Let Sleeping Dogs Lie Together

by Stephen J. Gertz

In 1929 Cecil Aldin (1870-1935), an artist with a passion for dogs, published Sleeping Partners, a charming series of twenty colored sketches of his two pooches, Micky, an Irish Wolfhound, and Cracker, a Bull Terrier with a dark patch over one eye, asleep and cuddling on Aldin's sofa. They were, as he dubbed them,  "The Professionals," sophisticated canine models, as opposed to "The Amateurs," visiting dogs lacking poise for posing before Aldin.

Micky and Cracker were Il Divos who needed room to express their artistic souls. Aldin had converted an old Army barracks into a sixty-foot long studio and this allowed his models a runway to strut their stuff for hours until settling into a pose that pleased them and Aldin, who, apparently, had the patience of a saint. "Never work with children or animals" (W.C. Fields).

Cecil Aldin (1870-1935) “was a most prolific artist and illustrator. While living in London, he became friends with the Beggarstaff Brothers (see Houfe under William Nicholson and James Pryde), John Hassall, Phil May and Dudley Hardy, and their influence on his work was great. He produced a great number of prints, a select list of which is included with a comprehensive bibliography in Heron’s book [Cecil Aldin: The Story of a Sporting Artist (1981)]. He did a great deal of advertising work, including posters, for such companies as Bovril, Colman (manufacturers of starch and mustard), and Cadbury’s, and Royal Doulton produced about sixty items with Aldin drawings between 1910 and 1939. Horses, dogs and the English countryside were the major topics of Aldin’s illustrations. The obituary in The Times asserted that ‘there never yet has been a painter of dogs fit to hold a candle to him…Cecil Aldin can justly be described as one of the leading spirits in the renaissance of British sporting art’” (Alan Horne, The Dictionary of 20th Century British Book Illustrators, p. 67). 

Other books written and illustrated by Aldin include Old Inns (1921); Old Manor Houses (1923); Cathedral[s] and Abbey Churches of England (1924); Romances of the Road (1928); An Artist’s Models (1930); Exmoor, the Riding Playground of England (1935); and Hunting Scenes (1936).

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ALDIN, Cecil. Sleeping Partners. A Series of Episodes. London: Eyre and Spottiwoode, n.d. [1929]. First edition. Folio (12 1/2 x 9 3/8 in; 312 x 236 mm). Unpaginated. Twenty recto-only mounted colored plates.

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Images courtesy of David Brass Rare Books, with our thanks.
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Meet The Flamboyant Lady-Like Gentlemen of 1840

by Stephen J. Gertz

It's a scarce little sucker, a rarely seen Leech.

It's The Fiddle Faddle Fashion Book and Beau Monde à La Française, Enriched with Numerous Highly Colored Figures of Lady-Like Gentlemen. Published in London, 1840 by Chapman and Hall, the quarto features four hand-colored lithographed plates, each with multiple figures, by the great caricaturist, John Leech, accompanied by twelve pages of text by Percival Leigh (1813-1889), who often partnered with Leech, a close friend. The two were among the original contributors to Punch, which was established in 1841.

One of the rarest of all suites by Leech, OCLC notes only eight copies in institutional holdings worldwide, with ABPC recording only one copy at auction within the last sixty-five years, in 1949.

Here Leech skewers foppery, dandyism, and the eccentricities of "fashionable boobies" that are feminizing men in London and Paris, while Leigh takes comic aim at contemporary literary absurdities "consisting mainly of a thrilling story of brigand life, the blood-curdling tenor of which may be imagined from the title, Grabalotti the Bandit; or, The Emerald Monster of the Deep Dell" (Frith);  a parody of the popular novels of fashionable life,  and more. 

"It was one of Leech's special delights to caricature the absurd fashions of the day in dress, language, manners and literature" (Field). 

The Fiddle Faddle Fashion Book was very well received upon publication.

