SMCA; die Sammlung Hildegard Krahe; Katalog zur Sonderausstellung im Spielzeugmuseum des Salzburger Museums Carolino Augusteum, . Juni bis . Oktober . Salzburg: Salzburger Museum Carolino Augusteum, . p. McGrath, Leslie A. This magical book: movable books for children, -. Toronto, Toronto Public Library, Osborne Collection of Early Children’s Books. p. McLoughlin Bros, Inc. Catalogue of toy books, games &c. manufactured by McLoughlin Brothers. New York (Nos. and Duane Street): McLoughlin Brothers, .– [] p. Martin, Douglas. The telling line: essays on fifteen contemporary book illustrators. New York: Delacorte Press, . p. Montanaro, Ann. A concise history of pop-up and movable books, IN: Pop-up, peek, push, pull, scratch, sniff, slide, spin, lift, look, lis- ten, raise, lower, unfold, turn, open, close: an exhibition of movable books and ephemera from the collection of Geraldine Roberts Lebowitz. Ft. Lauderdale, FL: Bienes Center for the Literary Arts, .– p.-. ——-. Pop-up and movable books: a bibliography. Metuchen, NJ; Lanham, MD: Scarecrow Press, , . v. Movable stationery.V.,# (Sept. )- . New Brunswick, NJ: The Movable Book Society, - . (Quarterly newsletter) Pop-ups!: a guide to novelty books. London: Booktrust, [?] p. Rubin, Ellen G.K. Czech it out! Book Source Monthly,v.,# (Oct. ). Škodová, Helena; Škoda, Eduard. Kubašta: Souborná výstava k. narozeninám. Prague: Galerie D., -. Škodová, Helena; Škoda, Eduard. Opus V.K.: Soupis díla Vojtecha Kubašty, Zdiby: MNV, OPS, . p. — (Edice zpravodaje Zdiby ’)
Steiner, Evgeny. Stories for little comrades: revolutionary artists and the making of early Soviet children’s books. Seattle; London: University of Washington ˆPress, . p. Štorch-Marien, Otakar. Vojtech Kubašta: Grafické Práce pro “Aventinum” [by] Dr. Otakara Štorcha-Mariena. [S.l.: s.n, ?] -D graphics. Tokyo, Japan: P I E Books; Düsseldorf, Germany: Nippan, . p. Tillman, Albert. Pop-up! Pop-up!: [pop-up books: their history, how to collect them and how much they’re worth]. Olga, WA: Whalestooth Farm Publications, . p. Toman, Prokop. Nový slovník ceskoslovenskýcj výtvarných umelcu. Ostrava: Výtvarné centrum Chagall, -. v. Watts, Steven. The Magic Kingdom: Walt Disney and the American way of life. Boston: Houghton Mifflin, . p. Whitton, Blair. Paper toys of the world. Cumberland, MD: Hobby House Press, . p. Yale University. Arts of the Book Collections. Eccentric books: Arts of the Book, Yale University Library, January-March , an exhibit: eccentric books from the Yale University Library collections / Gay Walker. New Haven, CT: Yale University Library, . p. Yokoyama, Tadashi. The best of -d books. Tokyo, Japan: Rikuyo-sha, . p. http://www.libraries.rutgers.edu/rul/libs/scua/montanar/p-ex.htm The pop-up world of Ann Montanaro www.lib.udel.edu/ud/spec/exhibits/child/ Hugh M. Morris Library, Special Collections University of Delaware Library Newark, Delaware “The World of the Child: Two Hundred Years of Children’s Books” Curated by Iris R. Snyder. www.library.unt.edu/rarebooks/exhibits/popup/kubasta.htm University of North Texas Rare Book and Texana Collections “Pop-up and Movable Books: A Tour through their History: Voitech Kubasta” www.library.unt.edu/rarebooks/exhibits/popup/popup/default.asp University of North Texas Rare Book and Texana Collections “The great menagerie: the wonderful world of pop-up and movable books, -.” www.lib.virginia.edu/speccol/exhibits/popup/kubasta.html University of Virginia “Voitech Kubasta: Pop-up Innovator” www.popuplady.com Website of Ellen G.K. Rubin http://www.rci.rutgers.edu/~montanar/movlet.htm The Movable Book Society The Movable Book Society was organized in to provide a forum for collectors, artists, curators, book sellers, book producers and others to share enthusiasm and exchange information about pop-up and movable books. The Society has nearly members worldwide.
