Showing posts with label Childrens Books. Show all posts
Showing posts with label Childrens Books. Show all posts

Wednesday, March 6, 2013

Meet Paul Parrot, Rare Bird Casanova & Star Of Rare Book

by Albert

Today's guest blogger is, once more, Albert the Writing Parrot, a thirty-four year old Yellow-Naped Amazon, Booktryt's mascot, my ward since his five-months old birthday, and, pathetically, my most successful long-term relationship. He knows more about these books than I do. If his writing voice sounds similar to mine do not be surprised. He is, after all, a parrot  - SJG.

Title-page.

Me again, pressed into service with the promise of a filbert thrown my way. I'm a conditioned fool.

Tittums Deserting Fido.
As the go-to bird on parrot books I'm often asked, What's the best volume on Mr. Paul Parrot, the notoriously horny hook-bill, fine-feathered lothario, and wandering roué with wings?

Step into my cage, sit at my zygodactyl feet, lend me an ear (I need a nosh), and I shall tell you, strictly entre-nous, a scandalous tale exceeded only, perhaps, by that of Aly Khan, the "fabulously wealthy, hard riding, fast driving, restless man of the world with a liking for parties and beautiful women" (NY Times, Feb. 7, 1958) for whom hi-fidelity was strictly for sound recordings; faithfulness to wives and lovers cramped his style.

There was Hon. Joan Guinness, Pamela Churchill Harriman, Rita Hayworth, Gene Tierney, countless other high-profile lovers, as well as the UCLA Pep Squad, the Pan American Airlines stewardess brigade, and a cast of gorgeous thousands from various Hollywood epics, take your pick. He needed a spreadsheet to keep track of the sheet spreads on his schedule.

Tittums Walking Out With The Parrot.

What's the book? In 1858, The Faithless Parrot by Charles H. Bennett was published by George Routledge and Co. of London as part of their New Toy Books series. The great, innovative color printer Edmund Evans engraved and printed the book's seven woodcuts based upon Bennett's designs.

It's the (one and only) cautionary tale of Paul Parrot, who, having seduced Tittums, a cat, from the arms of her lover, Fido, a dog (it's a modern relationship), and then two-timing her with the widow Mrs. Daw, a comely jackdaw,  gets his comeuppance when Tittums catches him in the act and he gets plucked within an inch of his life. 

The Parrot Courting The Jackdaw.

"Nothing is more noble, nothing more venerable than fidelity. Faithfulness and truth are the most sacred excellences and endowments of the parrot mind" (Marcus Tullius Psittacine Cicero). It's a lesson Paul Parrot missed at Eton.

He's a votary of Oscar Wilde: "Faithfulness is to the emotional life what consistency is to the life of the intellect - simply a confession of failures” (The Picture of Dorian Gray).

Eaves-Droppers.

To which I can only reply, Double, double, toil and trouble: Bill Shakes knew what he was talking about - I date more than one bird at a time and I'm a nervous wreck;  I'm faithful secondary to woeful and that's fine with me. I once woke up with two scarlet macaws and an African Gray next to me in a sleazy nest. They must have slipped me a Rophie - I have no idea how I got there and, worse, have no memory of what was probably an ecstatic night but all l took away from it was feather-burn and a hangover. So much for bird of paradise wanna-be's.

It never ceases to amaze me how some kitties will fall for any suave hookbill with a silver-tongue, to wit:

The Parrot Exposed.

"One morning, when Tittums came in from a visit she had been paying her mamma, she was followed by a gentleman from the tropics, who, with all the impudence of his race, made himself quite at home, pressed Tittums’ paw to his heart, called her 'the loveliest of Cats,' asked her to oblige him with a song, which he had been told she could sing very sweetly, and never took the least notice of poor Fido, who was sitting in the corner. To tell the truth, poor Fido was very cross, and began to growl quite savagely; the more so when, to his dismay, he beheld the pleasure with which Tittums heard all this nonsense. He could not think what right the bold stranger had to come there unasked; for all that he had bright red and green feathers, a rakish, broad-brimmed hat, and a gold-headed walking-cane, he was not good-looking, that was very certain.

