21 minute read
considers the collecting power of Beatrix Potter
NATURAL TALENT
Long before a certain boy wizard, Potter-mania referred to the children’s author and illustrator Beatrix Potter. On the eve of a major exhibition celebrating her genius, book specialist Dr Philip W. Errington reveals what makes her so collectable
Beatrix Potter, aged 15, with her dog, Spot, by Rupert Potter, c.1880–1881, print on paper. Linder Bequest. © V&A Museum Above Complete set of Beatrix Potter deluxe editions, image courtesy of Peter Harrington
Beatrix Potter was born into a privileged background, hailing from a successful cotton business family in Manchester. By the mid1840s, the Potters owned the largest calico printworks and their product was world-famous.
However, Potter’s father, Rupert, abandoned the family firm, and moved to London to become a lawyer. In 1863, he married Helen Leech and, three years later, their first child was born: Helen Beatrix Potter. She began to show early artistic ability and by the age of 12 a drawing teacher was engaged to nurture her talent. Potter and her younger brother Bertram also kept a menagerie of pets in their nursery (and, later, schoolroom) in Bolton Gardens, Kensington, often smuggling in toads, newts, birds, bats, snakes, mice and, of course, rabbits, without their parents’ knowledge. Potter – who had more than 92 pets during her lifetime – took inspiration from some of them for her stories, notably her domesticated rabbits Benjamin Bouncer and Peter Piper.
It was a crucial part of Potter’s upbringing that animals were to be enjoyed, but also studied. When her brother’s bat became unwell, she was given detailed instructions on how to kill and stuff it. A dead squirrel was boiled and then dissected, and – perhaps inconceivable to Peter Rabbit fans – a rabbit was once killed with chloroform. In observing animals and understanding their biology, Beatrix Potter began her other, less wellknown career, as an accomplished anatomical artist.
Her skill was not confined to animals, however, and she became adept at drawing fungi and plants. Peter Harrington previously sold a fascinating copy of Peter
Below Picture letter by Beatrix Potter sent to Noel Moore from Heath Park, Birnam, 21 August, 1892. Ink over pencil on paper. © Lloyd E. Cotsen Collection, Princeton University
Rabbit inscribed to a J. Squire who helped her acquire a specimen as part of her research on the fungal properties of dry rot. He delivered the specimen to Bolton Gardens in a brown paper bag, where she hid it under a stone in the garden, for fear of her parents’ disapproval (“How I should catch it, my parents are not devoted to the cause of science,” she wrote in her journal).
At the age of 20 she wrote a scientific paper entitled On the Germination of the Spores of Agaricineae and submitted it to the Linnean Society. It was read and well-received, but additional work was required before possible publication and Potter withdrew the piece; no copy exists today.
Left Beatrix Potter, drawing; magnified studies of a ground beetle (Carabus nemoralis) by Beatrix Potter, c. 1887. Linder Bequest. © V&A Museum
Right Old Mrs Rabbit, redrawn by Beatrix Potter in 1927. Sold by Peter Harrington in 2011 for £20,000
Below left Rear wrapper of A Happy Pair, image courtesy of Peter Harrington
Below Potter’s first book was A Happy Pair. Sold by Peter Harrington in 2016, for £30,000, image courtesy of Peter Harrington
Below right Mrs Rabbit pouring tea for Peter while her children look on: variant illustration for The tale of Peter Rabbit by Beatrix Potter, 1902. © V&A, courtesy Frederick Warne & Co Ltd.
Right Original drawing by Beatrix Potter of a mouse (with tea cup) from The Tailor of Gloucester, available from Peter Harrington, priced £20,000
Original artwork
Most of the artist’s work is in collections and libraries (the V&A and the Free Library of Philadelphia both have magnificent collections), but there are still occasional pieces which surface. When I worked in the auction world I was responsible for bringing the extant collection of Beatrix’s brother to sale and established the current world record for the artist’s work (The Rabbits’ Christmas Party: The Departure, which sold for £289,250 including buyer’s premium).