CHECKLIST INDEX OF AUTHORS, ARTISTS, AND
CORPORATE AUTHORS A M ˆ Andersen, H.C. (Hans Christian), # Mac, J., # Artia [Company], # MacDonald, Betty Bard, # MacMurray, Fred, #
B Marien, Otakar Štorch, SEE: Štorch-Marien, Otakar ˆ
Balcar, Lubomir, # Mikysa, Karel, # ˆ Bednár, Kamil, # Milne, A.A. (Alan Alexander), # Blazek, J., # d Mozart, Wolfgang Amadeus, #,
Buchner, Alexandr, # Burian, Vlasta, # N ˆ Necas, Jaroslav, #
Cˆ Novák, Jirí Zdenek, # Cajda, Ivan, # Novotný, Antonín, # Carroll, Lewis, #
Cid, # P Colbert,ˆ Claudette, # Perrault, Charles, #, , , Cubr, Antonín, # Picasso, Pablo, # Pilsner Beer [Company], # D Probošt, Josef, # Defoe, Daniel, # Dolonit [Company], # R Rázusová-Martáková, Mária, # E Rusbridge, Daphne, # El Cid, SEE: Cid S F Škoda, Eduard, #, Fischerová, Daniela, # Škodová, H. (Helena), #,
Škodovi, Eduard, SEE: Skoda, Eduard
G ˆ Škodovi, Helena,ˆ SEE: Škodová, H. (Helena)
Gissing, Vera, # Sovák,ˆ Cenek, # Grimm, Jacob, #, , , Špacek, Josef, # Grimm, Wilhelm, #, , , Stanovský, Vladislav, # H Stašková, Hana, # Háj, J., # Štiplová, Ljuba, # ,
Hal’amová, Maša, #, Štorch-Marien, Otakar, # , ˆ Havlík, L., # Šugar, V., # Hons, Josef, # Svetlá, Karolína, # Horák, Jan, # Swift, Jonathan, # Hus, Jan, # T I Telgársky, J., # Illnerová, R., # Tesla Electric Bulbs [Company], # , Tvrdíková, Michaela, #,
J
ˆ
Janouch, Jaroslav, # V ˆ
Vancura,ˆ Jirí, # K ˆ Vojcek, A., #
Kalista, Zdenek, #
Kubašta, Roman,ˆ #, , , W ˆ Kubašta, Vojtech, #- Walt Disney Productions, # , , Wirth, Zdenek, #
L
ˆ Lada [Sewingˆ Machines] [Company], #, Lapácek, Jirí, #
CHECKLIST INDEX OF TITLES
A Cuento del principe rico y de la muchacha diligente, # Adoptez-les sans hésitation, # [Czech country house at night], # Ahoj!!! Brenda!, # [Czechoslovakian winter holiday scenes], # Ahoj Dagmar!, #
Ahoj!!! Philip!, # D
ˆ ˆ ˆ ˆ Ahoj Philipe!, # The day of the bison hunt, # [Aladdin and the magic lamp], # Devcata – peknevás vítáme: Napanee, R.R.# [Canada]; Aladin, # . . : Praha , Vltavská [Prague], # Aladin a kouzelná lampa, # [Development of cloth weaving methods], # Alice in Wonderland, # [The dragon who would not wash], # An all-action pop-up picture storybook, #, All at sea [Tip + Top], # E Animal band, # [The egg and I], # Arabské pohádky z noci, # [The aristocats: a pop-up book . . .], # F [Firebird], # Les aristochats: album en relief ...,# Artia: P.F., ,# [The firebird and the clever fox], # [The fisherman and his wife], # [At the Gates of Toledo, Spain: a novel for young people about the heroic life of El Cid], # Der fliegende Koffer, # [Floral arrangement in mug], # B [Flying through the universe], # Bambi, # [The flying trunk], #
The beer which is popular all over the world, # Folk tales and legends, #, , , La bella durmiente, # [Folk tales of Africa], # ˆ [Beowulf], # [From the chest of drawers of V[ojtecha] Kubašty ...,-
[Besbes, Al-Quitt al-theki], # ], #