"But Tittums was very much struck by his appearance and bearing; his feathers were so pretty, he spoke so many languages, shrieked so terribly and in such a loud voice, had travelled so much, and was so struck by the beauty of Tittums, that, poor little Cat as she was, she ceased to care a button for faithful Fido, and kept all her sly glances for Mr. Paul Parrot.

“'Lovely Tittums,' said Mr. Paul, 'you must forget such upstart puppies as Fido. Listen to me—I am a traveller—I speak five languages,—I have a palace made of golden bars, within which is a perch fit for a king,—I have a pension of bread and milk and Barcelona nuts: all of which I will share with you. Tomorrow we will go for a trip into the field next to the house. Good-bye for the present, my dear Pussy Cat;' and he went away kissing his hand."

Pussycats, this is the bird your mother warned you about. Never trust a mister who kisses his own hand.

The Parrot Getting a Good Picking.

Because this is a typical mid-nineteenth century children's book it's a didactic moral tale that must conclude with Mr. Paul Parrot paying the wages of sin.

"As soon as Mrs. Daw was left alone with Paul, she began to upbraid him with his falseness. 'You vulgar, stuck-up, ugly, awkward deceiver! You have neither honesty enough to live by, nor wings enough to fly with.' Whereupon she jumped at him and gave him such a plucking as spoilt his good looks.

"Never after this was the Parrot able to hold up his head. Every one scorned him; even his golden palace turned out to be a brass cage; and for his misdeeds a chain was fastened round his leg. He was confined to a wooden perch, which, out of pure spite, he was always pecking."

No compulsive horn-dog parrot pecker one-liners. Sorry to disappoint. What am I, Henny Youngbird?

There was a parrot-babe knocking on my hotel room door all night! Finally, I let her out.
 
I know a parrot who's frank and earnest with pussycats. In Fresno, he's Frank and in Chicago he's Ernest.

Take my mate - please!

Rimshot.

I give The Faithless Parrot 5-Seeds, my highest rating. It's a true rarity; according to OCLC there are less than a dozen copies in institutional holdings worldwide. The Cotson Children's Library at Princeton only has it as reprinted within Routledge's 1865 compilation, The Comical Story Book With Comical Illustrations: Printed In Colours. It was separately reprinted by Routledge in 1870.

I'll have that filbert now.
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BENNETT, Charles H. The Faithless Parrot. Designed and Narrated by… London: G. Routledge and Co., n.d. [1858]. First edition. Quarto. 15, [1] pp. Seven full-page woodcuts engraved and printed in color by Edmund Evans.

Rear wrapper.
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Images courtesy of The Gutenberg Project, with our thanks.
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Friday, January 25, 2013

Seven Original Arthur Rackham Watercolors

by Stephen J. Gertz

[RACKHAM, Arthur, illustrator]. BROWNING, Robert.
The Pied Piper of Hamelin. Illustrated by Arthur Rackham.
London: George G. Harrap & Co., Ltd. [1934].
One of ten specially bound copies containing an original watercolor,
this copy being No. 4.

Between 1931 and 1936, famed book illustrator Arthur Rackham, as gifts to his close friends, specially ordered  nine to eleven copies of the following nine books he illustrated.


[RACKHAM, Arthur, illustrator]. ROSSETTI, Christina.
Goblin Market. Illustrated by Arthur Rackham.
London: George G. Harrap & Co., Ltd. [1933].
One of ten specially bound copies containing an original watercolor,
this copy being No. 7.

1931: The Night Before Christmas
1931: The Compleat Angler
1932: Fairy Tales by Hans Andersen
1932: The King of the Golden River
1933: The Arthur Rackham Fairy Book
1933: Goblin Market
1934: The Pied Piper of Hamelin
1935: Poe’s Tales of Mystery & Imagination
1936: Peer Gynt

[RACKHAM, Arthur, illustrator].
The Arthur Rackham Fairy Book.
A book of old favourites with new illustrations.
London: George G. Harrap & Co., Ltd. [1933].
One of ten special copies containing an original watercolor,
this copy being No. 8.

Rackham had them specially bound by renowned binders Sangorski & Sutcliffe and included an unique original watercolor in each.

[RACKHAM, Arthur, illustrator]. RUSKIN, John.
The King of the Golden River. Illustrated by Arthur Rackham.
London: George G. Harrap & Co., Ltd. [1932].
One of nine specially bound copies with an original watercolor,
this being copy No. 6.  

