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Disney's Blue Ribbon Pop-Up Books - Exploring the Magic of Their Global Editionsl
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A wealth of knowledge exists concerning the Blue Ribbon Disney pop-up books, yet
details regarding their international publishers remain sparse. We'll commence
with an overview of the American Disney pop-up editions by Blue Ribbon Press,
subsequently delving into the finer points uncovered by our investigation into
the editions published abroad.
    
American Editions:
The publishing company Blue Ribbon Books, Inc., established in 1930 and located at 386 Fourth Avenue in New York City, began as a joint venture specializing primarily in non-fiction reprints. Originally co-owned by Dodd, Mead, Harper, Harcourt, and Little, Brown, the company was later acquired by Eugene S. R. Reynal [1902–1968] of Reynal & Hitchcock in 1933. Under Reynal’s leadership, Blue Ribbon entered the rapidly expanding world of children’s novelty publishing and soon became one of the most influential American publishers of movable books during the 1930s. Like many publishers during the Great Depression, Blue Ribbon struggled financially with conventional reprints and needed a dramatic new idea capable of capturing public attention and revitalizing sales. That opportunity arrived through the development of the revolutionary “Pop-Up” books, which transformed the company almost overnight from a struggling reprint house into one of the most talked-about children’s publishers in America. Blue Ribbon is historically significant as the first American publisher to aggressively market books using the now-famous term “Pop-Up.” While C. Carey Cloud patented the dimensional mechanism itself, Eugene Reynal is credited with conceiving the actual marketing term “Pop-Up,” a name that would eventually become synonymous worldwide with movable books. Patent No. 1,913,797 protected the self-rising dimensional mechanism developed by Cloud, whose invention transformed American children’s publishing. In his 1983 autobiography Cloud Nine: The Dreamer and the Realist, Carey Cloud recalled presenting his pop-up concept to Sam and Ira Gold, key figures involved in the commercial development and marketing of Blue Ribbon’s novelty book program. Ira Gold functioned primarily as the business strategist, handling contracts and arrangements with Blue Ribbon and Eugene Reynal, while Sam Gold acted as the creative producer, working directly with Fred Voges and Wally Wiest to transform sketches into complex “paper machines.” Cloud explained that an earlier children’s novelty item failed to impress the Golds, but his new concept — a book featuring a leveraged dimensional illustration that sprang upright when opened — immediately captured their attention. Cloud secured two patents for the mechanism, and Blue Ribbon enthusiastically moved forward with production. According to Cloud, the publishing schedule quickly became overwhelming, demanding sixteen-hour workdays in order to keep pace with production deadlines. Within a single year, Cloud produced seventeen books, transforming Mother Goose characters, fairy tales, comic strip figures, and Disney characters into animated paper creations unlike anything previously seen in American bookstores. For many years Harold Lentz was widely credited as the principal paper engineer behind Blue Ribbon’s Disney Pop-Up books, and he unquestionably played an important role as an illustrator associated with the series. However, later research suggests the engineering history of the books may be considerably more complex than previously understood. Collector and premium-industry research preserved by Theo Gielen in “More on Blue Ribbon Pop-ups,” published in Movable Stationery 5, no. 3 (September 1997), attributes a major role in the physical engineering of the books to Chicago paper engineer Fred Voges. Quoting material traced to the Voges estate and Tom Tumbusch’s Illustrated Radio Premium Catalog and Price Guide, Gielen states that after Blue Ribbon Books approached the elder Voges’ paperboard printing and die-cutting shop with their newly patented “Pop-Up” concept, “Young Fred... produced mock ups of the earlier titles, his father’s shop got the work and Fred did the paper engineering on all the ‘pop-up’ titles as well as the Mickey Mouse and Wizard of Oz ‘Waddle Books.’” Tom Tumbusch, an expert in radio premiums, identified Voges as one of the key paper engineers and designers behind many 1930s and 1940s paper novelties, premiums, punch-outs, and promotional items, including Blue Ribbon’s Disney Pop-Up and Waddle Book productions. Tumbusch’s research is considered by many collectors to be the gold standard for identifying the anonymous creators behind the enormous output of commercial paper novelties produced during the period. This emerging picture is reinforced by additional contemporary sources linking Sam Gold directly to Blue Ribbon’s Disney movable books. In Disney Stories, Gold is credited as a driving force behind both The Pop-Up Mickey Mouse and the Mickey Mouse Waddle Book. Meanwhile, Alfred Balk’s The Rise of Radio identifies Fred Voges as Gold’s “most gifted designer,” later noting that Voges “ultimately defected to market his own cardboard pop-up and punch-out items.” Theo Gielen further notes that many premium items associated with Sam Gold were designed by Fred Voges and Wally Wiest, with Voges described as “one of the most creative [paper engineers] to come along since the oriental origami masters.”
Together, these sources suggest that Blue Ribbon’s Disney Pop-Up books may have emerged not solely from traditional publishing, but from a broader commercial world of paperboard die-cutting, radio premiums, advertising novelties, punch-outs, and licensed merchandising. The same creative network responsible for cereal premiums, cardboard games, masks, and promotional kits may also have helped shape the earliest generation of American pop-up books. We find it especially exciting that there may still be unidentified Fred Voges-designed premiums, punch-outs, and novelty paper items quietly sitting in collections today without collectors realizing who engineered them.
In 1932, Reynal invested $20,000 in the company’s first two Pop-Up titles while facing the daunting challenge of selling them within a narrow two-month Christmas window. The new “Pop-Ups” debuted in American bookstores amid enormous excitement and media attention following an extraordinary advertising campaign. The gamble proved enormously successful. The Pop-Ups quickly became the number one juvenile bestsellers in both November and December of 1932.
The first two titles released in 1932 were Jack the Giant Killer and Pinocchio, each selling for $2.00 beginning October 15, 1932. Blue Ribbon Books announced that because of the complexity of manufacturing, each title would receive only a single print run.
Due to the overwhelming success of the initial Pop-Ups, Blue Ribbon announced plans in May 1933 for four additional titles. Reynal successfully convinced Walt Disney to allow Mickey Mouse to appear within the Blue Ribbon series. Eugene Reynal further announced that the term “Pop-Ups” had been officially registered as a trademark, granting Blue Ribbon exclusive legal protection for the name.
Subsequent titles appeared at varying price points. Pop-Up Mickey Mouse and Pop-Up Minnie Mouse sold for 75 cents, while Mickey Mouse in King Arthur’s Court and Pop-Up Silly Symphonies sold for $1.75 each. Four additional titles — Sleeping Beauty, Jack the Giant Killer, Little Red Riding Hood, and Jack and the Beanstalk — were issued at 50 cents apiece. By October 1933, Blue Ribbon publicly announced price increases for the Pop-Up line.
In 1934, Sam Gold further established his mark in the novelty publishing industry through the production of comic-character Pop-Up books for Blue Ribbon Books. Through his East Coast-based Sam Gold Novelty Company, Gold handled creative development, marketing strategy, licensing arrangements, and promotional concepts associated with the books. He secured character licensing agreements through industry connections including Al Leowenthal of the Famous Artists Syndicate and John Dille for the Buck Rogers Pop-Up Book.
The lineup included popular characters such as Tarzan, Little Orphan Annie, Buck Rogers, and others. Sam Gold also designed elaborate promotional display stands used by major department stores including Bloomingdale’s, Gimbel Brothers, J. L. Hudson, R. H. Macy, Marshall Field, and John Wanamaker to market Blue Ribbon Pop-Up Books. One surviving example, sold by Hake’s Auction House in 2018 for $3,894.00, consisted of a three-dimensional cardboard display approximately 11 x 12.5 inches in height and 11.75 inches in depth. The display featured the slogan “Open the book and watch the pictures pop-up” and was designed to hold an opened book displaying one of its center pop-ups in order to attract customer attention.
In July 1934, Blue Ribbon introduced another “revolutionary” novelty format — the Mickey Mouse Waddle Book. The Waddle Books were expected to become major bestsellers because they combined the essential elements of children’s books — stories and colorful illustrations — with three-dimensional cardboard figures capable of “walking” without mechanical assistance. While not officially marketed as Pop-Ups, these novelty books were highly visual, self-demonstrating merchandise designed to sell themselves through movement and display appeal.
Blue Ribbon produced an initial run of 50,000 copies of the Mickey Mouse Waddle Book, priced at $1.00. It was soon followed by The Wizard of Oz Waddle Book, priced at $2.00. Surviving references also identify Fred Voges directly as the designer of original Waddle walking figures associated with the production. Archival evidence from the Voges estate has also revealed original hand-painted mock-ups for these figures. While the finished artwork in the books is often broadly attributed to Disney studio artists or staff illustrators, the mechanical templates themselves — particularly the engineering behind the distinctive ‘walking’ legs — appear to have been Voges’ technical designs
For the 1934 holiday season, Blue Ribbon issued three additional Pop-Up titles: The “Pop-Up” Mother Goose, The “Pop-Up” Goldilocks and Little Red Riding Hood, and The “Pop-Up” Puss in Boots. These new titles sold for the remarkably low price of 20 cents each. Blue Ribbon emphasized that despite the low cost, the quality of the books had improved due to newly developed production methods for creating Pop-Ups.
In December 1934, Blue Ribbon also introduced five titles in The Midget Pop-Up Book series. These miniature books measured approximately 13 cm and contained sixty pages along with a single pop-up feature.