[Bethlehem Christmas],ˆ # [From the Nation to the Nation: Greetings from Prague], # The Bethlehemˆ of Trebechovice, # Betlehem z Trebechovíc, # G [Bremen town musicians], # [Girls – we welcome you: Napanee, R.R.# [Canada]; . . :
Bright light during the day . . . bright light in the evening ensured Praha , Vltavská [Prague], #
ˆ by the Tesla Electricˆ Bulb, # Gloria in Excelsis Deo, # Brnenské Výstavište: pozdrav z Brna, # [Goat with blue butterfly], # Brno, # Goldilocks and the three bears, # [Brno Exhibition Grounds: welcome to Brno], # [Golem], # [Buremen no ongakutai], # [The grasshopper and the ants], # [Gulliver in Lilliput], # C Gulliver v Liliputu, # A Christmas tale, # Christopher Columbus, SEE: How Columbus discovered America H
[Cinderella], # Hans og Grete, #
ˆ [Clocks], # ˆ [Hansel and Gretel], #,#
Co vyprávela Afrika detem, # [Hansel and Gretel block puzzle], # [Countingˆ series]; #, [Happy Easter, ], # CSL: Praha = Prag = Prague = Praga, # [Head of a falcon], #
ˆ
[Helena, Helenka a Vojtech Kubaštovi announce the birth of [Ministry of Domestic Commerce, -: Distribution serv-
ˆ ˆ ˆ DAGMAR], # ˆ ice to the entire nation], # Helena, Helenka a Vojtech Kubaštovi oznamují ze se jim narodila Mis[s] Brend[a] [Vr]kljan, P[e]terboro . . . hodne zdraví a štestí!, DAGMAR, # #
Hi!!! Brenda!, # [Mis[s] Brend[a] [Vr]kljan, P[e]terboro . . . lots of health and
ˆ [Hi Dagmar!], # happiness],ˆ # Hi!!! Philip!, # Mlécná cokoláda, #
[Hi Philipe!], # Moko and Koko in the jungle, #
ˆ Der Hirtenprinz: Die weisse und die schwarze Karoline, # [Monkey carryingˆ a jug of wine?], # Hodinky, # Mourek, kocicí detektiv, #
The House at Pooh, # [Mourek, the mouse detective], #
How Columbusˆ discovered America, # Mozart and Prague, # [Hradcanyˆ Castle: welcome to Prague], # [Mozart in Prague], # Hradcany: pozdrav z Prahy, # Mozart v Praze, # [My father, myself, and my friend, posing for a home picture for
I Tip and Top series], #
[I know why], #ˆ
ˆ
[Ing. Arch. Vojtech Kubašta during a TV interview, Oct. , N ˆ
ˆ
],ˆ # Nácrtník – Vojtech Kubašta, # Ing. Vojtech Kubašta, # Národ Sobe!: Pozdravˆ z Prahy, #
O nemytém dráckovi, # J ˆ Niedere Tatra, #d [Jan Hus]: IV Bud’. Národe Posvecený v Bohu. Neumírej: - - [sketchbook], #
,# Nízke Tatry, #, a, b, c, d ˆ Jasná: Nízké Tatry, # Novigrad, #
Jasná: Nízké Tatry CSSR, #a, b, c
ˆ ˆ [Jasná: The Low Tatras],ˆ O Jezek Píchácek mezi zvírátky, # [Old Prague: a guide to its beautiful, historical, and secluded [Joyful stories for children], # places], # [Old Town clock], # K [Ontario Hydro, Kingston, Ontario, ], #,
Klementinum, # [Open sesame], # ˆ
[Knight on horse carrying a bag of candy and a flag: dated [Originalˆ watercolor for: Pluje lod’ka po Vltave = Sailing on the ˆ . . ], # Vltave River], # Die Krippe aus Trebechovice, # Orloj, # Kül Kedisi, # P Panascopic Model Books, #, , , , , L [Paper engineering], # [Lada, a sewing machine that every woman dreams of owning], Perníková chaloupka, # #