The limitation leaves were printed on the verso of the half-titles and contain a statement written in ink by the publisher, George H. Harrap: "This edition, which contains an original painting by Arthur Rackham, is limited to nine [or ten] copies of which eight are for sale. George G. Harrap & Co Ltd."

[RACKHAM, Arthur, illustrator]. POE, Edgar Allan.
Tales of Mystery & Imagination. Illustrated by Arthur Rackham.
London: George G. Harrap & Co., [1935].
One of ten special copies containing an original watercolor,
this copy being No. 5.

Including original art  in some copies of books he illustrated was not unusual for Rackham.

RACKHAM, Arthur, illustrator]. IBSEN, Henrik.
Peer Gynt. A Dramatic Poem by Henrik Ibsen.
Illustrated by Arthur Rackham.
London: George G. Harrap & Co., [1936].
One of ten special copies containing an original watercolor,
this copy being No. 7.

Original art, albeit simple pen & ink drawings, can be found, for instance, in trade edition copies of the Heinemann productions of Wagner, The Reingold & The Valkyrie (1910) and Siegfreid & The Twilight of the Gods (1911); and Hodder & Stoughton's signed and limited  edition of Peter Pan in Kensington Gardens (1906).

[RACKHAM, Arthur]. RHODES,Thomas.
To The Other Side. With Illustrations by Arthur Rackham & Alfred Bryan.
London: George Philip & Son, 1893.
Rackham's copy, and with an original watercolor by
Rackham with a lengthy inscription by Rackham,
signed and dated 1935.

Rackham's personal copy of Rhodes' To The Other Side (1893) - the first book he illustrated - is graced by a delicate watercolor. Rackham, per usual with his anthropomorphic trees, used his face as model. 

Special copies uniformly bound by Sangorski & Sutcliffe.

Because of their rarity and popularity with collectors, copies of Rackham-illustrated books with original art by him are not inexpensive, generally running into low five figures. For the Rackham aficionado they're worth every penny.
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Images courtesy of David Brass Rare Books, with our thanks.
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Thursday, May 24, 2012

Rare Wizard Of Oz Movable Book Pops-Up In Marketplace

By Stephen J. Gertz


A scarce, complete, first edition, first state copy of The Wizard of Oz Waddle Book (1934) - one of the rarest of all movable books - has come into the marketplace.

Inside rear cover. Note band covering envelope with ramp.

Not only are all six waddle figures present, four of them have not been punched-out from the background sheet and are as new. The accompanying yellow brick road ramp for Dorothy, the Wizard, the Tin Man, the Scarecrow, the Lion, and Toto to waddle upon is also present. This is extraordinary; the figures and ramp usually wound up as confetti within days after children got their hands on them.

The Scarecrow.

The illustrations are by renowned American artist W.W. Denslow (1856-1915), who collaborated with Oz creator L. Frank Baum on many books.

The Cowardly Lion.

When the figures are punched-out, assembled with their hinged legs, and placed at the top of the ramp, they "waddle" down the incline as paper action figures. The Cowardly Lion, presumably, needs encouragement to take his first step on The Yellow Brick Road. A metaphysical nudge from behind should suffice; "Boo!" will do.

Dorothy.

The Wizard of Oz Waddle Book is actually a reprint of the fifth edition of the first book in the classic series, The Wonderful Wizard of Oz (1900), which, in its second edition, was retitled, The New Wizard of Oz (1903). The text points are similar to the fifth edition (printed 1920s-30s), second state, but with a new title page, an additional entry at the end of the Contents for the instructions, and with the instructions bound at the rear as pages 209-211.

The color plates have text printed on the versos. In the book's first state, as here, the punch-out waddle figures are printed on sheets of heavy card stock which are mounted on bound-in perforated stubs. In its second state, the waddle figures are not mounted on stubs but, instead, enclosed in the envelope along with the ramp. The second state of the cloth is light olive rather than bright green.

Toto.

Bobbs-Merrill, who published The New Wizard of Oz, leased the plates to Blue Ribbon Books, a division of Doubleday, Doran, for the Waddle Book. Bobbs-Merrill had earlier gained possession of the plates from the original publisher of The Wonderful Wizard of Oz, Geo. M. Hill Co., through Baum & Denslow, after Hill went into bankruptcy in 1902.


