What is the Role of Art in Children's Books in the Heure Joyeuse Heritage Collection at the Françoise-Sagan Multimedia Library? - 2023 What is the ...
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n°24/1 - 2023
Online Magazine of the Visual Narrative
imageandnarrative.be ISSN 1780-678X
Pauline Kalioujny. Le Petit Chaperon rouge, conte soviétique, linogravure, exemplaire
Thematic Cluster: The book, the museum and the child (1)
Edited by Ivanne Rialland
Dossier thématique : Le livre, le musée, l’enfant (1)
Dirigé par Ivanne Rialland
1/3, 2015.
What is the Role of Art in
Children’s Books in the Heure
Joyeuse Heritage Collection at
the Françoise-Sagan Multimedia
Library?
by Hélène Valotteau
Image [&] Narrative is a bilingual peer-reviewed e-journal on visual narratology and word and image studies in the broadest sense of
the term.
Image [&] Narrative est une revue en ligne, bilingue, à comité de lecture, traitant de narratologie visuelle et d’études texte/image au
sens large. Image [&] Narrative is part of / fait partie de Open Humanities Press et DOAJ.
Chief Editors / Editrices en chef : Anne Reverseau, Anneleen Masschelein & Hilde Van Gelder.
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Image [&] Narrative - n°24/1 2023
Abstract
The exploration of the Heure joyeuse patrimonial collection, hosted by the
Françoise-Sagan library in Paris, highlights the multiple articulations between children’s
books and art. The interactions between the young public, the books proposed and pre-
served and the artistic field, which are an integral part of the cultural and scientific project
of the Heure joyeuse, show moreover the role that libraries can play in the education to
art, beside the visit to the museum.
To quote this article
Hélène Valotteau, « What is the Role of Art in Children’s Books in the Heure Joyeuse
Heritage Collection at the Françoise-Sagan Multimedia Library? », Image & Narrative
n°24/1 - 2023, dir. Ivanne Rialland, 93-106.
94
Image [&] Narrative - n°24/1 2023
What is the Role of Art in
Children’s Books in the Heure
Joyeuse Heritage Collection at
the Françoise-Sagan Multimedia
Library?
by Hélène Valotteau
The Françoise Sagan Multimedia Library, a large public lending library in the heart
of the 10th arrondissement of Paris, is home to a children’s heritage collection, Heure
Joyeuse,1 containing over 100,000 documents from the 16th century to present day, and
ranging from rare books to mainstream editions, editorial archives, and original drawings.
Children of all ages, along with adults and the groups that accompany them (parents,
grandparents, day care centers, schools, educators...) regularly visit the 3,500 square-me-
ter multimedia library, especially the children’s section, located on the second floor, where
they can browse the heritage collection.2
Interactions between young readers, available and preserved books, and an artistic ele-
ment all make up integral aspects of the cultural and academic project taking place at the
Heure Joyeuse heritage collection. This issue of Image [&] Narrative invites us to question
the connection between three components of our work: the book, the museum, and the
child. We might begin by examining art’s place within the collections, as well as its diffi-
cult-to-estimate size, studying everything from children’s nonfiction art books and artist
biographies to the traces of an artistic avant-garde found in children’s literature.
Yet we will also see how art is not only present in the collections, but in the multimedia
library itself, which is a lively meeting place for artists via commissions,3 workshops, confe-
rences, and residences. Installing exhibitions and studying the mediation and valorization
1. This collection is the legacy of the first children’s library opened in France in 1924, with Ame-
rican support. Officially created in 1974 to safeguard emblematic, out-of-print, rare, and valuable
collections, it is based on the endeavors of three pioneering librarians who thought it essential
that children have access to their own heritage: Claire Huchet, Marguerite Gruny, and Mathilde
Leriche (Ezratty & Lévêque; Ezratty and Valotteau).
2. Here we will focus exclusively on archive books, which constitute over 82,000 catalogued refe-
rences, or 93% of the collection. Consequently, original drawings are excluded from our analysis,
though they represent another important feature when questioning the possible museum-like
function of our institution.