By the fall of 1935, optimism had returned to the publishing industry as book sales continued to rise. Blue Ribbon announced eight additional comic-strip Pop-Up titles: Tarzan, Terry and the Pirates, Tim Tyler, Flash Gordon, Popeye, Buck Rogers, Little Orphan Annie, and Dick Tracy, each priced at 25 cents. Although these books were advertised and listed in Publishers’ Trade List Annual as Blue Ribbon titles, the imprint within the books identified “Pleasure Books, Chicago, Illinois,” with some copies additionally carrying the notation “A Blue Ribbon Press Book.” Interestingly, Pleasure Books does not appear in Publishers’ Weekly’s annual publisher listings for 1935, suggesting that it likely functioned as a Blue Ribbon imprint or affiliated production entity. Pleasure Books was likely created specifically to handle Blue Ribbon’s lower-priced, mass-market distribution. While Blue Ribbon had established itself as a publisher of premium-priced $2.00 Pop-Up books, the Pleasure Books imprint appears to have allowed the company to market inexpensive 25-cent comic-strip titles without weakening Blue Ribbon’s more prestigious identity. The fact that the imprint identifies ‘Chicago, Illinois’ is particularly significant, as it strongly connects these productions to the Chicago-based manufacturing and premium network associated with Sam Gold, Fred Voges, and Wally Wiest rather than Blue Ribbon’s New York editorial offices. The story of Blue Ribbon Books concludes with a major corporate acquisition that ultimately absorbed the company into one of the publishing giants of the era: Doubleday.
Although Blue Ribbon successfully reinvented itself during the Great Depression through the extraordinary success of its Pop-Up books, the company’s independence proved relatively short-lived. Before selling the firm, Eugene Reynal oversaw one final major expansion. In March 1937, Blue Ribbon acquired the stock and goodwill of the A. L. Burt Company, the enormous publishing house founded in 1883. This acquisition significantly strengthened Blue Ribbon’s fiction holdings and made the company an even more attractive target for larger publishing corporations.
In August 1939, Eugene Reynal and his partner Curtice Hitchcock sold Blue Ribbon Books, including the Triangle Books line, to Doubleday, Doran & Company. Operations were subsequently moved to Doubleday’s headquarters in Garden City, New York.
Under Doubleday’s ownership, the Blue Ribbon name continued primarily as a specialized reprint imprint, functioning similarly to Doubleday’s Garden City Publishing division by producing affordable, high-quality reprints drawn from the back catalogs of major publishers. The Blue Ribbon imprint remained active into the late 1940s before gradually being phased out as Doubleday reorganized its various reprint operations into newer paperback and reprint divisions such as Permabooks.
Eugene Reynal returned his attention to Reynal & Hitchcock, the publishing firm later known for issuing the first American edition of The Little Prince as well as publishing Mein Kampf in the United States as a historical warning against fascism. Following Curtice Hitchcock’s death, Reynal sold the firm to Harcourt, Brace in 1948.
Meanwhile, many of the creative figures associated with Blue Ribbon’s Pop-Up innovations appear to have continued working within the broader novelty and premium industries. Research connected to Fred Voges suggests that after leaving the Gold network, he continued developing cardboard novelties, punch-outs, and animated paper items, contributing to religious and children’s novelty productions into the late 1940s. Sam Gold likewise remained a major figure in the advertising premium industry, gradually shifting from paper novelties toward plastic toys and television-related promotions as the premium market evolved during the postwar years.
Although the original Blue Ribbon Pop-Up era lasted only a few years, its influence on American movable books proved enormous. The company not only popularized the term “Pop-Up,” but also helped establish the commercial and artistic framework that would shape American paper engineering for decades to come. Blue Ribbon Pop-up Books 1930’s:
1933:
Jack and the Beanstalk - Blue Ribbon Books, 1933.
Jack the Giant Killer - Blue Ribbon Books, 1933.
Little Red Riding Hood - Blue Ribbon Books, 1933.
Mickey Mouse in King Arthur's Court - Blue Ribbon Books, 1933.
The "Pop-up" Minnie Mouse - Blue Ribbon Books, 1933.
The Pop-up Mother Goose - Blue Ribbon, 1933.
Sleeping Beauty - Blue Ribbon Books, 1933.
The "Pop-up" Silly Symphonies - Blue Ribbon Books, 1933.
1934:
The Tale of Peter Rabbit - The Midget Pop-up Book, Blue Ribbon Books, 1934.
The Story of Little Black Sambo - The Midget Pop-up Book, Blue Ribbon Books, 1934.
Mickey Mouse in "Ye Olden Days" - The Midget Pop-up Book, Blue Ribbon Books, 1934.
Popeye Among the White Savages - The Midget Pop-up Book, Blue Ribbon Books, 1934.
The Wizard of Oz Waddle Book - Blue Ribbon, 1934.
Goldilocks and the Three Bears - Blue Ribbon Books, 1934.
Puss in Boots - Blue Ribbon Books, 1934.
The Mickey Mouse Waddle Book - Blue Ribbon, 1934.
Buck Rogers in the Dangerous Mission - The Midget Pop-up Book, Blue Ribbon Books, 1934.
The "Pop-up" Pinocchio - Blue Ribbon Books, 1934.
The "Pop-up" Mother Goose - Blue Ribbon Books, 1934.
1935:
Dick Tracy: The Capture of Boris Arson - Pleasure Books, 1935.
Flash Gordon: The Tournament of Death - Pleasure Books, 1935.
Popeye with the Hag of the Seven Seas - Pleasure Books, 1935.
The New Adventures of Tarzan "Pop-up" - Pleasure Books, 1935.
The Pop-up Little Orphan Annie and Jumbo, the Circus Elephant - Pleasure Books, 1935.
Terry and the Pirates in Shipwrecked - Pleasure Books, 1935.
Tim Tyler in the Jungle - Pleasure Books, 1935.
Buck Rogers, 25th Century featuring Buddy and Allura in "Strange Adventures in the Spider Ship" - Pleasure Books, [1935].
American (Blue Ribbon) references:
Movable Book Society. (2004, May). Movable Stationery, 12(2). The Movable Book Society.
Montanaro, Ann. "Blue Ribbon Pop-ups." Movable Stationery, vol. 4, no. 3, September 1996"Articles and Advertising." Publishers' Weekly, issues from 1932 through 1936.Find a Grave. (n.d.). Eugene Sugny Reynal. Retrieved January 18, 2024, from Find a Grave website.
“Reynal and Hitchcock.” FOB: Firms Out of Business. Harry Ransom Center, The University of Texas at Austin. Accessed May 10, 2026. https://norman.hrc.utexas.edu/Watch/fob_search_results_next.cfm?FOBFirmName=R&FOBNote=&locSTARTROW=61
The International editions:
The international editions of Disney Blue Ribbon movable books represent one of the most fascinating and complex areas of Disney and movable-book collecting because they were far more than simple translations of the American editions. Some foreign versions were produced in larger formats, others featured altered scenes, redesigned movable structures, different printing techniques, or even entirely new imagery. Nearly all omitted Blue Ribbon’s trademarked term “Pop-Up,” revealing that these books were being adapted independently for international markets rather than merely reprinted abroad.
Research into these foreign editions was significantly advanced by Theo Gielen in “The International Editions of Disney Pop-Ups,” published in Movable Stationery, vol. 8, no. 2 (May 2000), p. 1. Gielen noted that while many European editions closely copied the American Blue Ribbon books, the exact relationship between Blue Ribbon and the foreign publishers remains unclear. Copyright notices found in several European editions instead suggest that Walt Disney Enterprises itself played a direct role in overseas licensing and distribution. The following sections attempt to expand upon Gielen’s pioneering research through a deeper examination of the individual publishers, their histories, and the ways they established relationships with Disney during the formative years of international character merchandising.
The international growth of Disney merchandise during the 1930s was largely orchestrated by Herman “Kay” Kamen, one of the most influential licensing executives in entertainment history. Originally a hat salesman who later built a successful advertising business in Kansas City, Kamen approached Walt and Roy Disney in 1932 with a proposal to reorganize and professionalize Disney merchandising on a global scale. Impressed by his vision, the Disney brothers granted him exclusive licensing rights for Disney characters. Under Kamen’s direction, Disney merchandising rapidly evolved into a sophisticated international enterprise encompassing toys, books, games, premiums, clothing, advertising novelties, and countless other products.
The first major Disney merchandising catalog organized under Kay Kamen appeared in 1934 and helped standardize Disney licensing internationally. Kamen proved especially influential in Europe, where he established agreements with local publishers and manufacturers capable of adapting Disney material to regional markets. Rather than simply exporting American products overseas, Disney and Kamen frequently worked with established local firms to tailor editions to the printing methods, artistic traditions, pricing structures, and cultural expectations of individual countries. Disney historians Robert Heide and John Gilman describe Kay Kamen’s merchandising system as a highly centralized operation that emphasized quality control and visual consistency across international Disney products. (Heide, Robert, and John Gilman. Disneyana: Classic Collectibles, 1928–1958. New York: Hyperion, 1994.) Unlike the American editions published by Blue Ribbon Books, most foreign editions avoided using the trademarked term “Pop-Up.” This strongly suggests that Disney itself — operating through Kay Kamen’s licensing network — played the central role in managing foreign rights and distribution rather than Blue Ribbon directly supervising international publication. In many cases the foreign publishers were not simply translating the American books, but recreating them using their own printers, engravers, artists, lithographers, and paper engineers.This often resulted in surprisingly different books. Gielen observed that the foreign editions generally copied the American versions closely, yet many also display notable physical variations. Some publishers appear to have worked from completed American editions or Disney-supplied artwork while independently reconstructing the movable mechanisms. As a result, certain foreign editions contain altered pop-up dimensions, redesigned scenes, modified engineering, or different mechanical actions. In some cases publishers enlarged the books entirely, allowing more of the original Disney artwork to remain visible around the edges of the movable structures.
Cultural adaptation also appears to have influenced production choices. Certain comic gags, action scenes, or visual humor that may have seemed overly American or too aggressive for local audiences were occasionally softened, simplified, or replaced with imagery that better reflected local storytelling traditions and publishing sensibilities. Printing methods varied dramatically as well. The French Hachette editions, for example, utilized sophisticated héliogravure printing that produced exceptionally rich color saturation and tonal depth, giving the Disney characters a visual softness and intensity often absent from the American Blue Ribbon editions.