In 1927, Potter sought to help the National Trust acquire a strip of Lake Windermere’s shore known as Cockshott Point. She therefore redrew a number of her favourite illustrations to help raise funds and these pieces were sold in the United States. Potter eventually contributed £104 to the appeal, which was a sizeable contribution at the time. Peter Harrington has one of these illustrations, redrawing an illustration from The Tailor of Gloucester.
Early success
Beatrix Potter first encountered some commercial success when a selection of drawings of rabbits were accepted as designs for Christmas and New Year greetings cards in 1890. The publisher also used Potter’s designs – once again featuring rabbits – as illustrations to a set of verses by Frederic E. Weatherly and published A Happy Pair. It was Potter’s first book and contains six chromolithographed illustrations each signed ‘H.B.P.’ This is a very fragile publication and is bound with a silk cord.
The birth of Peter Rabbit
Potter’s life in Kensington was rather lonely and sheltered, with close friendships discouraged by her parents. Her happiest time in Bolton Gardens was perhaps with Annie Moore, who was hired when she was 17 as her German tutor and companion.
After Annie’s marriage, the two stayed in touch, and Potter often wrote illustrated letters to Annie’s children.
Although she didn’t know it at the time, Beatrix Potter would sow the seeds that changed children’s literature forever on September 4, 1893, when she wrote a letter to cheer up Annie’s eldest son, five-year-old Noel Moore, who was sick with scarlet fever. The illustrated letter was a story based on her recent pet rabbit, Peter Piper. The letter starts ‘I don’t know what to write to you, so I shall tell you a story about four little rabbits, whose names were Flopsy, Mopsy, Cottontail, and Peter…’
In 1900, Potter took the story of the letter and embellished it so that the resulting tale was about a third as long again as the original. The book, featuring 42 black and white drawings and a coloured frontispiece was offered to at least seven publishers, including Frederick Warne, who all rejected it.
Potter knew exactly how she wanted to publish the story: it had to be affordable for “little rabbits” and in a small format – just the right size and weight for small hands. Unable to find a publisher who would accept her proposed format, she published Peter Rabbit herself in a private edition of 250 copies.
The author sold copies of the book herself at 1s. 2d. a copy. Customers included the author of Sherlock Holmes, Sir Arthur Conan Doyle, who, according to Potter, ‘had a copy for his children and he has a good opinion of the story and words’. Running short of copies, the author ordered a further 200 books.
PAINTING BOOKS AND “PIRATED EDITIONS”
There are additional Potter volumes which are not part of the established series. There are a number of attractive painting books (Peter Rabbit’s Painting Book from 1911 and Tom Kitten’s Painting Book from 1917, for example). There is also Peter Rabbit’s Almanac for 1929. In addition there are translated editions. A Dutch version of Peter Rabbit first appeared in 1912 and there have been a prodigious number of translations since.
Another area for collectors is that of the ‘pirated’ edition. Because of a mistake at Frederick Warne, Peter Rabbit was not registered for copyright in the United States. Any publisher could bring out an edition of the work and, from 1904, a prodigious number did so. (Happily, there’s an admirable bibliography by John
R. Turner of these, first published in 2012)
Above left A black and white drawing for Peter Rabbit, image courtesy of Peter Harrington
Left Peter Rabbit’s Almanac for 1929. Sold by Peter Harrington in 2011 for £3,750 (inscribed)
Right The first commercial publication of The Tale of Peter Rabbit, image courtesy of Peter Harrington
The “Bunny Book”
Finally, the firm of Frederick Warne expressed interest in commercial publication of the “Bunny book” project, as they termed it.
The publishers decided that colour illustrations were to be used throughout and the text shortened. However, their new author proved to be a forceful personality with strong opinions. Warne wanted to use a cheap woodblock method of colour publication, but Potter insisted on an expensive, three-colour engraving process on copper. The result of this was a less attractive royalty (the first 3,000 copies were entirely royalty free) but a more attractive book. The author needn’t have worried about the contract: by publication in October 1902, the first printing of 8,000 copies had already been sold. By the end of the year 28,000 copies had been published.