3. For example, printmaker Julia Chausson was commissioned to design the logo of the Françoise
Sagan Multimedia Library in 2014. The annual heritage exhibitions also provide a frequent op-
portunity to ask art school students or young illustrators to create work in connection with the he-
ritage collections on display. Installations and temporary displays are also presented to the public.
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Image [&] Narrative - n°24/1 2023
of artwork both contribute to children’s visual education, as well as their experience when
confronting art, whether it is before, during, after, or separate from their museum visits.
Children’s art documents
The initial question prompted by this issue’s theme—namely, trying to estimate what
percentage of children’s art books4 exist in the heritage collection—does not present a
clear answer. Contrary to a lending library collection, where the document policy defines
the quantity of books in each major field of knowledge, and where the open-access shel-
ving corresponds with these major themes, the heritage collection operates in a different
manner. We could try to rely on catalog descriptions, though this method is not always
precise.5 In addition to monographs on the subject, we also have the magazine Dada
(though not the complete collection), which we keep in accordance with the conserva-
tion partagée des documents pour la jeunesse, a shared initiative preserving children’s
documents in the Île-de-France region.6 We could also conduct surveys, and identify the
large collections and publishers specializing in art (here Palette and publications by the
Réunion des Musées Nationaux and the Centre Pompidou come to mind)... All this de-
lineates a hazy, imperfect outline, which nevertheless gives a sense of scale: on the whole,
art documents represent approximately 1%7 of the heritage collection, a figure to be taken
with a grain of salt, since the calculation could be based on many interpretations.8
By way of comparison, art documents in the children’s lending collection at the Fran-
çoise-Sagan Multimedia library represent about 2.3% of the collection,9 a larger propor-
4. And by this we mean books on art, with reproductions of paintings, illustrated dictionaries, pic-
ture books that play with art and invite young readers to discover an artist, a trend, a collection, etc.
5. Not all of the 100,000 catalogued documents are listed in the same index. If we add up all the tit-
les indexed in the RAMEAU repository under “art,” “painting,” and “museum,” along with the books
filed under the Dewey Decimal Classification in the 700s, we obtain barely 1,200 results, from the
19th century to present day, with a rather substantial explosion of publications in the 1990s.
6. According to the shared preservation plan drawn up by the Fédération Interrégionale du Livre
et de la Lecture (FILL), at the national level, seven Dada collections are stored in France, in Dijon
(IUFM ESPE), Lons-Le- Saunier, Saint-Cloud, Marseille, Roanne and Bron.
7. Somewhere between 800 and 1000 monographs.
8. The heritage collections are meant to represent a non-exhaustive sample of children’s publishing
from its origins to the present day, with the largest portion devoted to fiction, to the detriment of
nonfiction. Moreover, while we know that French production exploded in the 1990s, this is not
necessarily the case in other countries whose publications we preserve. Moreover, we know that
children’s collections in lending libraries, before making works available specifically for children,
have intentionally incorporated general books on art into their collections to make artwork re-
productions available, on the pretext of introducing children to artists, suggesting museum and
exhibition visits. Although the heritage collections are mainly supplied via the weeding of lending
libraries, as far as non-fiction is concerned, the collections are not expected to keep these non-spe-
cific popular works, which further undermines art’s role here.
9. The children’s lending collection includes 30,000 documents, about 600 of which are art docu-
ments, 20% of the collection. We can add to the list 112 documents for early readers, as well as
illustrated dictionaries, and again the magazine Dada, as well as the magazine Le petit Léonard.
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Image [&] Narrative - n°24/1 2023
tion, yet this collection does not deal with the same issues nor usages.
Once this document landscape has been sketched out in relation to the wealth of
resources preserved in the collections, another question arises: in the Heure Joyeuse he-
ritage collection, is art intended for children ultimately found in places other than the
documents? Unlike purchased books coming from the artistic avant-garde, these docu-
ments are not acquired through a voluntarily, costly, and long thought-out process. But
haven’t we also advocated another approach to art, one which prioritizes giving access to
the artwork directly,10 rather than to “paper museums,” however essential they may be?