The international history of Disney movable books demonstrates that while “Pop-Up” may have been an American trademark, the language of movable books itself quickly became global. Through Kay Kamen’s licensing network, Mickey Mouse and other Disney characters evolved from American publishing novelties into international cultural icons adapted to the unique artistic traditions and printing technologies of Europe and beyond. In many ways, Blue Ribbon Books served as the American launching point, while Disney and Kay Kamen became the architects of a far larger international movable-book empire. What about when there is no American counterpart at all? One example is evidenced by the fact that, prior to the Spanish Civil War, Molino was one of Disney's official licensees in Spain. The Spanish "Waddle Books" published by Editorial Molino, such as Mickey en las carreras and Mickey en la selva, were officially licensed Disney products. These editions were unique to the Spanish market and did not have direct American counterparts. This strategy allowed Disney to cater to regional tastes and expand its international presence.
French editions published by Hachette: (Les Albums Hop-La
UK editions published by Dean & Son: (Scenic illustrations)
Spanish editions* published by Molino: (Ilustración Sorpresa)
Italian editions published by Mondadori: (Illustrazioni a sorpresa)
German/Swiss editions published by Bollmann: ( Wunder-Bucher)
Dutch editions published by Uitgave D.M.: (Serie Pieco boeken)
United Kingdom:
The United Kingdom editions were issued under the historic Dean & Son imprint and used the distinctly British phrase “Scenic Illustrations” rather than the American trademarked term “Pop-Up.” This appears to have been a deliberate British publishing strategy designed to avoid potential trademark conflicts with Blue Ribbon Books while still emphasizing the scenic and theatrical nature of the movable illustrations. Although the books carried the Dean & Son name, the actual parent company during this period was Odhams Press, with Dean functioning as Odhams’ children’s book subsidiary. Founded in 1890 and formally operating as Odhams Press Ltd from 1920 onward, Odhams became one of the major British publishing firms of the twentieth century. In September 1921, the brothers and Dean & Son Limited were purchased by Odhams Press for the remarkable sum of £456,316, an enormous acquisition price for the period and a clear indication of Odhams’ ambitions within the children’s publishing market. Odhams retained the prestigious Dean & Son imprint rather than eliminating it, recognizing the value of Dean’s long-established reputation in children’s and novelty publishing. In the original 1921 newspaper announcement regarding the acquisition, Odhams managing director J. S. Elias — later Lord Southwood — emphasized that Dean & Son had remained family-owned since 1702 during the reign of Queen Anne and stated that the business would continue under its historic traditions while undergoing significant future expansion. Following the acquisition, Odhams relocated Dean & Son to remodeled premises at 29 King Street, Covent Garden, before later moving in 1933 to No. 6 La Belle Sauvage, Ludgate Hill, London. Under Odhams ownership and the Dean & Son imprint, the company produced the British editions of several Blue Ribbon Disney movable books during the 1930s. The British editions generally followed the American Blue Ribbon mechanical layouts closely but possessed distinct physical differences recognizable to collectors. The UK editions were often produced in slightly larger formats and printed on thicker, more fibrous pulp board than their American counterparts, giving them a sturdier and more substantial feel. This heavier board stock reflected British nursery-book production standards of the period, where durability and solidity were considered signs of quality. One of the best-known examples is Mickey Mouse in King Arthur’s Court: With “Scenic” Illustrations. London, Dean & Son, Ltd., 1934, which largely reproduces the content of the American Blue Ribbon edition while adapting it to British production methods and terminology. Another title, Mickey Mouse Presents his Silly Symphonies: Babes in the Woods: King Neptune: With “Scenic” Illustrations. London, Dean & Son, Ltd., [193-?], was produced in a larger format with thick pages and four movable scenes. Beginning in 1936, Odhams also published the enormously popular Mickey Mouse Weekly comic and later issued The Mickey Mouse Annual under the Dean & Son imprint, producing eighteen annual editions between 1930 and 1947. These annuals, however, were largely traditional printed publications with occasional cut-out activities and should not be confused with the separate stand-alone “Scenic Illustrations” movable books. It has also been suggested — though not conclusively proven — that British Disney artist Wilfred Haughton may have contributed illustrations or design work for the Dean “Scenic Illustrations” movable books. This theory gained significant attention in 2012 when material from Haughton’s archive appeared at the Dominic Winter Book Auctions on June 2 of that year. The archive included a 1930s sketchbook containing movable and pop-up design concepts, strongly suggesting that Haughton was experimenting with paper engineering in addition to his better-known comic and illustration work. Haughton later became one of the defining visual interpreters of Disney characters for British audiences through Mickey Mouse Weekly and related publications. However, during the mid-1940s he reportedly had a serious falling out with Disney and Odhams after resisting efforts to modernize his depictions of Mickey Mouse and other characters to match the increasingly standardized Disney studio style. Haughton reportedly preferred the earlier “pie-eyed” Mickey Mouse designs of the early 1930s and resisted adopting the more rounded, polished studio appearance that emerged during the late 1930s and 1940s. This artistic independence may partially explain why the Dean movable books possess a distinctly British visual character when compared with the sleeker American Blue Ribbon editions.
Odhams ultimately lost the Disney rights in 1957 following a copyright dispute, bringing to an end one of the most important and longest-running Disney publishing partnerships in Britain.
More about the history of Odham’s Press :
Odhams Press, operational from 1920 to 1968, evolved from a much earlier nineteenth-century printing and publishing business that eventually became one of the most influential mass-market publishing companies in Britain. The roots of the company trace back to 1847 with the establishment of Biggar and Odhams in Burleigh Street, London. Over time the business developed into William Odhams Limited, and in 1893 William Odhams sold the company to his sons, who continued operating from Burleigh Street while also establishing Odhams Brothers Limited at Hart Street, Covent Garden.
By 1898 the various branches of the family business had consolidated into Odhams Limited, and in 1905 the company relocated to Long Acre, WC2. The transition to Odhams Press Ltd formally occurred in 1920 following its merger with John Bull Ltd, publisher of the enormously successful mass-market magazine John Bull. Under the leadership of Julius Salter Elias — later Viscount Southwood and eventually Lord Southwood (1873–1946) — Odhams Press experienced extraordinary expansion and became one of the dominant forces in British popular publishing.
Lord Southwood played a major role in modernizing British printing during the 1920s through the introduction of the rotogravure printing system, which enabled rapid, high-quality four-color printing on a mass-production scale. This technological innovation became essential to the large-scale production of magazines, illustrated books, comics, and promotional publications. In 1935 Odhams (Watford) Limited was formed, and its major printing facility, completed in 1936, marked another significant stage in the company’s industrial expansion.
During the 1930s, Odhams Press, under the chairmanship of Lord Southwood, played a central role in popularizing Disney characters throughout the United Kingdom. Through its Dean & Son Ltd imprint, the company produced British Disney movable books including Mickey Mouse Presents his Silly Symphonies and Mickey Mouse in King Arthur’s Court. These books adapted the American Blue Ribbon productions for British audiences using the distinctly British term “Scenic Illustrations” rather than “Pop-Up.”
One of Odhams’ most influential Disney ventures was the publication of Mickey Mouse Weekly beginning in 1936. The publication became enormously popular in Britain and helped establish Disney characters as a major part of British popular culture. Mickey Mouse Weekly combined imported American Disney material with original British-created Disney stories, illustrations, and comic strips, creating a unique hybrid publication unlike its American counterparts. This partnership between Disney and Odhams significantly expanded Disney’s influence in the British market during the 1930s and 1940s.
By 1957, however, Odhams lost the Disney rights following a copyright dispute, bringing to an end one of the most important Disney publishing relationships in Britain.
During 1959–1960, Odhams acquired Hulton Press, renaming it Longacre Press, and assumed publication of several major children’s comics including Eagle and Girl. The company itself was later acquired by Fleetway Publications in 1961 and subsequently absorbed into International Publishing Corporation (IPC) in 1963.
By the late 1960s, worsening economic conditions in Britain, combined with IPC’s efforts to eliminate duplication among its publishing divisions, led to major restructuring. Many Odhams comic titles were closed or transferred to IPC Magazines Ltd. As Odhams Press continued operating with its own financial obligations, the company eventually became economically unsustainable as an independent publishing entity. Consequently, Odhams Press ceased operations as a publishing business on January 1, 1969.
The historic Dean & Son imprint, however, survived beyond the collapse of Odhams and continues today as part of children’s publishing operations associated with Egmont.
UK editions of Blue Ribbon Books: ( Produced with the permission of Mr Walter E Disney )
Mickey Mouse in King Arthur’s Court: With “Scenic” Illustrations. London, Dean & Son, Ltd., 1934.Description: 41 pages. 25 cm. “Story and illustrations by the staff of the Walt Disney Studios.”Same content as the Blue Ribbon edition.
Mickey Mouse Presents his Silly Symphonies: Babes in the Woods: King Neptune: With “Scenic” Illustrations. London, Dean & Son, Ltd., n.d. [193-?].Description: 18 x 24 cm. 48 thick pages. 4 pop-ups. Also of interest: Around 1938, Dean & Son Ltd. of London—under license from Walt Disney–Mickey Mouse Ltd.—issued two unusual Snow White novelty books for the British market. The first, Snow White Magic Mirror Book and the Story of Snow White and the Seven Dwarfs, is a 60-page oblong volume (17 × 25 cm) featuring several color plates designed to be viewed with 3-D spectacles, creating a stereoscopic illusion for readers. This early experiment with dimensional imagery set the book apart from standard film tie-ins of the era.The second title, Snow White and the Seven Dwarfs: Dean’s Cut-Out Book, measures 24 × 34 cm and serves as a theatrical-style construction toy. The inside covers form a continuous double-page backdrop, while four interior pages contain characters and scenery intended to be cut out and assembled. Both books highlight Dean’s creative approach to merchandising Disney properties in pre-war Britain and reflect a broader trend toward immersive, interactive formats during the golden age of children’s publishing.
References:
Hunt, P. (2013). International Companion Encyclopaedia of Children's Literature. Routledge. p. 245.