Potter’s favourite book
At long last, Frederick Warne acknowledged they had a major talent. Peter Rabbit was followed by The Tale of Squirrel Nutkin in 1903 and then The Tailor of Gloucester – her favourite book which also started life as a story
for one of the Moore children, a Christmas present for Freda Moore in 1901. Just as she had done with Peter Rabbit, Potter first had the book privately printed (Warne had not yet published Peter Rabbit and she did not think they would want a second so soon). The Tailor of Gloucester is unique in the series with its period setting (Potter drew the costumes from the collection at the V&A Museum). It was based on a true story that she had heard while staying in Gloucestershire about an elaborate waistcoat which had been commissioned for a grand mayoral occasion.
Tragic engagement
Most of Potter’s early dealings with the Warnes were with the youngest brother, Norman. A courtship developed and Norman proposed by letter on July 25, 1904. Despite the disapproval of her parents, Potter accepted. Sadly, soon after, Warne was taken ill and died a month later from pernicious anaemia brought on by lymphatic leukaemia, a disease difficult to diagnose at that time. He was 37. The true story is not exactly as depicted by Renée Zellweger and Ewan McGregor in the 2006 film, Miss Potter, but it’s a reasonable adaptation of the relationship.
Move to the Lakes
Through her royalties, Potter became an independently wealthy woman. Towards the end of 1905, she bought Hill Top farm near Sawrey in the Lake District. She visited as often as she could, but never for more than a few days at a time, sketching the house, garden, countryside and animals for her new books. In 1909, she bought another farm opposite Hill Top, Castle Farm, which became her main Lakeland base.
Signed by “Miss Potter”
From Squirrel Nutkin in 1903 to Little Pig Robinson in 1930, there are many wonderful Beatrix Potter titles. Inscribed copies are not uncommon, the greatest commercial value is attached to copies that are signed ‘Beatrix Potter’ or ‘Miss Potter’ rather than her married name Beatrix Heelis. Inscribed copies sometimes include miniature sketches.
Above The first commercial publication of The Tailor of Gloucester. Sold by Peter Harrington, 2021, for £1,500, image courtesy of Peter Harrington
Right An inscription within The Tale of Mr Tod reads from ‘Miss Potter’. Sold by Peter Harrington in 2000 for £5,000
Below left Man’s court waistcoat, 1780s, English or French; white silk, embroidered, in Beatrix Potter’s The Tailor of Gloucester © V&A Museum
Below Hill Top farm, image courtesy of Shutterstock
Potter bought many pieces of land and property in and around Sawrey, including the Old Post Office, Castle Cottage and a number of small farms. William Heelis, a partner in a firm of local solicitors, who she married in 1913 when she was aged 47, kept her informed of land sales and, over the next 30 years she amassed over 4,000 acres of land in the Lake District, which she bequeathed to the National Trust. On her death in 1943, she had written 23 books now regarded as her primary works, and a large number of other volumes.
COLLECTING BEATRIX POTTER
The cornerstone of a Beatrix Potter collection must be a copy of The Tale of Peter Rabbit. The privately-printed edition consists of two issues: the first (with a flat spine) was printed in 250 copies and the second (with a rounded spine) was printed in 200 copies. This edition has black and white drawings with only the frontispiece in colour.
The first commercial publication dates from 1902. The first impression (8,000 copies) is from October 1902, the second impression (12,000 copies) is from November 1902 and the third impression is from December 1902. There is no way of distinguishing these three, although the binding in green boards was introduced after the first impression. By the fourth impression (April 1903) the words ‘wept big tears’ on page 51 had been changed to ‘shed big tears’. All four impressions have endpapers with a holly leaf design.