Art’s role within the collections
Artists and artistic movements have served as reference points to help us classify
art as a subject. We were guided through this exercise11 along a simple axis: from time
immemorial, the greatest painters, lithographers, engravers, etc., have put their talent to
use for children’s benefit, often first in the private sphere when they became a parent or
grandparent. Maurice Denis and his Premiers paysages comes to mind, in terms of coloring
books, or Emmanuel Sougez and Gaston Karquel,12 with their photographic dictionaries
for children. We could invoke the more recent designer Bruno Munari and his Prelibri, a
book published by the Danese gallery in Milan, as well as the many other contemporary
artists distributed by Trois Ourses13 for thirty years.
Traces of avant-garde artists
It is all too easy, when relying on defined disciplines as cornerstones structuring the
collections,14 to identify a certain number of works falling under the category of children’s
“art book-objects.” Frequently, these books by painters, photographers, and other artists
10. This is in line with a Montessorian approach, advocated by the pioneering librarians at Heure Joyeuse.
11. For this exercise, we scanned acquisitions from the last eight years, cross-referencing criteria, such
as basic pre-indexation (with the artistic avant-gardes making up part of one documentary policy
criteria), purchase price (the price of certain titles or artists, though much less than in the art market,
nevertheless plays a similar role, “giving weight” to the collection), artists considered authors—here
we were primarily interested in graphic art, namely illustrators for example, excluding poets.
12. Incidentally, the cover of L’Alphabet photographique features a photograph of the artist’s youn-
gest son, Jacques Karquel.
13. With the dissolution of the association Les Trois Ourses in 2019, the archives were donated
to the Heure Joyeuse heritage collection, while the works were acquired by the Centre National
des Arts Plastiques. The archives include all correspondence with the artists, reference material on
their work, and all files related to the publication of their works in France, in addition to progress
reports and other management records from the association. A pre-inventory is already available
upon request, providing consultation of all these documents.
14. Seven strengths, resulting from the intuition of librarians, research work, and patiently assem-
bled and documented reference collections, have been defined as the backbone of the heritage
collection, concerning monographs: alphabet books, photographically illustrated books or photo-
books, coloring books, pop-up and cut- out books, cloth books, Soviet books, and artists’ books.
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are the fruits of labor of avant-garde artists. Whether they belong to the Viennese school
(Čižek), Italian futurism,15 or the Soviet avant-garde (Lebedev16), all have dared to fashion
children’s visual education through innovative works of art, art sometimes marked by
ideology, certainly, yet always advocating aesthetic renewal. For example, a brief look at
Dutch work allows us to discern traces of Japonism (Hoytema, Andersen, Hogervorst),
illustrations influenced by Art Nouveau17 (El Pintor), Art Deco (Willebeek Le Mair,
Cramer, Geerlings), the Hague School (Mullerfurer), Art for Art (Bottema)18... Artists
like Floris Jespers (Peeters) combine Fauvism, Constructivism, Expressionism and Cu-
bism, while Bart Van Der Leck,19 in illustrating Het vlas, known in English as The Flax
(Andersen), brings us the only children’s work published by a member of the neoplasti-
cism movement De Stijl.
Fig. 1 : Sonia Delaunay et Jacques Damase. L’Alphabet. Emme Edizioni, Electa Editrice. 1969.
15. Such as this futuristic, fascist alphabet book, illustrated by Carlo Vittorio Testi (Fraschetti)
with an airbrush.
16. We will only mention Vladimir Lebedev here, and one of his most avant-garde works, охо́та
[The Hunt], published in 1925, though the Heure Joyeuse heritage collection holds some sixty-
odd books penned by this artist, within a set of more than 1,500 Soviet books, of which about 300
were published during the golden age of Russian avant-gardes. Around 100 of them have been
digitized.