Becattini, A. (2016). Disney Comics: The Whole Story. Theme Park Press. p. 148.
Movable Stationery. (n.d.). Volume 20, Number 3, Page 13.
Odham's purchase off Dean 7 son in 1921: The Saturday Review of Politics, Literature, Science, Art, and Finance, Volume 136 Saturday Review, Limited, 1923 - Literary and political reviews page 29 “History of Odhams Press.” British Newspaper Archive Wiki
Spanish versions of Blue Ribbon Pop-up Books were published by Molino: (Ilustración Sorpresa) registered in Spain with Modelo de utilidad nº 2,529 “Ilustración Sorpresa”
Note that Spain was the first country to publish a translation, it was done by Alfonso Nadal. Molino later also sold the pop-ups in the South American market. Just like the Dutch firm D.M.B. or Hachette in France, Molino likely used the "Kamen blueprints" to ensure their Ilustraciones Sorpresa were mechanically identical to the New York originals, even while their local printers handled the Spanish text and lithography.
The Molino Publishing House, Founded in 1933 by Pablo del Molino Mateus (1900-1968), after Molino split from the Juventud Publishing House (from which Pau Molino Mateus left by selling all his shares to Josep Zendrera) Editorial Molino was established to offer accessible novels to the public. Starting as the deputy director of Juventud, Molino Mateus ventured into publishing popular genres like detective and adventure stories.. They were located at Editorial Molino headquarters in Carrer Calabria 166, Barcelona, Spain. The publishing house was a "modernist" powerhouse.
i I Editorial Molino headquarters built in 1933 Attributed to Jordi Nyol, CC BY-SA 3.0, via Wikimedia CommonsMolino also started Mickey magazine, which popularized American comics in Spain and gathered a large readership. Known for pioneering pop-up books in Spain, Molino Mateus led the company until 1937 before moving to Argentina, leaving his brother Louis del Molino (from Valladolid) in charge. In 1947, Luis del Molino officially became a partner with 45% of the company's shares (55% remaining for Pablo del Molino). After Pablo's return in 1952, he revitalized the company's publishing direction..
Molino's editorial work with Disney consisted of translating the texts and faithfully reproducing the American illustrations and pop-ups markets. From 1934, until the end of the Spanish Civil War in 1939, the Molino publishing house published numerous titles including the Disney pop-up books listed below.To be specific, he pop-ups that were published following the American model were El ratón Mickey en la corte del rey Arturo, Los enanos del bosque y el rey Neptuno , El ratón Mickey en el circo and Mini y el Pato Moby the year 1934 and El Gallito del lugar (1938). (most had some color variations from the BRB versions on the covers, however).
Other pop-ups published by Editorial Molino were Harold B. Lentz's La tia Ansaronav, Puss in Boots (1936), and KC Segar's Popeye and the Witch of the Seven Seas (1938). Note that Molino also adapted these books for the South American market later on.
At least the first - The Spanish version of "Mickey Mouse in King Arthur's Court" - was translated by Alfonso Nadal and released in 1934. It was registered in Spain under the Utility Model number 2,529 as "Illustration Surprise" and in the United States under patent number 1,913,797 as "Pop-up." Note that Molino lost the rights to edit the works of Walt Disney in 1939 and would not publish them again until the 1970s. They did however resume publishing other Ilustración Sorpresa pop-up book titles in the 1940’s that were not connected to Disney or Blue Ribbon Books. Editorial Molino, known for introducing the "Ilustración Sorpresa" (pop-up book) in Spain in 1935, continued publishing these books even after losing the rights to Walt Disney's works. During the 1940s, they produced a variety of non-Disney titles under the "Ilustración Sorpresa" series. This series included classic tales and other themes, with books such as "POPEYE Y LA BRUJA DE LOS SIETE MARES" (1938), "EL GALLITO DEL LUGAR" (1938), "LA TÍA ANSARONA" (1939), "EL GATO CON BOTAS," "LA GALLINITA DE LOS HUEVOS DE ORO," "LA BELLA DURMIENTE," and "SIMBAD EL MARINO."
Molino’s children, Maruja del Molino and Fernado Peraire del Molino in the marketing image below, are shown in 1934 enjoying their Dad’s publication "Ilustracion Sorpresa") "El Ratón Mickey en el circo" ("Mickey Mouse in the circus")
(Image attributed to Lluis serra, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons)
It is also interesting that while Molino was the initiator of the publication of toy books in Spain, it was not the only one. After its success, the publisher Juventud, from which Molino had split, began publishing in 1935, a series of pop-up style books called Animated Stories, in Spanish and Catalan. The success of these pop-ups caused that in 1935 Editorial Juventut, from which Molino had become independent, tried to imitate them by creating pop-ups that were not very successful despite their special accordion binding, as was the story of Peter Pan (in Catalan and Spanish versions).
The popularity of pop-up books led Editorial Juventud, from which Molino had separated, to attempt replicating their success in 1935.Juventusd began publishing in 1935, a series of pop-up style books called Animated Stories, in Spanish and Catalan They produced pop-up books with a unique accordion binding, including a version of Peter Pan in both Catalan and Spanish, but these did not achieve notable success.
Following the war, Editorial Molino lost the rights to publish Walt Disney-themed books and was unable to resume until the 1970s. Nevertheless, the publishing house became known for its expertise in creating pop-up children’s books, such as M. Vallbé’s "El Tesoro de Kaleo" (1952) with illustrations by Lozano Olivares, and another on "Sleeping Beauty." The pop-up series retained the name "Illustration Surprise," hearkening back to the label used for the short stories released with pop-ups before and during the Civil War.
Where is Molino today?
In 1947, Luis del Molino became an official partner in Editorial Molino alongside Pablo del Molino Mateus. In 1962 the Publishing House moved to 166 Calabria Street, with its own building and warehouses. After Pablo's death in 1968, his son Pablo del Molino Sterna (1937-2000) took over the company until his own death in 2000. Subsequently, Luis del Molino's son, Luis Antonio del Molino Jover, assumed leadership. During this time, the heirs of Pablo del Molino considered selling the company. Eventually, In June 2004, the RBA Group (Barcelona) bought Editorial Molino and integrated the publications of Editorial Molino as RBA Molino, the publishing imprint of the RBA Group. In May 2021, Penguin Random House Grupo Editorial acquired Editorial Molino from the RBA group. , maintaining its focus on young adult literature.
Spanish editions:
Illustrated by Disney and following the American models exactly except for translation into Spanish and pubisher info
1. "D’El ratón Mickey en la corte del rey Arturo" (Mickey Mouse in the Court of King Arthur) - Translated by Alfonso Nadal, published in 1934. quarto format (26 x 20 cm.) Published in two editions
2. "Los enanos del bosque y el rey Neptuno" (The Dwarves of the Forest and King Neptune) -
3. "El ratón Mickey en el circo" (Mickey In The Circus) - By Walt Disney, translated by Alfonso Nadal, published by Molino in 1934.
4. "Mini y el Pato Moby" (Mickey Mouse at the Circus and Mini and the Duck Moby) - Published in 1934.
5. "Mickey Presenta: Gallito del lugar" (Mickey presents the Little Cock Of The Farm) - Published only in Spain in 1938.
6. Mickey en las carreras Carreras Libro Juguette ( Mickey Mouse waddle Book identical to the American edition except for the translated text)
Other Molino pop-ups not illustrated by Disney but Harold Lentz include:
1. "La tia Ansaronav" La tia Ansaronav, El gato con botas (1936 - Harold Lentz
2. "El gato con botas" (Puss in Boots) - Published in 1936, featuring 3 pop-ups. – Harold Lentz
Illustrated by KC SEGAR:
1. "Popeye y la bruja de los Siete Mares" (Popeye and the Witch of the Seven Seas) - Published in 1938.
Spanish advertisement shown below highlights the "Los cuentos Ilustración-Sorpresa de la Editorial Molino," which translates to "The Surprise-Illustration Stories from Molino Publishing." The text below the title lists various published titles, which include works attributed to Walt Disney, Harold B. Lentz, and E.C. Segar, featuring popular characters like Mickey Mouse and Popeye. The passage describes the books as a treasure that awakens envy among friends and inspires fantastic dreams when they go to bed with it under their pillow.
The ad lists several Disney pop-up books published by Editorial Molino, which include titles such as "El Raton Mickey En La Corte Del Rey Arturo" (Mickey Mouse in King Arthur's Court), "Los Enanos Del Bosque Y El Rey Neptuno" (The Dwarfs of the Forest and King Neptune), "El Raton Mickey En El Circo" (Mickey Mouse at the Circus), "Mini El Pato Moby" (Minnie and Moby Duck), and "El Gallito Del Lugar" (The Little Rooster of the Place). Image from the collection of vintagepopupbooks.com
Spanish References:
DEPARTMENT DOCTORAL PROGRAM: DESIGN AND COMMUNICATION: NEW FUNDAMENTALS. DOCTORAL THESIS: THE BOOK AS A TOY, 51 & 52 (In Spanish)
MARTA'S SOCIAL SCIENCES “The social science blog in early childhood and primary education” 1960 Author: C.E Eckersley (In Spanish)
Bellido, Jose and Bowrey, Kathy (2017) Disney in Spain (1930–1935). Business History, 60 (8). pp. 1277-1307. ISSN 0007-6791.
Mosley, Leonard. The Real Walt Disney: A Biography. London: Grafton, 1986
This book provides an in-depth look at Disney's life and career, with detailed information on pages 148–150.
Pop-Up. Llibres movibles i tridimensionals Corominas, Quim. Pop-Up. Llibres movibles i tridimensionals. Girona: Caixa de Girona, 1999.
Tresors de paper. Llibres, jocs i joguines de paper Corominas, Quim. Tresors de paper. Llibres, jocs i joguines de paper. Girona: Caixa de Girona, 2008.