Far left The author’s privately printed edition of The Tale of Peter Rabbit, image courtesy of Peter Harrington
Left Title page for the first commercial The Tale of Peter Rabbit, image courtesy of Peter Harrington
Right Glassine dust jacket for Johnny TownMouse. Available from Peter Harrington priced £5,000, image courtesy of Peter Harrington
Below left First edition of The Tale of Squirrel Nutkin, image courtesy of Peter Harrington
Below First edition of Cecily Parsley’s Nursery Rhymes (note the lack of a date on the title page), image courtesy of Peter Harrington
Below right Christmas card from 1938. Sold by Peter Harrington in 2000 for £2,000
Potter early issues
As most book collectors know, the world of first editions has a very precise set of rules. Only the first edition, first impression tends to count. With Beatrix Potter there are, in the simplest terms, difficulties in establishing the correct impression of early issues. Warne’s second Beatrix Potter title, The Tale of Squirrel Nutkin, is typical. There were three impressions in 1903 (10,000 copies in August 1903, 10,000 copies in September 1903 and 7,500 copies in November 1903). The year appears at the foot of the title page for each. However, it is thought that the words ‘Author of The Tale of Peter Rabbit’ were only added to the title page after the second impression. Of the three impressions, therefore, it is possible to differentiate between only two.
Dates and references
This might seem confusing. However, the simple rule must be that a first edition of Beatrix Potter’s books must have the date at the foot of the title page. All copies (and many decades of reprints) will have a copyright date on the reverse of the title page. That is of no interest. The simple rule must be the need for a date on the title page. There are, of course, exceptions to this rule (Cecily Parsley’s Nursery Rhymes has no year on the title page), but then there are clues in the printed endpapers. There are, thankfully, two reference works which are essential to any collector: Jane Quinby’s bibliography (first published in 1954) and Leslie Linder’s A History of the Writings of Beatrix Potter (first published in 1971). A friendly bookdealer can also help!
Glassine jackets
The original first editions of Potter’s books did not include dust jackets. Perhaps it was felt that the decorative bindings were sufficiently attractive and appealing to potential buyers. However, the books still needed to be protected in bookshops and a thin glassine jacket was supplied. These jackets rarely survive. This copy of The Tale of Johnny TownMouse includes the jacket noting that it’s the new Potter volume for 1918.
Potter family calico
As noted, the Potter family were one of the largest printers of calico in Europe. It was standard practice for publishers to offer deluxe bindings and Potter suggested that her grandfather’s firm might be able to provide material for this purpose. The copy of The Tale ofSquirrel Nutkin (left) is bound in the family firm’s material. Eventually the publishers would abandon this style and opt for a more traditional cloth binding embellished with gilt.
Dr Philip W. Errington is a senior book specialist at Peter Harrington, which has a number of Beatrix Potter books and artwork for sale, and a highly respected authority on children’s books within the industry, for more details go to www.peterharrington.co.uk. Beatrix Potter: Drawn to Nature, showcasing more than 240 rarely-seen objects, is on at the V&A London from February 12 to January 8, 2023.
Greetings cards
Cards provided Potter with her first commercial success, with the first dating from the 1890s and published by the firm of Hildesheimer and Faulkner. Later works for the Invalid Children’s Aid Association date mostly from the 1920s and 1930s. If you want to see Peter Rabbit as a postman or Father Christmas, this is the collecting area for you.
CHRISTINA TREVANION Lots of Love
Love is in the air this month, bringing out the unstoppable romantic in our columnist Christina Trevanion
Left A Victorian ‘REGARD’ bracelet
Above right An opal and diamond heart ring.
Right A ring with a locket of hair
Below right A ring set with a lock of hair surrounded by pearls
Below Fashionable from the 1780s, rings showed only the beloved’s eye
Below left A bangle with typical clasped heart design
The fashion for wearing rings on the fourth finger of the left hand also had its origins in Roman times since it was believed that a nerve or vein led directly from there to the heart itself.
From the Roman period to the middle ages and well into the 18th century, rings were made bearing a sentimental inscription or affectionate message in the interior. To the viewer, these secret messages are hidden from view and only known to the wearer.
Such inscriptions – often overlooked unless examined carefully with a lens – were usually in English or French and examples I have seen include the heart-wrenching inscriptions: In thee a flame, in me the same; Amor vincit omnia (Love conquers all) and No heart so true as mine to you – among others.