17. Art Nouveau, or the New Art Academy (Nieuwe Kunstschool) in Amsterdam, was represented
by a group of clandestine students (El Pintor).
18. Art for Art gave rise to the Kunst om de Kunst movement in Leiden, to which Johanna Bot-
tema belongs.
19. Bart Van Der Leck (1876-1958), a Dutch painter and founder of the De Stijl journal, signed
our illustrated typography of Andersen’s tale The Flax.
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Fig. 2 : Gaston Karquel (photographies), Pauline David (texte). Alphabet photographique, Les
éditions du compass, [1950 ?].
Fig. 3 : Jan Peeters [et Floris Jespers]. Kinderlust. Drukk, Reclam. [1923].
99Image [&] Narrative - n°24/1 2023
Fig. 4: Vladimir Lebedev. Oxoma [La Chasse]. Raduga. 1925.
Editions for bibliophiles
One of the heritage collection’s axes to document policy20 involves trying to acquire
works signed by well-known artists; oftentimes these artists have created only one child-
ren’s book. These works are part of a general movement to legitimize children’s literature.
Some border on bibliophilia, or a bibliophile’s rare and precious collectibles, such as Sonia
Delaunay’s large paper edition alphabet book,21 or The Boy and the Spell (Colette) illus-
trated with lithographs by Michel Terrasse, Pierre Bonnard’s grand-nephew. In general,
these deluxe editions were not really made for children, contrary to the range on offer in
their current edition.22 Nevertheless, we agree on the importance of putting them in child-
ren’s hands, while using an adapted accompaniment and varied approaches that encourage
and increase children’s contact with art. Our method aligns with the legacy left by the first
librarians at Heure Joyeuse, who from the beginning kept the sumptuous gift books and
20. The heritage collection’s document policy is in the process of being given formal status as wri-
ting in the Cultural and Scientific Project.
21. L’Alphabet by Sonia Delaunay and Jacques Damase, published by Emme Edizioni - Electa
Editrice in 1969, had a printing of only 150 signed and numbered copies, plus 30 unpurchasable
copies. The current commercial edition was later released in 1972, by L’école des loisirs.
22. For instance, Maurice Denis’s Premiers paysages, published in 1913 by Henri Laurens as a
portfolio collector’s edition intended for collectors in the Groupe des XX, was also published by
the same publisher in a budget collection as “Les Leçons de Choses du Petit Coloriste” in 1926.
100Image [&] Narrative - n°24/1 2023
rare books apart, barring them from loans but not from consultation, in order to “preserve
and make accessible” children’s own heritage.
The artist’s book
Lastly, it is worth adding to our scope of study the particular case of the artist’s book:
works often published in very small quantities, sometimes even one-of-a-kind works.
Here we are not interested in discussing the definition of the artist’s book, nor their place
in a collection of enfantina. Rather, it is important to mention that this corpus, though not
consisting exclusively of artists’ books made for children,23 indeed belongs to one of the
seven axes of our document policy, and seems an essential tool for awakening a creative
urge and artistic sensibility, and for arranging encounters with artists’ worlds. These books
are perhaps less intimidating than the museum institution, since they have a familiar jum-
ping-off point (be it the multimedia library, where these books can be found, or the “book”
format itself ), and since they tend to challenge the materiality of the work, as does the
work of a bookbinder toiling over a collector’s edition ( Jacquez Elias24), adding his crea-
tion to the creation. These books provide an even deeper approach by way of the senses—
touch, sound even smell in certain cases. Whether they are tiny books (Vandenwouwer)
or ones that unfold over several meters (Le Lous Delpech), made from real paper lace
(Faivre) and only legible under black light (Renault), these books play with constraints
and form, creating possibilities for multiple cultures and materials. Their hand-made pro-
duction invites us to share in and feel moved by the intimacy of their creation. Being one-
of- a-kind, their rare quality gives them a status close to that of museum art and, quite
often, their materiality and originality make them excellent “ferrymen” as they captivate
the young public, piquing their interest in behind-the-scenes aspects of creation, allowing
them to discover an artistic theme or artist’s world.