German and Swiss Editions (in the German language)
7 Disney books were published under the name from the Swiss publisher Bollmann in 1936 and 1937.
Established in 1880, Jacques Bollmann AG, a book printing business, was situated on Unterer Mühlesteg in Zurich (located between the present-day Mühlesteg and Bahnhofbrücke). In the 1930s, the company was overseen by siblings Emma Regina Bollmann and her brother Ernst Bollmann During a stay in Italy Ernst Bollman saw the magazine Topolino, which printed Disney comics. He decided to Germanize the comic stories and market them in Germany and Switzerland. In 1936, the Zurich publishing house Bollmann acquired the main license in Paris from the European representative of the Disney publishing house and the sub-licenses in Italy from Mondadori, who at that time published the comics under the name "Topolino" In 1936, following the acquisition of the Disney material rights, the Bollmann siblings established Mickey Mouse Publishing Bollmann. They focused first on the pop-up books,. Martha Ehrat-Bollmann was responsible for translating the texts from English. They were also translated from Italian by Hans Schenk. The German-language Disney pop-up books contained more illustrations and text than the American versions, they were priced between 1.65 and 7 Swiss francs (equivalent to about 55 francs in current value), the books' high cost likely led to lackluster sales.
At the time, Before World War II, Germany was the only prominent European nation without a localized Disney publication, largely due to Adolf Hitler's ascension to power in January 1933. However, a German-language Disney magazine did emerge from Switzerland. The Zurich-based publisher Bollmann released the German-language Disney magazine -"Micky Maus Zeitung" starting in December 1936, with its inaugural issue 0, and continued the publication for 19 issues until September 1937, concluding with issue number 18. Both the Mickey Mouse newspaper and pop-up books published by the Bollmanns turned out to be financial failures. The constraints of Disney's licensing terms, coupled with a challenging economic climate, hindered their ability to generate significant profits.
The Swiss publisher Bollman, had the license to distribute the Disney products in German to all the German-speaking countries. Bollman acquired the main license in Paris in 1936 from the European representative of the Disney publishing house and in Italy from Mondadori
The books were printed in Zurich, Switzerland. Josy Priems, a good friend of the Bollmanns, translated the stories into German from Italian. The publisher Ernst Bollmann had to buy expensive licenses. This in turn made the books more expensive (From 1.50 up to 5.00 Swiss francs each) The project failed economically and production had to be discontinued after the 7th volume in the series. Bollman attempted to look for buyers* or sub-licensees in the Third Reich and Austria but was unsuccessful.
Note: Bollman ended up selling his Mickey rights license to the now-famous toy maker Steiff company in Giengen. Later on they were able to continue working with Disney and bring Mickey back to Germany..
The Wonder Books were sold in Switzerland but not Germany. Bollman’s were the first Mickey Mouse books published in the German language but undesirable in Germany. Walt Disney characters were officially undesirable as a product of the USA in Nazi Germany at the time, despite the fact that Hitler secretly enjoyed them. Hitler's Minister of Propaganda Joseph Goebbels noted in his diary on December 22, 1937: "I am giving the Führer 18 Mickey Mouse films for Christmas. He is very happy about it. »
Image below: Jacques Bollmann AG book printers, Unterer Mühlesteg, around 1930
Attribution: Zentralbibliothek Zürich, Zürich E1, Niederdorf-Qu., Mühlesteg, unt. I, 4 Lizenz Public Domain Mark, Public domain, via Wikimedia Commons
German Language Editions of Blue Ribbon Pop-Up Books Published by Bollmann:
1. Das Lebende Buch der Micky Maus (The Living Book of Mickey Mouse - The Picture Book with the Figures) - Zürich, J. Bollmann AG, 1936. Authored by Hans Schenk. Dimensions: 27 x 21 cm. Notable for being a rare item (a complete copy sold for $12,000 USD in 2018). Original Cost: CHF 5.00.
2. Micky Maus am Hofe König Arthurs (Mickey Mouse at King Arthur's Court) - Zürich, J. Bollmann AG, 1936. Features 4 double-page colored pop-ups, likely designed by Albert Hurter, a Zurich-born Disney animator. Original Cost: CHF 4.00.
3. Die Waldmännlein und König Neptun (The Little Woodmen and King Neptune) - Zürich, J. Bollmann AG, 1936. Includes 4 double-page pop-ups. Original Cost: CHF 4.50.
4. Micky Maus im Zirkus (Mickey Mouse in the Circus) - Zürich, J. Bollmann AG, 1936. Contains 3 color pop-ups and various black-and-white illustrations. Dimensions: 22 cm x 16.5 cm. Original Cost: CHF 3.50.
5. Minni Maus und das Entlein (Minnie Mouse and the Duckling) - Zürich, J. Bollmann AG, 1936. This 30-page book features 3 colored pop-up images and various black/white illustrations. Dimensions: 22.0 cm x 16.5 cm. Original Cost: CHF 3.50.
6. Micky Maus in Afrika (Mickey Mouse in Africa) - Verlag Bollmann, 1936. A 64-page book with some illustrations. Noted for being a Wunder-Bucher without the title on the cover and lacking pop-ups. Original Cost: CHF 1.50.
7. Abenteuer der Micky Maus (Adventure of Mickey Mouse) - Zürich, Micky-Maus Verlag Bollmann, 1936. This 30-page book is illustrated in full color and includes 2 double-page pop-ups. Original Cost: CHF 3.50.
Bollman also published The “Mickey Mouse” newspaper «Micky Maus Zeitung» )mentioned above . 
It cost 25 cents and was published twice a month. It was modeled on the British «Mickey Mouse Weekly», along with «Topolino» in Italy, «Le Journal de Mickey» in France, and «Mickey» from Spain.
About Bolmann’s demise as a Disney publisher: The "Mickey Mouse" newspaper was shuttered in September 1937. In the last issue, No. 18. Bolmann was trying to find a sub-licensee, Micky says goodbye to this last issue as follows: “If this newspaper gets into your hands, I've long been over all mountains. The Scandinavian children high up in the north also wanted a “Mickey Mouse” newspaper and invited me to the opening party. On this trip, I will visit all the other German-speaking countries and look for new friends so that the extensive pictures from my friend Walt Disney's studios can be made more widely available, perhaps in a weekly, more extensive edition of the Mickey Mouse newspaper. Hopefully, I will succeed despite the border closures”
What Happened to the publishing house of Bollman?
Later on, the Bollmann family appeared to move away from publishing and into cartography. After World War II, Hermann Bollmann, likely a relative of Regina and Ernst, sought to document the destruction in Braunschweig, Germany, as part of the rebuilding process. In 1948, he created an aerial-view illustrated map, marking the beginning of Bollmann Maps. The company, known for its meticulous and hand-crafted map-making process, has a catalog of about 100 maps, which they update regularly. Their commitment to quality and craftsmanship in cartography has been recognized and continues to the present day.
German References:
1. "Als Familie Maus im Zürcher Hauptbahnhof eintraf." German Sunday Newspaper, 22 November 1998.
2. Duckipedia and Inducks. "Micky-Maus-Verlag Bollmann." Accessed on 22 January 2020. Available at: Duckipedia.
3. Pro Helvetia. "Comic Country Switzerland." Exhibition Brochure, 4-30 May 2007. Swiss Cultural Foundation Pro Helvetia.
4. Laqua, Carsten. "WIE MICKY UNTER DIE NAZIS FIEL: WALT DISNEY UND DEUTSCHLAND." 1992. (Title translates to "How Mickey Fell Under the Nazis: Walt Disney and Germany").
5. "Mickey Mouse Newspapers by Bollmann – 1936 and 1937." Disney Fandom. Accessed on 22 January 2020. Available at: Disney Fandom.
11 Corominas, Quim - Book: Corominas, Q. (2008). Paper treasures. Books, games and paper toys. Girona: Caixa de Girona.
FRANCE:
Hachette published “Les Albums Hop-Là” by Walt Disney: 1934-1938 (6 albums); then 1949-1953, according to a new production (7 albums including 1 Babar and 1 Zig et Puce ). Unlike their American counterparts, which relied primarily on standard half-tone printing, the French editions published by Hachette — the Albums Hop-là! series — utilized the sophisticated héliogravure (photogravure) process. As noted by Theo Gielen in ‘The International Editions of Disney Pop-Ups’ (Movable Stationery, Vol. 8, No. 2, May 2000), this printing technique produced a rich, velvety texture and exceptional depth of color, giving the Disney characters a saturated intensity and tonal softness often absent from the American Blue Ribbon editions. In France, héliogravure was associated with high-end illustrated publishing, effectively elevating these Disney movable books from simple commercial novelties into luxury graphic productions.
Note: After publishing 6 Disney pop-ups in the 1930’s. It would be 10 years before Hatchette published a second series of Les Albums Hop-La Pop-up books. They were produced between 1949 and 1963. There were 7 titles in the later series, all hardbacks bound in spiral plastic. Each title included 5 animations and was issued with Dust Jackets.
Hachette History: image 1: Louis Christophe François Hachette (1800-1864), ( Adam Salomon, Public domain, via Wikimedia Commons) image 2 - Front of the L Hachette publishing house, passage du Vigan, 14 rue d'Aboukir, 2nd arrondissement, Paris. 1906.  
History of ownership:
Louis Hachette, after extensive planning and securing financial support, took over the Parisian bookshop Brédif and the publishing house Librairie de Jacques-Francois Brétif in 1826, which he later renamed to Librairie Louis Hachette. His son-in-law, Louis Breton, joined as a partner in 1840. The company, originally located at 14 rue Pierre-Sarrazin, expanded to 77 boulevard Saint-Germain in 1858. L. Hachette & Company was officially founded in 1846. While it started as a family enterprise, the firm transitioned into a public company, or "société anonyme," in 1919.Ownership in 1849
Ownership percentage for Hachette: Initially, the ownership of the company was equally divided among Louis Hachette, his son-in-law Louis Breton, and another son-in-law, Emile Templier, with each holding a 33.33% stake. In 1857, the ownership structure changed when Alfred Hachette, Louis Hachette's son from his first marriage, joined as a partner. This adjustment resulted in Louis Hachette, Louis Breton, and Emile Templier each owning 29.17% of the company, while Alfred Hachette held a 12.5% stake.