Pilsner Urquell: the beer which is popular all over the world, #
Lada, pour laquelle soupirent toutes les femmes!, # ˆ [Pioneer path: sports, tourism, camping, adventure], #ˆ
Lennox: [Ontario Hydro, Kingston, Ontario, ], #, Pionýrská stezka: sport,ˆ turistika, táborení, dobrodruzství, # Letíme vesmírem, # Pluje lod’ka po Vltave, #, The little auto, # [Polar flight], # [Little Red Riding Hood and the wolf], # The poor boy and the cats, # El lobo y los siete cabritillos: cuento de dibujos animados en - Prag: Alter Jüdischer Friedhof, # dimensiones, # Praga: Aladin, # Le loup et les deux petits cochons, # Praga: viejo cementerio judio, # The Low Tatras, #d Prague = Praha = Prag = Praga, # [Prague nativity scene], # M La machine à coudre, Lada, pour laquelle soupirent toutes les [Prague Old Town clock], # femmes!, # [Prague street scene], # [Magician?], # Prague: vieux cimetare juif, # [Man and woman with radio], # Praha [map], # Märchen aus aller Welt, # Praha – Orloj, #
Marco Polo, SEE: The voyage of Marco Polo Praha = Prag = Prague = Praga, # ˆ [Mecca], # Praha: Prague: Old Jewish Cemetary, # [Medieval knight], # Prazský betlém, # Medvídek Pu, # Pilsner Urquell: the beer which is popular all over the world, # [Merry Christmas, Happy New Year], # [Prickly Hedgehog among the animals], #
Micky Maus als Filmstar, # Prostor z papíru, #
° ˆ Milk chocolate, # ˆ Pruvodce po jejích krásách, památkách a zákoutích, #
Ministerstvoˆ vnitrního obchodu: -: Disbribuce slouzí O ptáku ohniváku a lišce ryšce, # celemu národu, # [Puss in boots], #
ˆ ˆ Q U ˆ Que dois-je offrir à ma bien-aimée? La machine à coudre, Lada, U Toledské brány : Román pro mládez o bohatýrském zivote
pour laquelle soupirent toutes les femmes!, # Cida Campeadora, #
ˆ [Queen of the bells], # [Use them withoutˆ hesitation], # Uz vím proc, # R
Radostné Vánoce a st’astný Nový Rok, # V Reise zum Mond [Tip + Top], # Valašské pohádky, # ˆ
[Ricky the Rabbit Easter display card], # Valdštejnský Palác v Praze: pet pu° vodních kolorovaných grafik, Robinson Crusoe, # #ˆ Roman, Mrs. Zuzana [Neff]; Jackie], # Vánocní Betlém, #
[Roman; Pani Zuzana; Jackie, # Vejce a já, #
ˆ
[Rooster, cat, dog, sheep and man], # Veselé velikonoce, ˆ,#
ˆ
[Theˆ runaways and the robbers], #, Veselé vyprávení detem, #
Rytír, # [Vojtechˆ Kubašta self portrait in Arab dress], # [Vojtechˆ Kubašta’s sister, Jarmila, -], # S [Vojtech Kubašta teaching at Rotter School of Graphic Design, Safari, # Prague], # Sagen aus aller Welt, # , , , [Volkswagon beetle towing cloud with King and his court?], #
[Sailing on the Vltava River], # , Von dem Fischer und seiner Frau, # ˆ [St. Christopher], # The voyage of Marco Polo, #