Library-museum? Exhibiting art books and
artists: a question of mediation
Viewing the art book as a paper museum is a topic analyzed by Ivanne Rialland, who
calls it a substitute for the museum visit, or else a memory space of this visit, an educa-
tional accompaniment, a form of mediation. In the multimedia library, we must adopt
nearly the opposite approach: here, the displayed object is the book; this is what we come
23. This is another debate, in line with the ideas of François Ruy-Vidal, whose archives we keep:
“There is no such thing as children’s art, there is simply art. There is no graphic design for children,
there is simply graphic design. There are no colors for children, there are colors. There is no child-
ren’s literature, but literature. Based on these four principles, we can assume that a children’s book
is a good book when it is good for everyone.” (Ruy-Vidal).
24. Bookbinder Annie Robine created a cover corresponding to DODIK’s illustrations in Com-
ment le renard Poil- Roux fut battu à la course par Ventre-à-Terre l’escargot, with black buffalo bin-
ding, an open spine held together by salmon strips sewn with red linen thread, endpapers made
from different colored Japanese paper, raised bands along the spine in green and blue velvet and
red and yellow Moroccan leather, a black paper box, and red laces.
101Image [&] Narrative - n°24/1 2023
to visit, to question, to explore. The institutes’ professionals—librarians in this case—play
the role of ferryman, mediator, either themselves or by inviting artists. These guests will
often suggest moving from the book to a creative activity, initiating an artistic practice
through workshops.
A relationship with the museum
One of the strengths of the heritage collection, apart from the fact that it is inte-
grated into a municipal multimedia library where all corners of public life converge, is
that it offers an exhibition room, picture rails, and display cases25 spread throughout every
floor of the multimedia library, just like many permanent collection spaces in a museum,
where the art can be displayed and discovered. The archives reinforce this parallel, as this
is where the heritage works are stored, with particular attention given to the works’ pre-
ventive conservation.
Once a year, an exhibition endeavors to highlight a particular theme, an axis, or a
figure from the heritage collections: discovering the “treasures” one year after the multi-
media library’s opening, focusing on coloring books, publications from the seventies,26 or
a spotlight on figures Jacqueline Duhême, Gérard Lo Monaco, and Béatrice Poncelet are
just a few examples of the exhibitions offered.
Beyond its walls, the “Monthly Original” feature allows heritage libraries in the City
of Paris to exhibit throughout the lending library network, enlarging access to heritage
through widely dispersed display cases. Such was the case in 2017, for example, with the
theme of the Soviet avant-gardes.27
Workshops and events offering hands-on contact with the works
Complementing other spaces in the multimedia library is an auditorium which hosts
events, workshops, and conferences, bringing to life and investigating works on display.
It welcomes large-assembly events using digitalized projections in a comfortable setting
made for large-scale visibility, without depriving audience members the pleasure of seeing
or touching the books afterwards, either in the heritage collection’s reading room or in the
auditorium at the end of the session.
Exhibitions also provide an opportunity to combine events and bring together crea-
tors, enthusiasts, collectors, and neophytes. From this assembly, rich discoveries are born. It
is during these moments that a link is most easily made between the public and whatever
creation is in the process of being made, by inviting young illustrators to suggest which
25. Cela se complète par des vitrines virtuelles, sur les réseaux sociaux et le portail des bibliothèques
patrimoniales et spécialisées, dont nous ne parlerons pas plus avant ici mais qui contribuent, no-
tamment en ces temps de pandémie, à abolir les distances et à faire découvrir les collections.
26. Le 68 des enfants, l’album jeunesse fait sa révolution, in 2018.
27. In the fall of 2017, four libraries in the lending library network commemorated the Russian
revolutions, in addition to the comparative approach taken at the Françoise-Sagan multimedia
library, using Soviet books and original drawings by Blexbolex as part of Formula Bula comics
festival.