"To use the words of the lively and gossiping Pepys, the sight of this jeu d'esprit delighted us mightily; it being a very clever satire on those contemptible fashionable boobies; who, with their frightful display of hairy protuberances, crawl like ursine sloths along the public streets of London and Paris, to the disgust of all rational and well-organized minds. It is to hold them up to the public contempt that the colored plates of the work are devoted, and however unearthly these exquisites may appear to a stranger, they must not be viewed as caricatures, for it is

'From real life these characters are drawn,'

and which may be evidenced wheresoever they are hourly met, many of them inhaling the blasting influence of the poisonous cigar, rendering their faces more like a mattery pustule than the frontispiece of a human being; but it is very doubtful whether creatures so constituted as to fall into such glaring inconsistencies are capable of feeling the bitter shaft of satire. However, the artist, author, and publisher, have done their part well, in thus bringing the subject before the public eye. The work is edited by the author of the 'Comic Latin Grammar,' and contains many witty burlesques on the announcements of some of our most prominent quacks and advertisers, with a pleasing variety of other reading...

"We must not omit to bear testimony to the rising genius of Mr. Leech. We have watched the progress of this gentleman, and we feel assured if he do but study from life, - persevere, - and work hard, he will very soon become one of our most talented artists. We wish him every success" (The Mirror of Literature, Amusement, and Instruction, No. 1033, November 21, 1840).

As I've earlier written:

The clothes-obsessed dandy and dandyism phenomenon first appeared in the 1790s, both in London and Paris. In period vernacular, a dandy was differentiated from a fop in that the dandy's dress was more refined and sober. But not for long.

During the Regency period in London, dandyism was a revolt against  the extravagance and ostentation of the previous generation, and of sympathy with the new mood of democracy. It became, however, a competitive sport  and this revolt against prior tradition became a revolting development.

Immaculate personal cleanliness, crisp and clean linen shirts with high collars, perfectly tied cravats, and exquisitely tailored plain dark coats (similar in many respects to the "macaroni" of the earlier eighteenth century) became the fashion, epitomized by George Bryan "Beau" Brummel (1778-1840). Imitators  followed  but  few possessed  Brummel's sense of panache. Many, if not most,  over-reached.

The style soon went over the top. What flowed naturally and unselfconsciously from Beau Brummel all too often became affectation and pretension in others and it was this class of dandies that became the subject of caricature and ridicule. 

George and Robert Cruikshank had a field day with the subject. But their caricatures of fops and dandies, as usual for the Cruikshanks, ridiculed with grotesquery. Leech, in contrast, caricatured them with a delicate refinement that took the phenomenon to its logical, absurd conclusion, men as women in male-drag. Think Georges Sand with a paste-on moustache. Indeed, the year The Fiddle Faddle Fashion Book was published was the year that Beau Brummel died. His taste dying with him, foppery became a parody of itself and just plain silly.

It would be a mistake to associate this manner of male fashion with homosexuality. While the behavior certainly existed and had descriptive nouns for acts and practitioners, the concept had not yet evolved to require a word to describe a separate class of person and distinct culture. The word was coined and first used in 1869 by Károly Mária Kertbeny (1824-1882), an Austro-Hungarian novelist, translator, and journalist in Das Gemeinschädliche des & 143 des preussischen Strafgesetzbuches vom 14. April 1851 und daher seine nothwendige Tilgung als [section sign]152 im Entwurfe eines Strafgesetzbuches für den Norddeutschen Bund, a seventy-five page pamphlet protesting against anti-sodomy laws in Prussia.

No, only their clothes were gay. Silly gay,  not gay gay.

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[LEECH, John, illustrator]. [LEIGH, Percival, text].  The Fiddle Faddle Fashion Book, And Beau Monde à La Française enriched with Numerous Highly Colored Figures of Lady-Like Gentlemen. Edited by The Author of The Comic Latin Grammar. The Costumes and Other Illustrations by John Leech. London: Chapman and Hall, 1840.

First edition. Quarto (11 3/8 x 8 5/8 in; 290 mm). 12 pp. Four hand-colored lithographs imprinted 12 November 1840.

Field, p. 40.
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Of Related Interest:

Robert Cruikshank Devastates Dandies.

The Mother of Political Satire, or Why Did Yankee Doodle Call His Hat Macaroni.
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Images courtesy of David Brass Rare Books, with our thanks.
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The Book Illustrations Of Humphrey Bogart's Mother

by Stephen J. Gertz

In 1898, Baby's Record was published by Frederick A. Stokes Co. of New York. Issued in three simultaneous editions featuring one, six, or twelve color illustrations (all here), the book was by Maud Humphrey, who, in the same year, married Dr. Belmont De Forest Bogart. A year later, on Christmas Day, she bore a son. The couple named him Humphrey.