[Satirical stage set and performance of Robert Jecný directing four dancing Jan Pokornys],ˆ # W [School workbook – Vojtech Kubašta], # [Waldenstein Palace in Prague: five original colored plates], # [Seamstress in window], # [Wallachian fairy tales], # Sedm havranu° ,# Walt Disney: das Aufstellbuch von Micky Maus als Filmstar, [Self portrait at age ], # # Sesame, ouvre-toi, # [Walt Disney pop-up book: Mickey Mouse, movie star], # [The seven ravens], # Walt Disney Productions presente: Les aristochats: album en [The Shepherd Prince: the white and black Karolines], # relief ...,# [Shrew and friends], # Walt Disney présente un album en relief: Bambi, #
Sing a song of sixpence and other nursery rhymes, # [Water color paints], #
ˆ ˆ ˆ
Sir Vrkljan, # ˆ What do we need to add to our contentment? A Tesla radio!,
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Sjezd Remesla: Praha - . Ríjnaˆ . . Ríjna: Manifestacní # Pruˆ ° vod Prahou: USCSR: Ustrední Svaz Ceskoslovenského [What should I give my darling? Lada, a sewing machine that Remesla: První v Boji První v Praci, # every woman dreams of owning!], # [Sketch of a bull’s head], # [White series], #, Sleeping beauty, #, , [Winnie the Pooh], # Stará Praha: pru° vodce po jejích krásách, památkách a zákoutích, [The wolf and the seven little goats: a tale of animated drawings # in -D], #
[Still life: floral arrangement in mug], # [The wolf and the two little pigs], #
[Stillˆ life with flowers], #
Svrcek a mravce, # Z ˆ
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ˆ ˆ
Sychrov, ,# Ze zásuvek V[ojtecha] Kubašty . . . , - ,#
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Zikešova prazského špalícku,ˆ # T Zvírátkaˆ a sedm loupezníku° ,#, [The tale of the rich Prince and the diligent girl], # Zvonecková královna, # A Tesla radio!, # Three is a crowd, # The three little pigs, # [ Arabian nights], # [Tip +Top] All at sea, # Tip + Top [+] Tap go flying, # [Tip + Top and the moon rocket], # Tip + Top build a motorcar, # [Tip + Top] Reise zum Mond, # Tip, Top: see you in our next book, # The tournament, # [The tourist: a protector of nature: does not destroy, does not damage, and does not disturb], # [Tracks and bridges], # [Trade Convention, Prague October -: Parade through Prague on October : Central Union of Czechoslovak
Trade: First in Battle, First in Labor], # O tratích a mostech, # ˆ Turista-ochranca Prírody: nenivocí, nepoškodzuje, neplaší, #
CHECKLIST INDEX OF PUBLISHERS
A Merkur, # Albatros, # Mladá, # Al-Muassasa al-watanyah lilkitab, # Mladé létá, # , , Amenax Sales, # Mondiales del Duca, Éditions, SEE: Éditions Mondiales del Duca Artia, #, , , , , , Mondiales, Éditions, SEE: Éditions Mondiales
Aventinum, #, , Murray’s Sales and Service Co., #
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B N ˆ Bancroft & Co. (Publishers) Ltd., #, , , , , , , , Nakladatelˆ Dolezal, SEE: Dolezal , , , , , , , Nová osveta, # Brown Watson, # , O C Octopus, # Carlsen Verlag, #, Orbis, # , , , , , CSTK Press Foto, # P D Panorama, #, Delphin Verlag, # Paul Hamlyn, #