Further changes occurred in 1862, just before the death of Louis Hachette, when Georges Hachette, his son from a second marriage, became a partner. This led to a new distribution of shares: Louis Hachette, Louis Breton, and Emile Templier each owned 25%, while Alfred Hachette and Georges Hachette each held 12.5% of the company.
In 1870, Alfred Hachette, the eldest son of Louis Hachette, was facing health issues and had retired to Pau for several years. He sold his share in the company to René Fouret, who was married to Catherine Breton, the daughter of Zélime Auzat, and subsequently became an Associated Bookseller.
Louis Hachette passed away in 1864, leaving behind a substantial fortune and a thriving company with 165 employees. By 1878, the company's sales had reached 18 million French Francs. Following his death, the business structure evolved, becoming “Société en Commandite Simple Louis Hachette” in 1872 and later “Société Anonyme Hachette et Cie” in 1919.
Post Louis Hachette's death, his son Alfred (1832-1872) initially took over the bookselling license. However, the management of the Librairie was primarily under the stewardship of Louis Breton until his demise in 1883. The company was also managed by a select group of partners, including Emile Templier (husband of Louise Agathe Hachette) and Jean Georges Hachette, Louis' youngest son. Jean Georges became a partner at the young age of 26, just before his father's death. This management team was focused on ensuring the rapid growth and success of the business.
After the death of Louis Christophe François Hachette, founder of the Hachette bookshop, his company was inherited by a group including his grandsons George Hachette and Alfred Hachette, as well as Louis Bréton and Emile Templier. George Hachette, alongside these other inheritors, played a significant role in the continuation of the Hachette legacy.
Louis Hachette, born in 1870 and passing away in 1941, was the grandson of the founder and son of Georges Hachette. He joined the company in 1893, becoming an associate five years later in 1898. His primary focus within the company was on illustrated books for children, continuing the family tradition of innovation and expansion in the publishing industry.
While maintaining its essence as a family venture, Hachette transformed into a société anonyme, a public company, in 1919. This change heralded a new era with five active partners and 24 silent partners, all connected to the Hachette or Breton families either by blood or marriage. In the 1930s, Hachette began an ambitious strategy of securing exclusive distribution rights for various publishers in France, including the coveted Disney.
World War 2 brought challenges when the Germans attempted to seize control of Librairie Hachette. Despite facing a complete depletion of funds during the German occupation, the company managed to organize a passive resistance, ultimately leading to the directors' return in 1944. Post-war, Hachette embarked on an expansive journey, acquiring numerous book divisions and growing its influence in the publishing world.
By 1963, Hachette had evolved into a conglomerate of public and limited-liability companies. The period from 1964 to 1980, under the leadership of Robert Meunier de Houssoy, Louis Hachette's great-grandson, and later Jacques Marchandise, was marked by significant growth and expansion. The takeover by Matra in 1980 ushered in a new phase for the company.
Today, the Hachette group, under the control of the LAGARDERE group, continues to be a dominant force in the publishing industry. Its influence is evident in the popularity of publications like "Le Journal de Mickey," now a 60-page weekly magazine, and its siblings "Picsou Magazine," "Mickey Parade Géant," "Super Picsou Géant," and "Mon Premier Journal de Mickey," which circulate Disney comics in French globally.
Today it’s scarcely comparable in terms of size and quality to the Hachette of the mid-20th century, and even less so, to the company at its foundation in 1826. Hachette remains the leader in French publishing as a multimedia, multinational company with over 31,000 employees.
Hachette works with Disney:
In 1928, Paul Winkler (1898-1982), a Hungarian expatriate in Paris, founded Opera Mundi, which became Europe's largest feature syndicate. His agency was instrumental in bringing American comics, including Mickey Mouse stories, to the French market. Fascinated by the American press's syndication model, Winkler focused on Disney's works. He was pivotal in introducing Disney to France, starting with comics from King Features Syndicate. To achieve this, Winkler personally traveled to Hollywood, meeting Walt and Roy O. Disney to negotiate the rights to publish Mickey Mouse stories in France.
Winkler, known in the French media for distributing "Flash Gordon," "Mandrake the Magician," and "Prince Valiant" via his firm Opera Mundi, broadened his offerings by bringing Disney's comic creations to the French audience. In an interview from 1979 with Le Journal de Mickey, Winkler reminisced about reaching out directly to Walt Disney to get the green light to publish Mickey Mouse tales, a permission he quickly secured. Not having enough funds to venture on this path by himself, Winkler joined forces with Hachette, the foremost publishing house in France, in 1931 to introduce the inaugural Mickey Mouse storybooks in France. Their first two Mickey Mouse books published in 1931 were a great success, selling more than 500,000 copies. Hachette started publishing the Hop La! series with Mickey in 1934.
On November 17, 1930, Walt Disney and Hachette, a French publisher, entered a landmark agreement for the distribution of Disney-themed books, commencing in 1931. Initially, this partnership involved Hachette, Disney, King Features Syndicate, and Opera Mundi. By 1934, Hachette assumed a more prominent role, acquiring rights to Disney's Silly Symphonies and effectively replacing Opera Mundi and King Features Syndicate. As a result, Hachette became an essential licensee for Disney, securing rights for publications based on Mickey Mouse and Silly Symphonies. This agreement included specific conditions, such as royalty payments and book standards, though Hachette maintained some flexibility in publication. Disney retained approval rights over any alterations and provided Hachette exclusive rights in France under the condition of publishing a certain number of albums each year.
Magdeleine du Genestoux (1873-1942), a notable French author and editor, contributed significantly to the "Les Albums Hop-là!" series, particularly in writing "Album Hop-la! Mickey et le prince Malalapatte," and many others in the series. Initially an assistant to Robert Meunier du Houssoy at Hachette editions, she eventually led the "Les Albums Hop-là!" series. Paul Winkler, recognized for his pivotal role in introducing Disney to the French market, was posthumously honored with the Disney Legends Award in 1997, celebrating his significant contributions to Disney’s publishing presence in France
The "Albums Hop-La" series, managed under the children's literature division of Hachette, was directed by Robert Meunier du Houssoy, with assistance from Madeleine Arrigon, known by her pen name Magdeleine du Genestoux. [1873-1942 ). Genestoux wrote the text for several of the Hop-La books published by Hachette between 1932 and 1936. She was an author of children's novels. Often described as heiress of the Countess de Ségur, she is the author of sixty-two titles between 1918 and 1942, the year of her death, notably for the Pink Library of Hachette editions. She was the assistant of Robert Meunier du Houssoy, administrator and responsible for the children's sector of Hachette editions, then she took charge of this sector herself.
The "Albums Hop-La" series at Hachette, part of the children's literature division, was overseen by Robert Meunier du Houssoy. Magdeleine du Genestoux, an author known for her children's novels and regarded as the successor to the Countess de Ségur, contributed significantly to the series. Between 1932 and 1936, she wrote texts for several Hop-La books. With a prolific career yielding sixty-two titles from 1918 to 1942, Genestoux initially served as an assistant to du Houssoy before taking over the leadership of Hachette's children's sector.
Edmond Fouret, as the president of Hachette Library during the time when Disney's Mickey Mouse books were being published in France, likely played a significant role in facilitating and overseeing the collaboration between Disney and Hachette.
Of interest is that to coincide with the French premiere of Disney’s Snow White and the Seven Dwarfs in 1938, Hachette Editions acquired the license to produce a series of books adapting the animated film for the French market. Among these was Blanche-Neige et Ses Amies les Bêtes (Snow White and Her Animal Friends), part of Hachette’s “Hop-là!” album collection (No. 27336-8-38). The book was printed by Brodart et Taupin in Coulommiers-Paris, though no author is credited. It received notable promotion during the 1938 holiday season, including mentions in Le Figaro (December 20) and Le Jour (December 19). It also appeared in 1939 New Year’s gift catalogs, such as the Aux Dames de France department store catalog in Marseille, where it was priced at 40 francs. Although clearly influenced by the animation studio’s visual style, the illustrations appear to have been created specifically for this edition.
Following World War II, Hachette resumed its collaboration with Disney, releasing three additional titles in the Les Albums Hop-La series: Bambi (1949), Les Trois Petits Cochons (The Three Little Pigs, 1949), and Peter Pan (circa early 1950s). These postwar editions featured animated plates operated by pull-tabs—a paper engineering technique clearly inspired by Julian Wehr’s American movable books, which had gained popularity in the 1940s.
Note that Didier Fouret (1927-1989), the grandson of Edmond Fouret, significantly contributed to Disney's presence in France through his role at Hachette Publishing. As a former director at Hachette, he was instrumental in popularizing Disney's characters in France. Disney Legends such as Card Walker and Armand Bigle acknowledged Fouret's pivotal role in convincing Hachette to publish Disney books and magazines in the 1950s, a time when Disney was relatively unknown in France. His efforts led to Disney becoming a major success story for Hachette.
About the newspaper:
"Le Journal de Mickey" was the world's second weekly magazine dedicated to Mickey Mouse stories. The first of its kind was Italy's "Topolino," which had been launched two years earlier. Le Journal de Mickey issue 1 published in Paris by Paul Winkler/Opera Mundi/Hachette (public Domain Wiki Commons) 
Le Journal de Mickey," which debuted on October 21, 1934, quickly became a fan favorite. Despite initial setbacks from magazine publishers for his concept of a Mickey Mouse newspaper, Paul Winkler did not give up. His determination paid off when Hachette took on the project, naming him the managing editor. By December 1937, Winkler had launched "Hop-là!," a weekly publication aimed at the progressive youth, contributing to a pivotal era in the Golden Age of BD (bande dessinée or French comic strips). Winkler's efforts to fuse American comic art with French cultural sensibilities persisted with "Le Journal de Mickey." Nevertheless, the outbreak of World War II and the ensuing German and Italian invasions of France led to a downturn in readership for the magazine and its merged counterpart "Hop-là!" After the conflict, the publication experienced a resurgence and continued to play a vital role in France's bande dessinée scene.
