Hand-Painted Prototype (Dummy Book) for a Vintage Movable Book (Circa 1950s)
This is an exceptional and original hand-painted prototype for a movable book, believed to date back to the 1950s. Though the specific book this prototype was intended for remains unknown, it is an extraordinary example of mid-century craftsmanship, featuring a variety of functional movable elements. The front and back covers are plain brown cardboard, as is typical for prototype editions.
Attributed to Julian Wehr - see info below
9.5" X 8"
Condition
The book is in excellent condition, with the seams securely taped as originally done by the artist during the prototyping process—no repairs have been made. The hand-painted illustrations are exceptionally well-preserved, showing no chipping, tears, or missing pieces.
The book contains a series of 10 nursery rhymes, each presented with a page of hand-painted text and an accompanying page featuring movable illustrations. The artistry is meticulous, with vivid colors and whimsical details. The movable elements are diverse, showcasing a range of mechanisms, including pull tabs, volvelles, lift-the-flap features, and semi-circle movements.
- Miss Muffet: Pull tab
- The Cat and the Fiddle: Turning volvelle
- Simple Simon: Pull tab
- Mary and Her Lamb: Volvelle
- Little Jack Horner: Semi-circle pull tab
- Jack Sprat: Pull tab with window cutouts
- Humpty Dumpty: Lift-the-flap and pull tab
- Here's the Church: Lift-the-flap and pull tab
- Jack Be Nimble: Movable tab
- Crooked Sixpence: Pull tab
Notes on Possible Origin
Attributed to Julian Wehr:
Wehr’s movable books commonly used plastic comb binding, with pre-punched holes in the pages designed to accommodate this type of binding. This prototype shares the same pre-punched holes on the binding side but lacks the plastic comb binding itself—a detail consistent with prototypes, as final binding was often applied later in the production process. The presence of these plastic-ready holes is a compelling link to Wehr’s style and production methods, although it is not definitive proof of his involvement. Let's look for more clues:
The movable elements in this book reflect some key similarities to Wehr’s mechanically inventive books. Known for pioneering interactive books, Wehr’s designs often featured intricate pull-tabs, volvelles (rotating discs), flaps, and other mechanisms. This prototype employs similar mechanisms, showcasing the same level of mechanical creativity that defined Wehr’s work. Additionally, Wehr frequently used instructional labels such as "MOVE," "PULL," or "TURN" on his tabs, and this prototype's use of the same type of "instructions" on the tabs aligns with that convention. Even the handwriting on the tabs bears a resemblance to Wehr's lettering style in his finished works, suggesting a possible connection.
The exaggerated expressions, vibrant colors, and playful compositions in this prototype align closely with the artistic tone of Wehr’s published books. he presence of nursery rhymes and whimsical subject matter in this prototype matches the themes that frequently appeared in Wehr's catalog, further reinforcing the potential link.
The vibrant, whimsical illustrations in this prototype closely align with the artistic style of mid-20th-century illustrators working for Whitman Publishing or similar companies. Prototypes often featured hand-painted artwork to test concepts before mass production, which aligns with the craftsmanship seen in this piece.
If this truly is a Wehr piece, it’s likely an unpublished prototype created before or during his collaboration with Duenewald. Prototypes didn’t usually bear official publisher markings, especially in their early stages.
Other possibilities:
Whitman Publishing:
The simple yet cheerful backgrounds (e.g., the garden and spider web in Miss Muffet or the tiled floor in Simple Simon) match the aesthetic often seen in Whitman books from the 1940s-50s. The stylistic similarities between the illustrations and Hilda Miloche’s known works suggest that she may be the artist responsible. Miloche's collaboration with Whitman Publishing during this era and her reputation for creating playful, exaggerated character designs support this attribution. We don't know of any specific MOVABLE books illustrated by Hilda however. The level of exaggeration in these illustrations is also slightly more pronounced than her typical work, which could indicate that she adapted her style for this particular project or publisher’s request. Movable book prototypes often required a higher level of artistic detail and dynamic styling, which might explain the heightened exaggeration and stylization. If not Hilda Miloche, it’s possible that another Whitman Publishing artist with a similar humorous and vibrant approach could have created this work. Whitman often collaborated with illustrators who shared overlapping styles.
Disney:
Maybe, The polished lines and bright, clean colors are consistent with Disney's aesthetic, especially in merchandise and storybooks during the mid-20th century, but the illustrations lack the refined detail and realistic anatomy typically associated with Disney's output in the late 1940s and early 1950s. This design leans more cartoonish and less polished than Disney's usual style. That said, hand-painted prototypes are created to test ideas, mechanics, or visuals and are not meant to represent the final production quality.