"Copies with the Waddles are rarely found," (Greene & Hanff). Copies with the Waddles unassembled and remaining firm in their sheets are miraculous, only seen when monkeys have wings and water is lethal to witches of a certain direction.
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BAUM, L. Frank. Wizard of Oz Waddle Book. New York: Blue Ribbon Books, n.d. [1934]. First edition, first state. Quarto. [1]. 210, [1] pp. Eight color plates by W.W. Denslow, six with die-cut figures. Original pictorial envelope a rear enclosing ramp and fasteners. Green cloth with pictorial onlay. Dust jacket.
Greene and Hanff p. 35-36.
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Of related interest:

How Much Is An L. Frank Baum Inscribed Wizard Of Oz Worth?

L. Frank Baum Tells How To Read The Wizard Of Oz.

L. Frank Baum Remembers Mama, You'll Remember the Price.
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Images courtesy of Aleph-Bet Books, currently offering this item, with our thanks.
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Tuesday, May 15, 2012

Hey Kids, Viva La Revolucion With Fidel And Che!

By Stephen J. Gertz

Front wrapper.

Madres y Padres! Los hijos falling asleep during El Líder's interminable orations? Are they missing out on the detailed history of the glorious revolucion? Is the ideology of sharing everything they own with everybody else here in our island paradise leading to counter-revolutionary sass? Are you dangerously harboring dissident tikes? State Security sniffing your kids' laundry?

Fear not! Album de la Revolucion Cubana is here!

The Coup of March 10th.

From the voyage of The Gramma returning Tios Fidel, Raul y Che to Cuba from exile in Mexico to spearhead the war against capitalist exploitation in 1956, all the way to Batista's fall, in 1959, every action-packed episode tells of the bravery y cajones of our comrades in the struggle.

Landing of  the "Gramma," the yacht that ferried Fidel,
Raul Castro, and Che Cuevara from Mexico to Cuba
on November 25, 1956.



But, you may ask, how can I acquire this great primer for pre-pubescent Fidelistas when I can't even buy little Juanny a pair of shoes?

Leaders of the Revolucion.

We have heard The People. Album de la Revolucion Cubana is free! Free, I tell you, a gift from The People to The People. Just buy cans of Felices Frutas - "Las Más Exquisitas Frutas Cubanas" - and the album and one of the 268 cards in the set are free! Free, I say! Simply buy 268 cans of Felices Frutas to collect them all for your kids, have them read and mount each in their proper place in the album, and their political credentials are in order!


Think of them as Cuban baseball cards, revolutionary propaganda division. Happy Fruits beget happy children free from the pernicious anxieties associated with opposition politics on the see-saw and jungle bars.

Triumph of the Revolution, Fall of Batista.

Our glorious heroes won the revolucion with guns. Album de la Revolucion Cubana will arm our beautiful angelitos with Marxist-Leninist spirit!


Act now! Don't delay! The future of the revolucion is in the hands of our children. Support our nascent canned fruit industry, support the Revolucion, and prepare our children for life in communal paradise. It's a three-fer for Cuba. Los Cubanos, do your duty!

Advertensia! Children caught defacing the portraits of our leaders in Album de la Revolucioin Cubana by erasing moustaches and beards will be detained for re-education in a reform facility.
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[CHILDREN"S PROPAGANDA]. PICART, J.M. and Mario Jimenez. Album de la Revolucion Cubana: 1952-1959. Habana: Editorial Echevarria, 1959. First edition. Oblong quarto (12 x 8 3/4 inches). 32 pp. 268 numbered picture cards, mounted in numbered space, with printed captions. Drawings by  Capdevila. Pictorial wrappers.

Distributed free to buyers of Felices Frutas. OCLC records a reprint by Habana: Revista Cinegrafico, 1960.
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Images courtesy of Aleph-Bet Books, currently offering this item, with our thanks.
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Friday, March 2, 2012

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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Dean & Son Movable Books and How To Date Them

by Stephen J. Gertz

Old Woman and Her Silver Penny.
Dean's Movable Books. London: Dean & Son, n.d. [1861].

First edition. Octavo (9 3/4 x 6 3/4 ini; 248 x 171 mm).
Eight hand-colored wood engraved movable plates.
 Full page advertisements to front and rear endpapers.