Today, when we are largely free to marry whoever we wish, lovers can communicate their affection freely with few, if any, repercussions.
But such was not always the case. Until the early 20th century, marriage was highly regulated and seen as a contract between families to improve their social standing, or increase wealth. A girl’s reputation had to be protected at all costs.
But love conquers all and when two hearts collide, there has always be a way of communicating with one another. Throughout the ages lovers have relayed their feelings for each other using jewellery.
From a young courting couple, to a monarch celebrating his or her dynastic marriage, jewels of all sorts have marked both sentiment and occasion.
Wedding bands
In its simplest form the tradition of the giving and receiving of a ring as a solemn pledge symbolising an agreement between families can be traced back to the Romans. This concept of giving a ring in betrothal ultimately led to the concept of the engagement ring that we know today.
Evolving love
As the 18th century evolved, so did the secret language of love. Lovers began to give tokens of their affection in the form of a lock of hair, either on its own, or woven with a lover’s. These would be set into a piece of jewellery, either as a ring or slender braid suitable for a gentleman’s watch chain or lady’s bracelet. A miniature portrait worn on a bracelet or within a locket (if it was a clandestine relationship) was a popular love jewel.
On his death in 1830, King George IV was found to be wearing a miniature of Mrs Fitzherbert (his secret wife and long-term companion) around his neck and under his shirt close to his heart.
A more enigmatic variant was the eye miniature which was fashionable from the 1780s. It showed only the beloved’s eye, giving little clue to his, or her, identity. While preserving the lover’s anonymity it was highly treasured by the wearer.
Key to my heart
Unquestionably, the most potent symbol of love, used in all aspects of jewellery, from brooches to lockets and bracelets to cufflinks, was the heart.
Jewels used to convey intimacy formed an important part of early Victorian romantic jewellery. On occasion it took the form of a padlock with an attached key, meaning the wearer held the key to the bestower’s heart.
Other common symbols included a serpent biting its own tail, symbolising eternity in an everlasting circle (much like today’s wedding ring), as well as cupids, bows, and arrows (emblematic of courage). Anchors symbolised hope or anticipation, and could also refer to the wearer being the anchor of their lover’s soul.
All were secret messages exchanged between sweethearts who may have been separated by circumstances with only a small, treasured token left behind as a remembrance of each other.
Right A ring depicting the gemstones for ‘dearest’
Below right A ring depicting the gemstones for ‘adore’
Below left A locket depicting enamelled blue birds symbolic of love
Above right A bow brooch symbolic of love set with turquoise symbolic of rememberance
Right An amethyst heart brooch often given as a token of affection
Flowery thoughts
The inclusion of flowers and foliage on jewellery also conveyed important messages of one’s innermost feelings: roses for happiness and love, ivy for friendship, broom for humility, turquoise for remembrance, and pansies which stood for ‘dwelling in my thoughts’.
These treasured keepsakes symbolise the enduring love between generations of owners and their loved ones and are jewelled time capsules espousing endless love stories since the beginning of time.
Throughout history jewels have embodied the same romantic notions that are celebrated every Valentine’s Day, and I can’t think of a more perfect gift on February 14.
THE LANGUAGE OF STONES
The early 19th- century taste for multi-coloured jewellery was further encouraged by the language of stones, whereby sentiments and personal messages were spelt out in gemstones by taking the initial letter of each stone used. In the saleroom we often see ‘regard’ rings, using ruby, emerald, garnet, amethyst, ruby and diamond stones; along with ‘dearest’ rings (similarly using diamond, emerald, amethyst, ruby, emerald, sapphire and topaz stones), frequently set in a row across the front of a ring or within a border of a brooch or locket. Known as acostic Victorian jewellery, pieces are rare, although modern-day jewellers are known to make reproductions of versions.
Christina Trevanion is the managing director and founder of Shropshire’s Trevanion Auctioneers & Valuers, as well as a regular face on a number of antiques programmes. For more details go to www.trevanion.com