102Image [&] Narrative - n°24/1 2023
childhood book should be made an homage, or asking them to question the concept of a
coloring book28 for example, or by commissioning illustrations for the children’s reading
list each year in the Parisian network. The multimedia library is a setting of interactive ins-
tallations: giant coloring cubes with Maison Georges, the creation of temporary window
frescoes which visitors can view using a patterned stencil,29 workshops within exhibitions
conducted alongside the works... Various offerings provide the opportunity to transform
a receptive visitor—one taking in the works—into an active visitor, an artist himself for a
few hours.
Behind-the-scenes creation also creates a kind of narrative arc from exhibitions to
events. We find it important to document this genesis, to reveal what’s behind the curtain,
sometimes by staging it,30 and sometimes by gathering tangible evidence for the collec-
tions: matrices for engravings, drawings not kept in archives, loose pages, written cards
exchanged with artists, guest books filled with quick sketches...
Fig. 5 : Pauline Kalioujny. Le Petit Chaperon rouge, conte soviétique, linogravure, exemplaire 1/3, 2015.
28. The exhibition Haut en couleurs: laboratoire de coloriage, in 2017-2018, in partnership with the
Charte des auteurs and winners of the “Voyage à Bologne” operation.
29. A fresco by Emmanuelle Bastien for this same exhibition, accompanied by a workshop with
the artist, Contours and detours, where both young and old could create a small accordion book and
a stencil.
30. For example, during the exhibition Dans l’atelier de Gérard Lo Monaco, in 2018-2019.
103Image [&] Narrative - n°24/1 2023
In conclusion, it appears that the Heure Joyeuse heritage collection is one of several
places providing access to art, due to the richness of children’s collections and the empha-
sis placed on the image. The collection also prompts us librarians to question ourselves, our
mission and training. Our mediation is decidedly unique; we work without facsimiles or
art reproductions, presenting children of all ages with books expressly designed for them
as graphic artwork. The multimedia library space and its cultural aim allow us to both
present works to children, and to present the creators of these works as budding artists.
Certainly, if we wished, we could provide ostentatious ceremony, use glass display cases as
in interface to protect the books like art, stage it all showily... but this would deprive us of a
direct, delicate relationship with the book. We could also choose to put these book-works
directly into the hands of visitors, or on a table, at children’s eye level and experience it
with them—we can act as the privileged place where children come to meet creators. It is
certainly possible to create a human experience and put words with books, taking our mo-
dest place between schools and museums in building children’s artistic education and art
awareness. This is our way to situate ourselves between the somewhat imposing institution
and the dust of the archives, between museum and paper.
Fig. 6 : Table de travail de Pauline Kalioujny pour Le Petit Chaperon rouge, conte soviétique, réalisé
en 2015 pour l’exposition « Ce fameux livre ! 40 illustrateurs jeunesse revisitent leur livre d’en-
fance, pour lequel l’artiste a longuement consulté le fonds de livres soviétique de la médiathèque
lui rappelant ses origines russo-ukrainiennes. On aperçoit notamment Вчера и сегодня= Hier
et aujourd’hui, de Maršak et Lebedev, paru en 1928 chez GIZ à Moscou, et 8 БЕРЕЗНЯ= LA
JOURNÉE DU 8 MARS, de B. Krioukov, publié à Kiev à la même période.
104Image [&] Narrative - n°24/1 2023
Books from the heritage fund Heure joyeuse
Andersen, Hans Christian. Het leelijke jonge eendje. Illustré par Theodoor van Hoytema, C. M. van
Gogh. 1893. Cote : FA FOL 4.
Andersen, Hans Christian. Het vlas. [Traduit et réalisé par] Marie Nijland-van der Meer de Wal-
cheren, [signé et colorisé par] Bart Van Der. Leck, N.V. de Spieghel. [1941]. Cote : FA in8 801.