Maud Humphrey was born in 1868 to a well-to-do family in Rochester, New York. Demonstrating a precocious talent for drawing, by age twelve she was taking art classes and soon became one of the founding members of the Rochester Art Club. As a teenager she began to receive commissions to provide illustrations for children's magazines.

At age eighteen she went to New York City and enrolled at the new Art Students League, later making the obligatory pilgrimage to Paris to continue her studies at the Julian Academy. Returning to New York, her ambition and ability were rewarded by her era: it was the beginning of what is now known as the golden age of book illustration, which dawned in the mid-late 1890s with the development of improved printing techniques and color-printing processes, and set when World War I began.

She became a highly in-demand illustrator for magazines, children's books, and advertising, her idealized and highly sentimental portraits of rosy-cheeked babies and youngsters very popular. Ivory Soap was a client, as was Mellin's Baby Food. She preferred to use live subjects and master Humphrey clocked many hours as a babe posing for his mother's Mellin's Baby Food illustrations, often dressed-up in little girl's clothing. 

She ultimately became one of the most sought-after and highly paid female illustrators in the United States, her work reproduced for calendars and all manner of merchandise.

Other books illustrated by Maud Humphrey include Sunshine of Little Children (1888); Babes of the Nations (1889); Baby Sweethearts (1890); Bonnie Little People (1890); Ideals of Beauty (1891); Famous Rhymes from Mother Goose (1891); The Light Princess (1893); The Book of Pets (1893); Little Playmates (1894); Old Youngsters (1897); Little Grown-Ups (1897); The Littlest Ones (1898); Little Rosebuds (1898); Sleepy-Time Stories (1899); Gallant Little Patriots (1899); Children of the Revolution (1900); Little Continentals (1900); Little Folk of '76 (1900); Young American Speaker (c. 1900); and many more.

Maud Humphrey, along with Jessie Wilcox Smith, Bessie Pease Gutmann, Queen Holden, and Frances Brundage, was amongst the most sought-after illustrators of the late nineteenth through early twentieth century, her annual income often reaching upwards of $50,000. The average illustrator was earning approximately $4,000.

The combined income of the Bogarts allowed their son, Humphrey, to grow up in prosperity. The family lived in a large, posh apartment on New York City's Upper West Side, and retreated to an elegant "cottage" on their 55-acre estate on the shore of Canandaigua Lake in upstate New York.

Draw it again, Mom. But, please, no more pinafores.

Of all the gin joints, in all the towns, in all the world, Maud Humphrey walks into mine, Café Booktryst, where the suspicious, the dubious, the imperiled, and the dispossessed read at the bar until the worst blows over.

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Draw Me a Story: Collecting Children's Book Illustrations

by Alastair Johnston  

Draw Me a Story: A Century of Children’s Book Illustration San Francisco Public Library, Skylight Gallery, through December 2nd 2012.

Like most kids I had a loving mother who read me to sleep with bedtime stories. But not Beatrix Potter, which she didn't have time for.

My brothers and I would drift off to The Mill on the Floss or Adam Bede because that was what my mother was reading, and what quicker way to put your kids out than a paragraph or two of George Eliot? She was not opposed to children's books — we had plenty, from Thomas the Tank Engine to Treasure Island, and quickly got into reading for ourselves. (Slight digression: What happened to the Fat Controller and Joe the Monkey Porter from the Thomas books? Are they too politically incorrect for audiences 66 years later?)

"Hush-a-Bye, Baby" from The April Baby's Book of Tunes by Kate Greenaway, 1900. Watercolor on paper.

Malcolm Whyte, director of the Cartoon Art Museum in San Francisco, collects children's books, more specifically their illustrations. This autumn, San Francisco Public Library is showing selections from 41 artists in his collection that neatly document the story of children's books for over a century. The show has been touring, and was previously seen at the Frick in New York.

There is no Beatrix Potter! But we do see more important artists in the history of British printing and illustration: Randolph Caldecott and Kate Greenaway. Greenaway's father was an engraver so she understood how to prepare art for process engraving.

The big names of the twentieth century, W. W. Denslow (The Wizard of Oz), Jules Feiffer (The Phantom Tollbooth), Chris Van Allsburg (The Polar Express), and Maurice Sendak (Where the Wild Things Are) are represented with original work.