Paul Winkler formed a partnership with Robert Meunier du Houssoy, who later managed the "Hop-La" newspaper. Robert Meunier du Houssoy (1888-1968), the great-grandson of Louis Hachette and, at that time, the owner and president of Hachette, had deep family ties to the company through his mother, Amélie Templier, Louis Hachette's granddaughter. His career at Hachette spanned several key roles, starting as an administrator in 1927. He later became the CEO in 1952, leading the company through significant periods of its history.
Hachette, having secured licenses for Disney characters like Mickey, Minnie, Pluto, Goofy, and Donald Duck, along with various film titles, had the creative freedom to design their albums. They utilized drawings, illustrations, and proofs provided by the American company, crafting the books to their preference and even developing their own unique additions. This autonomy in design allowed Hachette to tailor the Disney books to the tastes and interests of the French market. Le Journal de Mickey is still being published today. It is currently published by Unique Heritage Media:
"Image cropped from: 2018 Tour de France -18 Pau by s.yuki (License: CC BY 2.0) via Wikimedia Commons"
French 1930’s pop-up books after Blue Ribbon Books:
Les Albums Hop-Là » de Walt Disney: 1934-1938 (6 pop-up books) published between 1934 and 1938. Note that after the war, Hachette would come out with 7 more titles dated between 1949 and 1953
1. The 1934 "MICKEY - HOP-LA!" book, measuring 24 x 19 cm, is a unique compilation of the American "Mickey" and "Minnie" pop-up books. It features four pop-up illustrations, three of which are from the American "Minnie Mouse" edition. This edition is often regarded by collectors as more visually appealing than its American counterparts. The French version's distinction lies in its merger of the two American books into a single volume, resulting in a richer, 64-page publication.
2. 1935: "Mickey et le prince Malalapatte" - Unique to France, featuring illustrations by Walt Disney and text by Madeleine du Genestoux. 64 pages with four pop-up illustrations.
3. 1936: "Une partie de polo" - Size: 20 x 23.5 cm. Features Mickey, Donald, Goofy, and Hollywood stars in a polo match with 3 double-page pop-ups.
4. 1936: "Les Trois Petits Cochons Hop-La" - Size: 19 x 24 cm. Based on the Silly Symphonies film with 3 color pop-ups and numerous other illustrations across 60 pages.
5. 1937: "Pluto et les Poussins Les Albums Hop-La" - Size: 28.5 x 32 cm. A story focusing on Pluto with 1 pop-up.
6. 1938: "Blanche Neige et les 7 Nains" - Size: 18.5 x 23.5 cm. Based on Snow White and the Seven Dwarfs with 3 pop-ups and special authorization from Walt Disney.
After the war 7 more titles were published including Les Trois Petitis Cochons - available at Hachette Hop-La! 3 pigs
Where is Hachette today?
Hachette became L. Hachette et Compagnie, Librairie Hachette, Hachette SA and Hachette Livre after it was acquired by the Lagardère Group in 1981. After buying an Australian publisher, Hachette Australia was created; They expanded to the UK as Hachette UK, and into the United States as Hachette Book Group USA. In 2019, Hachette sold Disney Hachette Presse to Unique Heritage Media.
France References:
1. Wikipedia (French). "Magdeleine du Genestoux." Retrieved from Wikipedia.
2. Hachette Livre. "Mickey et Minnie." Special agreement with Walt Disney. Paris: Librairie Hachette, 1932. Collection Bibliothèque Rose Illustrée.
3. Chronique Disney. "Portrait de Paul Winkler." February 2014. Retrieved from Chronique Disney.
4. The Walt Disney Archives – Disney Legends. Retrieved from The Walt Disney Archives.
5. Reference for Business. "Matra-Hachette S.A. - Company Profile, Information, Business Description, History, Background Information on Matra-Hachette S.A." Retrieved from Reference for Business.
6. Strenæ - Revue de l'AFRELOCE (Association Française de Recherches sur les Livres et Objets Culturels de l’Enfance). Baudry, Julien, and Litaudon, Marie-Pierre. "Hachette between heritage and renewal (1920-1960): how to 'collect' in the face of the challenge of 'transmedia' albums." Retrieved from Strenæ.
8 Wikipedia page on "Inducks," accessed January 9, 2024: Inducks.
9 Wikipedia page on "Le Journal de Mickey," accessed January 9, 2024: Le Journal de Mickey.
10 Wikipedia page of Magdeleine du Genestoux, accessed January 9, 2024: Magdeleine du Genestoux.
11 AbeBooks listing for "Album Hop-la! Mickey et le prince Malalapatte" by Magdeleine du Genestoux, accessed January 9, 2024:
12 Listing for "Mickey et le prince Malalapatte" by Magdeleine du Genestoux on Livre Rare Book, accessed January 9, 2024: Livre Rare Book. 13 Geneanet. "Robert Meunier du Houssoy: Genealogical Profile." Accessed [Date of Access]. Available at:
https://gw.geneanet.org/pierfit?lang=en&n=meunier+...
ITALY:
Italian editions were published by Mondadori under the title Illustrazioni Sorpresa, part of the Edizioni WALT DISNEY-MONDADORI. Vintagepopupbooks.com includes in its movable book reference collection a 1938 weekly publication by Periodici Mondadori.
The back cover advertises their series of pop-up books (Illustrazioni a Sorpresa). Pictured are the front and back covers of Letture per la Gioventù: Enciclopedia dei Ragazzi, labeled C. C. Postale - Pubblicazione settimanale 31 Marzo 1938 - XVI Periodici Mondadori L. 2. - Translated, the title reads: 180 Readings for Youth: Encyclopedia for Young People, C. C. Postale - Weekly Publication, 31 March 1938 - XVI, Periodici Mondadori, Price: L. 2, No. 180.
The Italian wording on the verso ad reads (translated) :
" The magnificent color illustrations contained within have an extraordinary quality: by opening the volumes, the figures rise, forming before your eyes a lively and realistic scene with a magnificent and entertaining effect. The characters of the story spring upright as if by magic, set against a background of castles, halls, landscapes, forests, etc., which are arranged in a lifelike and three-dimensional way, as if in real life."
It also pictures and describes their pop-up books (Illustrazioni a Sorpresa), featuring Mickey Mouse and friends. The titles include Mickey Mouse at the Circus (Topolino nel Circo), Mickey Mouse and the Ugly Duckling (Topolino e l’Anatroccolo), Mickey Mouse at King Arthur's Court (Topolino alla Corte di Re Artù), and The Dwarfs of the Forest and King Neptune (I Nani del Bosco e il Re Nettuno).
images from vintagepopupbooks.com
 
Mondadori, celebrated in the Italian publishing world, specializes in crafting Italian editions of international literary works. Known for their skillful translations, they adeptly preserve the essence of original texts while tailoring them for Italian readers. This approach has made Mondadori a key player in bringing global literature to Italy's doorstep. Arnoldo Mondadori Editore, recognized as the largest publishing company in Italy, has a rich and diverse history in the world of publishing.
Founded in 1907 in Ostiglia by a young and ambitious 18-year-old, Arnoldo Mondadori, the company marked its beginnings with the publication of the magazine "Luce!" This venture was just the start of Mondadori's illustrious journey in the publishing world. In 1919, seeking new horizons and opportunities, the company moved its headquarters to the vibrant cultural hub of Milan, setting the stage for its future growth and success in the publishing industry..
In 1935, Arnoldo Mondadori successfully negotiated a deal with Walt Disney, leading to a memorable encounter with Walt and Roy Disney at Mondadori's home in Meina. Walt Disney personally signed what was the largest international agreement with an Italian publisher, sealing a monumental partnership with Mondadori. This historic deal firmly positioned Mondadori at the forefront of children's publishing, closely associated with the globally adored Walt Disney creations. Through the agreement, the publishing house began the publication of a children's series based on Disney cartoon characters, which ran until 1988, when the agreement between Mondadori and the Walt Disney Company ended.
Image Belkow shows Italian publisher Arnoldo Mondadori with Walt Disney.in 1961
Image attributed to Archivi Mondadori, CC BY-SA 4. via Wikimedia Commons
Aftermath: In 1988, Mondadori was then owned by three: Berlusconi's Fininvest, Carlo De Benedetti's CIR and the Formenton family (Arnoldo Mondadori's heir).
It is interesting to note that in 2012 Mondadori published the best seller, Fifty Shades of Grey. Arnoldo Mondadori Editore, the largest publishing company in Italy, is currently controlled by Fininvest, which is owned by Silvio Berlusconi's family. Fininvest has had control over Mondadori since 1991.
A little more history:
When pop-up books were first introduced in Italy, the Fascist regime did not particularly favor translations of foreign works. However, these books were subject to the same moral and political standards as other publications, without additional restrictions. This changed in January 1937, when publishers were required to notify the Ministry each time they planned to translate a foreign work. This shift marked the beginning of tighter controls on cultural imports.
Arnoldo Mondadori's contributions to Italian publishing were crucial during this period. He played a pioneering role in fostering a translation market in Italy, bringing popular international literature to Italian readers. His strategic navigation of the regime's censorship policies demonstrated his business acumen. Unlike many publishers, Mondadori often bypassed the prefecture and communicated directly with high-ranking officials in the Direzione Generale per la Stampa Italiana. This approach allowed him to maintain flexibility in his operations, even under increasing restrictions.
Mondadori's influence extended beyond pop-up books. The inaugural issue of Topolino, the Italian Mickey Mouse comic series, debuted on December 31, 1932. Despite the widespread prohibition of American stories under Mussolini's regime, Disney stories were allowed as an exception. This was due in part to Mussolini's children's fondness for Mickey Mouse and Mussolini's respect for Mondadori. Consequently, Topolino continued publishing Mickey Mouse stories until February 3, 1942, when issue 564 marked the series' suspension due to the war.