The movable books of Dean & Son - the first publisher to produce movable books in large numbers - are highly desirable to collectors. Rarely found in untouched, fully functional condition due to the wear and tear of children, they were customarily issued without a date of publication, probably to keep them "evergreen," to wit, fresh and timeless in the marketplace without fear of becoming literally dated.


Most attributed dates by scholars and librarians are educated guesswork, and "circa" commonly accompanies whatever year of publication assigned by them as well as by dealers, collectors, and writers on the subject (i.e. Ann Montanaro and Peter Haining). 

Though Montanaro suggests the publication date as 1858,
At the lower right corner of the the lower board the
printer's key reads: " 8000 2 61," i.e. 8,000 printed, February 1861.

At the lower right corner of the rear pastedown
to this copy appears the printing key:
 "6000 5 61," i.e. 6,000 printed, May 1861.

Curiously, the year of publication and, significantly, the print run are present on just about all of the Dean & Son movables, if you know where to look and understand what it is you're looking at.

The Movable Mother Hubbard.
London: Dean & Son, n.d. [1857].

First edition. Octavo (9 3/4 x 6 1/2 x 248 x 164 mm).
Eight hand-colored woodcut movable plates, two of
which possess multiple moving images.

In the lower right or left corner of the rear board or on the lower right or left of the rear paste-down endpaper (usually an advertisement) is the publisher/printer's key. At the lower right corner of the the lower board to the Old Woman and Her Silver Penny, for example, the key reads: "8000 2 61," i.e. 8,000 printed in February 1861.


Sometimes you will find two keys. At the lower right corner of the rear paste-down to the copy of the Old Woman and Her Silver Penny I recently handled appears the printing key:  "6000 5 61," i.e. 6,000 printed, May 1861. 

An amazing four movable scenes using a single pull-tab.

With this example we learn that 8.000 were printed in February 1861 and another 6,000 were printed in May of the same year. This copy, then, is a second printing. Now, to what I imagine will be the utter frustration of collectors of Dean movables, they can be prioritized as first, second, third printings, making the first printing, theoretically, the more desirable - if you can find one.

In the lower left corner of the rear board is the
printer's key: "1000 2, 57," i.e. 1,000 printed February 1857.

"The first true movable books published in any large quantity were those produced by Dean & Son, a publishing firm founded in London before 1800. By the 1860s the company claimed to be the 'originator of childrens' movable books in which characters can be made to move and act in accordance with the incidents described in each story.' From the mid-19th century Dean turned its attention to the production of movable books and between the 1860s and 1900 they produced about fifty titles" (Montanaro, Ann. A Concise History of Pop-Up and Movable Books).

Dean & Son's Movable Book of the Royal Punch & Judy
As Played Before the Queen at Windsor Castle & the Crystal Palace.

London: Dean & Son, n.d. [1859].

First edition. Tall octavo (11 x 6 5/8 in; 280 x 170 mm).
Eight hand-colored movable woodcut plates with accompanying text.

"Dean & Son was the first publisher to produce movable books on a large scale. Thomas Dean, who founded the firm sometime before 1800, was one of the first publishers to take full advantage of the new printing process, lithography, which was invented in Germany in 1798. His business was devoted exclusively to making and selling novelty books, or 'toy' books, a term publishers began using in the early nineteenth century. His son George became a partner in 1847, and their toy books took over the market from the 1840s to the 1880s. 


"Dean opened studios in London where teams of artists worked to design and craft all kinds of new and complex movables. Around 1856, Dean released a series of fairy tales and adventure stories under the title New Scenic Books. The scenes in the books were crafted in a "peep show" style. Each was illustrated on at least three cut-out sections. The sections were placed one behind another and attached by a ribbon running through them. This way, they could stay together and be folded flat as flaps, face down against a page. When a readers lifted a flap, a three-dimensional scene would actually pop-up!  A later, but good example of this technique is McLoughlin Brothers' The Lions' Den (ca. 1880), which is held together by a piece of board across the top instead a a ribbon.

In the lower right corner of the rear board is the
printer's key: "4000 3 59," i.e. 4,000 printed March 1859.

"The books in new scenic series are probably the first that today's readers would consider pop-up books, although the term "pop-up" was yet to be used to describe such books. 'Movable' or 'toy book' was usually the choice for description. In 1860, Dean actually claimed to be the 'originator' of movable books.