Beyond them, I only recognized one or two names — Edward Ardizzone and Palmer Cox — but there are many books to wonder at. Jack Kent fits naturally into Whyte's collection because he started out as a comic strip artist, drawing "King Aroo" from 1950 to 1965. But when his strip was cancelled, Kent moved to children's book illustration, producing over 40 titles, including Mr Elephant's Birthday Party (1969), Clotilda (1969), The Fat Cat (1970), and The Blah (1970).

Sarah Noble Ives (1864–1944), "At the Seaside" from ABC of Objects, 1930s. Watercolor on paper.

Lansing "Lang" Campbell is another comic strip artist who turned his hand to book illustration. He created "Uncle Wiggly," who ran in the Newark News from 1910. His children's books still have the feel of the layout of comic strips, and Peter and Puddle Duckdash, from The Dinky Ducklings, 1928, exemplifies this. His flattened perspective and line quality are similar to the animated cartoons of the time.

Lang Campbell, cover, key-line sketch and final spread from The Dinky Ducklings (New York: Algonquin Publishing Co., 1928)

Corinne Malvern (1901–56)'s work is well-known from her covers for the Little Golden Books which established a definite "Fifties Look."

Four book covers by Corinne Malvern: Doctor Dan, the Bandage Man (1950); Nurse Nancy (1952) extra-illustrated with Band-Aids on the title-page; Susie's New Stove (1950); and McCall's Giant Golden Make-it Book (1961)

Malvern achieved much in her 55 years. She came from a Vaudeville family and began her career, aged 6, in the American premier of Madama Butterfly by Puccini. At 14 she made her first film, The Luring Lights. After being injured in a railroad accident during a tour she went to boarding school and then studied at the Art Students League of New York. From 1938 on she and her sister published 32 children's books with McLoughlin Brothers. In the forties she was Art Editor for the Ladies Home Journal.

The artwork for Peggy's Pokey and Other Stories about Pets (1940) shows her technique: she would start with a pencil drawing then add layers of watercolor and fill in with gouache where she wanted a more opaque finish.

Lawson Wood's cover image of the Snork is charming. The Noo-Zoo Tales (London: Warne & Co., ca. 1922) shows the Snork, a giant bird in spats, who joins the circus and realizes he fits into society all right. There's a strength of line in Wood that recalls Winsor McKay of Little Nemo fame. In 1934 Wood was made a Fellow of the Royal Zoological Society; he also maintained a retirement home for elderly animals.

L. Leslie Brooke (1862–1940), another Warne artist, would pull faces in the mirror to get the right expressions for the animals in his story books. His original drawing for "Lion and Bear" from Johnny Crow's Garden, 1903, shows a lion in a bow tie and a bear in a dinner jacket, made to measure by monkey tailors. He continued the tradition of British cartoonists who illustrated Punch with humanoid animals depicting the world's nations (Britain was the lion and Russia the bear), though nationalism doesn't enter into his children's stories.

The exhibit, on display through December 2nd, is a rewarding tour of a delightful aspect of book history.
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From Buckingham Palace to History's Dustbin

by Alastair Johnston

I am often surprised how some people, well-known in their lifetime, disappear so thoroughly from history. Even in the bibliophilic world I inhabit, where astonishing work has been done to extract marginal figures, like type-cutters, engravers and printers, from the dustbin of time, I constantly come across people who are as elusive today as they were ubiquitous in their day. Step out of the stacks towards politicians and other actors and you fall over insignificant people who strutted or fretted on the world's stage leaving a trail of newsprint.

William Marshall Craig (1750?–1828), Moroccan Slipper vendor, from Itinerant Traders of London in their Ordinary Costume, London: Richard Phillips, 1804

Despite being a celebrated artist and prolific book illustrator, William Marshall Craig is a sketchy figure in the history of British art. He may even have been two people: a father and son sharing the same name. His father (assuming he is a whole man and not Senior and Junior) was an Edinburgh merchant and his mother was Mary, sister of James Thomson, the poet and author of The Seasons, who also wrote the lyrics to “Rule Britannia.” William’s brother James was the architect who transformed Edinburgh into “the Athens of the North” at the turn of the nineteenth century, along with Robert Adam. Their maternal grandfather, Thomas Thomson, was a Presbyterian minister who died performing an exorcism. Craig’s date of birth is usually given as 1765 but I believe it had to be around 1750. He died in 1828 (not 1827 or 1835 as commonly stated). I searched for him in the Guildhall archives in London and, with the help of newspaper morgues and genealogy websites, managed to put together something of a family tree, but there were many loose ends that did not tie up.