By the late 1930s, the regime's autarchic cultural policies became more stringent, treating translations as a perceived threat to Italian cultural identity. Mondadori countered this by emphasizing the national benefits of his work, framing translations as a way to support Italian industry and reduce foreign imports. His efforts to promote Italian authors abroad further strengthened his position, aligning his publishing strategies with the regime's nationalist agenda.
In 1940, Mondadori's standing in the publishing world was solidified when he became vice president of the Federazione Nazionale Fascista degli Industriali Editori. His ability to balance loyalty to the regime with business priorities exemplified his skill in navigating a complex political landscape. After the fall of Fascism, Mondadori revived Topolino in 1945, which continued until the collaboration with Disney ended in 1988. His legacy during this turbulent period highlights his adaptability and the interplay between cultural production and political influence in Fascist Italy.
Arnoldo Mondadori (1889–1971)
Arnoldo Mondadori was a pioneering Italian publisher and founder of Arnoldo Mondadori Editore, which became the largest publishing house in Italy. Born on November 2, 1889, in Poggio Rusco, near Mantua, he began his career in publishing at a young age, establishing his first venture at just 18 years old with the magazine Luce! in 1907. Mondadori’s passion for literature and business acumen set the stage for his company to grow into a major player in the global publishing industry.
In 1919, he relocated his company’s headquarters to Milan, a decision that allowed him to tap into the city’s vibrant cultural and commercial networks. During the interwar years, Mondadori expanded his company by publishing translations of international works.
Mondadori was known for his ability to navigate the political challenges of the Fascist regime. While supporting the regime’s policies, he leveraged his position to maintain the publication of translations and international works, even under increasing restrictions.
After World War II, Arnoldo Mondadori revitalized his publishing house, continuing its legacy as a leader in the industry. His company published a wide array of content, including literary classics, popular fiction, and children’s literature, while fostering innovation in Italian publishing.
Arnoldo Mondadori passed away on June 8, 1971, leaving behind a legacy of cultural enrichment and a company that remains a cornerstone of Italian publishing. Today, Mondadori Editore continues to thrive as a leader in global publishing, a testament to his vision and dedication.
Italian versions of the Disney pop-up books: (translated into Italian for Mondadori by Mary Costa)
"Topolino Nel Circo" (1935) - "Mickey Mouse in the Circus"
"Topolina e l'anatroccolo" (1935) - "Minnie Mouse and the Duckling"
"I Nani del Bosco e il Re Nettuno" (1935) - "The Dwarfs of the Forest and King Neptune"
"Topolino alla Corte di Re Artù" (1935) - "Mickey Mouse at the Court of King Arthur"
Libro Animato di Topolino Mondadori - 1936 ( Italian waddle book )
References:
Wikipedia contributors. (n.d.). Arnoldo Mondadori Editore. In Wikipedia, The Free Encyclopedia. Rundle, C. (1999). Publishing translations in Mussolini's Italy: A case study of Arnoldo Mondadori. Textus: Rivista dell'Associazione Italiana di Anglistica, XII(2), 427–442. Genova: Tilgher.
NETHERLANDS:
Dutch Editions — De Moderne Boekhandel and the “Serie Pieco” Books
The Dutch editions of Disney’s movable books remain among the most mysterious and least documented branches of Disney’s early international publishing network. Published in Amsterdam by De Moderne Boekhandel, usually abbreviated “D.M.B.” on the books, these editions appeared under the unusual series title “Serie ‘Pieco’ boeken.”The choice of the name “Pieco” itself is intriguing. While its exact origin remains uncertain, it appears to have functioned as D.M.B.’s own proprietary branding for surprise or movable books, similar to Britain’s use of “Scenic Illustrations” and distinct from the American “Pop-Up” trademark. In Dutch, "Piek" or "Pieken" can refer to peaking or looking, and "Pieco" likely functioned as a playful, branded variation of "Peek-a-boo. Like many foreign Disney editions of the 1930s, the Dutch books avoided using Blue Ribbon’s trademarked American term “Pop-Up,” instead employing their own localized branding for the movable format.
The Dutch editions were translated by Mrs. J. Rienstra-Went and carried copyright notices for Walt Disney Enterprises rather than Blue Ribbon Books. This detail is particularly significant because it strengthens the growing evidence that Disney itself — likely through Kay Kamen’s expanding international licensing system — managed many foreign publishing agreements directly rather than simply exporting Blue Ribbon books abroad.
Known Dutch titles include:
Miepsie Muis en het eendje (Minnie Mouse and the Duckling). Amsterdam, D.M.B., [1938]. 32 pages with three color pop-ups.
Micky Muis in het circus (Mickey Mouse in the Circus). Amsterdam, D.M.B., [1938]. 32 pages with three pop-ups.
Another recorded version bears the fuller title Micky Muis in het Circus. Door Walt Disney, met illustraties van den Schrijver. Amsterdam, Uitgeverij “D.M.B.”, [1938], with the front cover prominently identifying the series as “Serie ‘Pieco’ boeken.”
Image: “Mikkie leeft in de Pieco Boeken.” Advertisement for Micky Muis in het Circus and Miepsie Muis en het Eendje. De Gooi- en Eemlander: nieuws- en advertentieblad, November 24, 1938. Accessed May 10, 2026. Delpher Dutch Newspaper Archive
Another contemporary Dutch review demonstrates that these books attracted immediate attention upon publication. On November 29, 1938, the Dutch newspaper Leidsch Dagblad reviewed Micky Muis in het circus, specifically praising its “bijzondere opklapbare illustraties” (“special fold-out illustrations”). The review emphasized both the novelty and visual appeal of the movable scenes, confirming that the dimensional elements were a major selling point for Dutch audiences.
Research into De Moderne Boekhandel itself has proven surprisingly difficult, but surviving evidence reveals that the company was far more sophisticated than an ordinary neighborhood bookstore. Originally located at Kalverstraat 185 in Amsterdam, the business later moved in 1928 to Leidsestraat 74, one of Amsterdam’s principal commercial and cultural districts. Research by vintagepopupbooks into the Dutch Joods Monument has identified Felix Pinechas Abrahamson as the proprietor of De Moderne Boekhandel, the Amsterdam firm responsible for publishing the Dutch Disney ‘Serie Pieco’ books. Abrahamson operated from Leidschestraat 74 — the same address appearing on surviving Pieco material and company logos. Tragically, Abrahamson was murdered at Sobibor on April 16, 1943 during the Holocaust. This discovery places the Dutch Disney movable books within the broader story of Amsterdam’s prewar Jewish bookselling and publishing world, much of which was devastated during the Nazi occupation
Image: Felix Pinechas Abrahamson, proprietor of De Moderne Boekhandel, photographed in 1929. Photo by Studio Merkelbach. Collection of the Jewish Museum Amsterdam via Digitaal Joods Monument. Licensed under Creative Commons BY-NC-SA 4.0.
A 1888 Dutch trade notice demonstrates that Felix P. Abrahamson was already active in Amsterdam’s literary and bookselling world by the late nineteenth century, decades before the publication of the Disney ‘Serie Pieco’ books. The notice references Abrahamson’s involvement in bookselling and publishing-related commercial activity at Oude Hoogstraat 20 in Amsterdam.
A 1910 notice published in Nederlandsch Letterkundig Nieuwsblad documents Felix P. Abrahamson continuing both bookselling and publishing operations from Kalverstraat 120 and 185 in Amsterdam following the dissolution of the firm Abrahamson & Van Straaten. The notice specifically references publishing activities involving calendars, reproductions, postcards, and periodicals, demonstrating that Abrahamson was already deeply involved in illustrated commercial print culture decades before De Moderne Boekhandel published the Disney ‘Serie Pieco’ movable books.
A surviving 1939 company letterhead significantly expands our understanding of the firm. De Moderne Boekhandel described itself as:
“The Modern Bookstore Ltd.
Bookselling and Publishing Company
International Bookstore
(With an Italian Section)
General Art Dealer
Advertising and Printing Services
Luxury Papers — Paintings
Artistic Calendars
Illustrated Works — Framing, etc.”
This remarkable description reveals that D.M.B. operated simultaneously as a bookseller, publisher, commercial printer, art dealer, advertising concern, and international cultural business. Particularly interesting is the reference to an “Italian Section,” suggesting broader European commercial connections unusual for a standard Dutch bookstore of the period.
The company’s surviving storefront image from 1940 further reinforces this impression. The striking modernist façade, expansive display windows, and contemporary architectural styling reflect a business deeply connected to the graphic arts and modern commercial culture of late-1930s Amsterdam. Rather than resembling a traditional antiquarian or local bookseller, De Moderne Boekhandel presented itself as an international design-oriented cultural enterprise.
Image below of De Moderne Boekhandel in Amsterdam in 1940 – 2 years after the "Pieco boeken," books were published
(wiki commons - public domain)
The physical construction and production quality of the Dutch Disney books are also notable. The Pieco editions possess a highly professional appearance consistent with firms experienced in quality illustrated printing and commercial graphic production. Whether some movable elements may have involved cooperation with other European printers or production networks remains an intriguing possibility, though definitive archival evidence has not yet surfaced.
As of October 1, 2024, substantial portions of the history of De Moderne Boekhandel and the Disney “Serie Pieco” books remain unresolved. Few surviving business records have yet been identified, and many aspects of the Dutch Disney editions continue to await further archival research. Their rarity, unusual branding, and limited documentation make them one of the most fascinating areas of early Disney movable-book collecting.
Logo from 1930's location: ( Logo kindly provided to us by Antiquarian Bookshop Klikspaan located in Leiden, Netherlands )
“De Moderne Boekhandel en het Uitgevers- & Advertentiekantoor van Felix P. Abrahamson.” Advertisement announcing relocation from Kalverstraat 185 to Leidschestraat 74, Amsterdam. The Telegraaf, February 2, 1928. Accessed May 10, 2026. Delpher Dutch Newspaper Archive
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