Bottema, Johanna. Een sneeuw-verhaaltje. De Driehoek. [1946]. Cote : FA in8 2808.
Čižek, Franz. Children’s coloured paper works. Anton Schroll & Co. 1927. Cote : FA in4 2304.
Čižek, Franz. Weihnacht : vierzehn farbige original Steinzeichnunge. Burgverlag Richter & Zöllner.
1922. Cote : FA in4 1983.
Čižek, Franz. Christmas. Préface d’Edmund Dulac, J. M. Dent & Sons, Burgverlag Richter &
Zöllner. 1922. Cote : FA in4 2387.
Colette. L’enfant et les sortilèges. Illustré par Michel Terrasse, musique de Maurice Ravel, Éditions
de l’Aude. 1949. Exemplaire n°1/217. Cote FA FOL 27.
Cramer, Rie. Het diamanten-prinsesje. A.J. van Dishoeck. 1910. Cote : FA it 156.
Delaunay, Sonia et Jacques Damase. L’alphabet. Emme Edizioni, Electa Editrice. 1969. N°XVII/
XXX. Cote : FA in4 2388.
Delaunay, Sonia et Jacques Damase. L’alphabet. l’école des loisirs. 1972. Cote : E in4 770.
Denis, Maurice. Premiers paysages : les Leçons de Choses du Petit Coloriste. Henri Laurens. 1913.
Cote : COL in4 73.
Denis, Maurice. Premiers paysages. Henri Laurens. Collection « Les leçons de choses du Petit Co-
loriste ». 1926. Cote : COL in4 148.
El Pintor. Kom binnen in het huis van El Pintor waar je mag : klimmen, springen, zwemmen, snoepen,
schilderen, schaatsen, knoeien, koken, glijden, vliegen, vissen, varen [= Entrez dans la maison d’El Pin-
tor où vous pourrez : escalader, sauter, nager, grignoter, peindre, patiner, déconner, cuisiner, planer, voler,
pêcher, faire du bateau]. Variété. 1943. Cote : FA it 160.
Faivre, Isabelle. Giboulées dentelles. 2017. Cote : Livre d’artiste – pop-up / travail du papier.
Fraschetti, Vincenzo. Italia dall’A alla Z. Illustré par Carlo Vittorio Testi, A cura della Direzione
Générale Italiani all’Estero. 1936. Cote : FA in8 3649.
Geerlings, C.J.C. De Heimannetjes : Kindersprookje. Illustré par Ludvig Willem Reijmert Wencke-
bach, S.L. van Looy, Collection “Bibliotheek voor Jongens en Meisjes”. 1899. Cote : FA in8 2488.
Hogervorst, Martina (dite Tine). Uilen-geluk. Illustré par Thedoor van Hoytema, C. M. Van Gogh.
1895. Cote : FA in8 1587.
Hoytema, Theodoor van. Vogelvreugd : een prentenboek voor de lieve jeugd. Tresling & Co. [1904].
Cote : FA in8 2807.
Jakez Helias, Per. Comment le renard Poil-Roux fut battu à la course par Ventre-à-Terre l’escargot.
Illustré par DODIK, reliure d’Annie Robine, Atelier Tugdual. 1994. Cote : FA in4 2026.
Karquel, Gaston. Alphabet photographique. Texte de Pauline David, Les éditions du compas.
[1950?]. Cote : FA in8 481.
Lebedev, Vladimir. Охота [= Ohota = La chasse]. Raduga. 1925. Cote : EST in4 625.
Le Lous Delpech, Frédérique. Sur le fil. 2015. Cote : Livre d’artiste – Frédérique Le Lous Delpech.
Mullerfurer, Konrad. Uit huis en hof. Poèmes de H.B. T, W. de Haan. [1921]. Cote : FA it 154.
Munari, Bruno. I prelibri. Danese. 1980. Cote : A E in4 41.
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Hélène Valotteau is chief librarian, head of the youth and heritage department, François
Sagan Multimedia Library.
Email : helene.valotteau@paris.fr
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