Craig's rise to high society was pretty rapid. He moved from Manchester to London and his artistic talents were immediately recognized. As a polemicist he took on John Gilpin, writing a rebuttal to Gilpin’s Essay on the Art of Sketching Landscape, which he characterized as "truth sacrificed on all occasions." In 1793 William Bulmer printed Craig's Essay on the Study of Nature in Drawing Landscape.

Craig exhibited at the Royal Academy and produced portraits of many nobles and notables. In 1800 his Complete Instructor in Drawing was published, and he was appointed painter in watercolours to the Queen and drawing master to Princess Charlotte of Wales. In 1804, one of Craig’s major works, Itinerant Traders of London in their Ordinary Costume, was published by Richard Phillips. The plates were reused in another book titled Modern London.

William Marshall Craig (1750?–1828), Temple of the Fairies, London: Vernor & Hood, 1804

The same year saw The Temple of the Fairies, translated from Le Cabinet des Fées of Marie Catherine d'Aulnoy, appear from Vernor and Hood in 2 volumes, with Craig’s wonderful illustrations engraved by Lee (Volume 2 can be browsed here), and also The Wreath — children’s stories written and illustrated by Craig, dedicated to the 8-year-old Princess.

William Marshall Craig (1750?–1828), The Wreath, London: Bensley, for the Author, 1804

The 36 wood engravings in The Wreath, including initial letters, were executed by Lee (John Lee died in 1804 so it’s either his final work, or else it was the work of his 25-year-old son James Lee). Craig drew directly on the engraver's blocks with ink and wash. (He and John Thurston were considered the top artists on wood for engravers: Thomas Bewick and Richard T. Austin also cut following his work.) The book was printed for the author and Lee, and for Harris, a bookseller, by Thomas Bensley, who has not achieved the status of his rival William Bulmer, but was certainly one of the finest printers in London, along with Charles Whittingham. It must have been a success because a second edition was printed soon after, retitled A Wreath for the Brow of Youth.

William Marshall Craig (1750?–1828), A Wreath for the Brow of Youth, London: Thomas Bensley for the Author, 1804

From 1806 to 08, Vernor, Hood & Sharpe published Craig's series of engraved portraits of nobility. He also illustrated the part-work Beauties of England and Wales (1801–16), issued by the same firm.

Craig retranslated Cervantes' Galatea; a Pastoral Romance (1813), from a French edition; it was illustrated with woodcuts executed by his son Frederick. Craig published three more books on art technique: Instructions for Drawing and Understanding the Human Figure (1816), Treatise on the Art of Painting (1817), and Course of Lectures on Drawing, Painting & Engraving (1821).

It's all the more remarkable that he is a forgotten man when you consider his place in the royal household. He was close to the Queen and the young Princess Charlotte, next in line to the throne. (He called his own daughter Charlotte and even lived on Charlotte street: you can see he was afflicted with Charlotte Fever.) But Princess Charlotte was a pawn in the struggle between the ailing George III and his profligate son who had been forced into a marriage with her mother, Caroline, to annul his debts. As the only legitimate daughter of George IV, Princess Charlotte was in line for the throne but after a forced marriage and two miscarriages, she died in childbirth, aged 21, on 6 November 1817. The shock to the nation was unequalled until the death of another Princess of Wales, Diana, 180 years later. When her mother, the Queen, died a year later, Craig sat down and wrote his memoirs of the royal family, which was published a month later as Memoir of Her Majesty Sophia Charlotte, of Mecklenburg Strelitz, Queen of Great Britain (Liverpool: Caxton Press, 1818).

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Edmund Dulac's Persian Pearls

By Stephen J. Gertz

Neither serpents, nor magicians, nor sickness, nor accidents can touch him who has and holds in honour a pearl born in the head of a serpent (Léonard Rosenthal, stanza 66, from Au Royaume de la Perle).

In 1919, Léonard Rosenthal (1872-1955), an internationally respected and acclaimed dealer of oriental pearls and precious stones based in Paris,  published  Au Royaume de la Perle (Paris: Payot), a 208-page 16mo volume with decorations by Claude Denis.

 

In 1920, Rosenthal commissioned Edmund Dulac (1882-1955) to provide illustrations for a large quarto deluxe edition. Published in Paris by H. Piazza, it was immediately translated into English and published in London by Nisbet & Co.