Dean's New Magic Peep Show Picture Book  Showing
Wonderful & Lifelike Effects of Real Distance & Space.

.London: Dean & Son, n.d. [1861].

First edition. Tall octavo (10 5/8 x 7 1/2 in; 270 x 190 mm).
Four full-color woodcut peep-show tableaus with accompanying text.
Endpapers as advertisements.

"During the 1860s, Dean can be credited with inventing another first: the use of a mechanism that moved or was animated by pulling a tab. Dean advertised the new mechanisms as 'living pictures.' The Royal Punch & Judy is one of these early publications with tabs, which are located on the bottom of each page.

In this extraordinary "peep-show," the scene is pulled up
into multi-layered, cut-out panels to reveal a 3D tableau
with perspective and depth of field.

"In it, Punch and Judy are animated in their miniature theatre and act out all the violence and abuse that a Victorian audience would have expected from the couple" (University of North Texas, A Brief History of Early Movable Books). 


At the lower right corner of the advertisement on the rear board
is the printer's key: "4000 5 61," i.e. 4,000 May 1861.

In the lower left corner of the advertisement to the front free
endpaper is the printer's key: "8000 8 61," i.e. 8,000 August 1861.

Will a Dean first printing in horrible condition be valued more than a third printing in great condition? Now that dates and printing histories can be firmly established only collectors will decide. My sense, however, is that condition will continue to be the overriding factor to the trade and public.  Too few Dean & Son movables have survived in any sort of collectible condition. What good's a first printing copy if it's a disaster?
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Images courtesy of David Brass Rare Books, with our thanks.
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Of related interest:

 A Movable Book Feast.

Movable Books Pop-Up at Smithsonian.

Say Hello To The First Talking Book.

Waldo Hunt And Pop-Up Books: a Brief Overview.

A Pop-Up Book Of "Exquisite, Sentimental Beauty."
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Monday, February 27, 2012

Scarce Original E.H. Shepard "Winnie-the-Pooh" Drawing At Auction

by Stephen J. Gertz


A scarce, original ink and watercolor drawing by Ernest H. Shepard of  Winnie-the-Pooh and Piglet, the characters he brought to life in A.A. Milne's classic children's books, 1924-1928, has found its way to market. The drawing, signed and dated February 29, 1932, is a extraordinary example of Shepard illustrating Pooh characters outside the context of the Milne books.

It is being offered by Nate D. Sanders Auctions at their auction closing February 28, 2012.

The autograph letter is addressed to his agent, and reads:

"My dear Carter Brown

Many thanks for your letter. I think you have done splendidly. The view is shared by others (as you see) coloured.

Yours very sincerely

Ernest H. Shepard

Feb 29th/32"

As of this writing, the bid is $10,871. [Update: 2/27/2012, 5:08PM PST - bid is now at $23,000]. [Update: 2/28/2012, 8:33AM PST - the bid is now $27,830].

[UPDATE 2/29/2012: Final bid $40,954, incl. premium].


Ernest Howard Shepard (1879-1976) had been a successful illustrator since 1906 when he was introduced to Alan  A. Milne in 1923 by Punch staffer, E.V. Lucas; Shepard had  contributed to Punch during WWI and joined its staff in 1921.

Milne's initial reaction to Shepard's work was that it was not in a style he felt right to illustrate his work but nonetheless used him to illustrate his collection of poems, When We Were Very Young (1924). Pleased with Shepard's efforts, Milne insisted that Shepard illustrate Winnie-the-Pooh. Shepard based his conception of Pooh upon Growler, his son's stuffed bear.

Recognizing Shepard's enormous contribution to Winnie-the-Pooh's success, Milne assigned Shepard a percentage of his royalties. In what has become a legendary inscription, Milne wrote in Shepard's copy of Winnie-the-Pooh:

When I am gone,
Let Shepard decorate my tomb,
And put (if there is room)
Two pictures on the stone:
Piglet from page a hundred and eleven,
And Pooh and Piglet walking (157)…
And Peter, thinking that they are my own,
Will welcome me to Heaven.


The only known oil painting by Shepard of Pooh sold at auction for $285,000 in 2000.
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Images courtesy of Nate D. Sanders Auctions, with our thanks.
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