Disneyˆ Productions, Walt, SEE: Walt Disney Productions Pilsner Beer [Company], # Dolezal, #, , , Press Foto, # d Dolonit [Company], # S
E Schulz-“Svoboda”, M., SEE: M. Schulz-“Svoboda” ˆ Éditions LYS Kortrijk/Belgique, #, SFVU, # Státní nakladatelství detské knihy, # Éditions Mondiales, # Éditions Mondiales del Duca, # Südwest Verlag, # “Svoboda,” M. Schulz, SEE: M. Schulz-“Svoboda” F Forlaget Fremad, # T Tesla Electric Bulbs [Company], #, G Tuzex, # Gamon Studio, #, ,
Gondrom, #, V
Verlag Karlˆ Müller, #
ˆ
H Vladimír Zikeš, #, ˆ Hamlyn, Paul,ˆ SEE: Paul Hamlyn Votocek, Hynek, SEE: Hynek Votocek
Hynek Votocek, # Vydali Mladé létá, SEE: Mladé létá
Vyšehrad, #, ˆ K Vytiskly Severoslovenskéˆ tlaciarne, # Karl Müller, Verlag, SEE: Verlag Karl Müller Vytiskly Tlaciarne SNP, # KLHU, #, Kovo, # W Walt Disney Productions, #, , L Watson, Brown, SEE: Brown Watson
Lada [Sewing Machines] [Company], #
ˆ Louny, # Z ˆ LYS Kortrijk/Belgique, Editions, SEE: Editions LYS Zikeš, Vladimír, SEE: Vladimír Zikeš Kortrijk/Belgique M M. Schulz-“Svoboda”, # Melantrich, #
CHECKLIST INDEX OF LANGUAGES A G Arabic, # , German, #, , , , , , , , d, , C J Czech, # , , , , , , , , , , , , , , , , , Japanese, # , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , R , , , , Russian, #d D S Danish, # Slovak, #, , , , , , , a, b, c, d Spanish, #, , , E English, #, , , , , , , , , , , , , , , , T , , , , , , , , , , , d, , , , Turkish, # , F French, #, , , , , ,
CHECKLIST INDEX OF FORMATS A M Advertisement, #, , , , , , , , , b, c, Magazine, # Announcement, SEE: Birth Announcement; Death notice Magazine article, # Map, # B Mosaic (photograph), # Birth announcement, # Book, #, , , , , , , , , , , , , , , P Book (leporello), # Packaging, #, , Book jacket, # Painting, #, Periodical, SEE: Magazine C Photograph, #, , , Calendar, # , Photomontage, # Ceramic, # Pop-up book, #, , , , , , , , , , , , , , Correspondence, # , , , , , , , , , , , , , , , , , Cup, # , ,, , , , , , , , , Cut-out book, # , Pop-up book (diorama), # D Portfolio, # , Postcard, #, , d, Death notice, # Poster, #, , , , , Die-cut book, SEE: Cut-out book Puzzle, # Diorama book, SEE: Pop-up book (diorama) Display card, SEE: Advertisement S Drawing, # , , Shaped book, #, Dust jacket, SEE: Book jacket Shield (armor), # G Sketchbook, # , Souvenir card, SEE: Greeting card; Advertisement Greeting card, #, , , , , , a, , , , , , T Greeting card (dummy), # Table display, #, , , , , , I W Invitation, # Watercolor painting, #, , , , , , , , , , , , , J , , , Watercolor paint set, # Jewelry (pin), # L Leporello, SEE: Book (leporello) Lithograph, #, ,
OPUS VK ˆ ojtech Kubašta, along with Helena and Eduard Škoda, compiled an incomplete inventory of Vthe artist’s works entitled Opus VK. It was published in as a thirty-page pamphlet illus- trated with black and white line drawings. The scanned original document is reproduced here (blank pages omitted).
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