With Dulac's illustrations, the book was transformed into a pearl born in the head of a magnificent artist.

 

“His plates, truly genius, do much to bring a fanciful touch to an otherwise stark exposition on pearls” (Hughey).

Ann Hughey, who compiled the standard bibliography of books illustrated by Dulac, is a bit harsh regarding Rosenthal's text. Within the "stark exposition" lies a fascinating chapter devoted to oriental pearl legends and mythology, i.e:

The cloud pearl never reaches the earth; the gods seize it whilst it is still in the air. It is like the sun, a dazzling sphere the rays from which fill the whole of space (Stanza 67).

It eclipses the light of fire, of the moon, of the lunar constellations, of the stars and all the planets. As the sun is to the day, so is this pearl to the darkness of the night (Stanza 68).

The earth, adorned by the four seas, the waters of which glitter with the lustre of many jewels, the whole earth covered with gold, would scarcely attain to the value of this one pearl: such is my belief (Stanza 69).

He who, by reason of an act of virtue of the highest degree, becomes possessed of it, will remain without a rival in the whole world, so long as he retains it (Stanza 70).

“Edmund Dulac adapts his talents to the spirit of that which he is to render…In…The Kingdom and the Pearl he used the conventional Persian style without perspective, rich in decorative forms and jewelplike colours, bring out the beauty of minute things by the use of colour and graceful line” (The International Studio, Sept. 1926).

Dulac “at his best…fantastically Persian” (The Times).

In 1904, when Edmund Dulac, age 22, landed in London after winning prizes for his work awarded by the Ecole des Beaux Arts he hit the ground running,   was an immediate success, and was soon the most acclaimed book illustrator of his generation at a time when book illustration had entered its golden age. His only rival was Arthur Rackham.

By 1913, his romanticism-in-blue period had evolved into a vivid, highly exotic and idealized vision of the Orient, Persian art miniatures a major influence upon him. First budding in his illustrations for Stories from the Arabian Nights (1907) and Rubaiyat of Omar Khayyam (1909), his new orientalist style was in full flower with Princess Badura: A Tale From the Arabian Nights (1913); Sinbad the Sailor and Other Stories From the Arabian Nights (1914).

This was the elegant oriental exoticism that Rosenthal had in mind when he imagined what Au Royaume de la Perle might look like if richly illustrated. Dulac's was exactly the fantasy he saw in his head, the romance of  his beloved pearls made manifest in art, each plate a jewel.

He who, by reason of an act of virtue of the highest degree, becomes possessed of a copy of this book will remain without a rival in the whole world, so long as he retains it. Yet post it for sale on Ebay and you shall be accursed for all eternity.

A copy that recently passed through my hands had been rebound by Bayntun-Riviére in full black morocco with a royal crown centerpiece ornamented by twenty-six tiny, set-in cultured pearls. A simple strand of pearls against black remains classically elegant fashion. Women of taste who come across this copy will wonder whether to read the book or wear it.

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[DULAC, Edmund, illustrator]. ROSENTHAL, Léonard. The Kingdom of the Pearl. London: Nisbet & Co., [n.d., 1920].

Limited to 675 copies, this being copy no. 44. Large quarto (11 x 8 ¾ in; 279 x 224 mm). xii, 150, [1], [1, printer’s slug] pp. Ten tipped-in color plates.

Bound ca. 1960 by Bayntun (Riviére) in full black crushed levant morocco with single gilt fillet border enclosing a frame of rolled gilt dots with corner ornaments within which is a double-fillet panel housing a royal crown centerpiece in gilt which is set with twenty-six tiny pearls. Raised bands with gilt rolls. Compartments with gilt-ruled frames enclosing gilt ornaments. Gilt-rolled edges. Broad turn-ins with gilt-rolls. Top edge gilt. Cockerell endpapers.

Hughey 54c.
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Images courtesy of David Brass Rare Books, with our thanks.
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Of related interest:

The ABC Book of Edmund Dulac.
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Original Winnie-The-Pooh Drawing Sells For $40,954

by Stephen J. Gertz

The original watercolor and ink drawing of Winnie-The-Pooh by Ernest H. Shepard, reported by Booktryst on Monday February 27, 2012, has sold for $40,954 (incl. buyer's premium). Nate D. Sanders Auctions offered the drawing, a scarce example of a Shepard Pooh drawing outside of the context of the Pooh books, in their February 28, 2012 sale.

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