“There’s always Pooh”: A. A. Milne, E. H. Shepard and Winnie-the-Pooh

“There’s always Pooh”: A. A. Milne, E. H. Shepard and Winnie-the-Pooh

Jan 20, 2024 | Children's books featured, Childrens' Books, Dr Phil Errington, Recent Articles

Whether you like your Winnie-the-Pooh in the original A. A. Milne books or in a Walt Disney cartoon, or both, there’s no escaping the most famous teddy bear in the world. With the made-for-television cartoon series, The New Adventures of Winnie-the-Pooh, first broadcast in 1988, Pooh became a more popular character than Mickey Mouse for Disney. At Peter Harrington, the original books are exceptionally popular, and we have the privilege of offering some significant Milne or Shepard material.

Bears at the Beginning

Pooh’s story has two bear beginnings. During the First World War, a Canadian soldier brought a female bear cub with him to England from Winnipeg. Winnie eventually lived in London Zoo from 1914 until her death in 1934. It was there that Christopher Milne, the author’s son, made an ursine acquaintance. The other bear was a teddy bear bought for Christopher on his first birthday. Real and toy bears combined in A. A. Milne’s imagination and, crucially, E. H. Shepard’s artwork. The first of Milne’s verses for children, ‘Vespers’, was published in 1923. When Shepard came to illustrate it, there’s a familiar teddy bear at the foot of Christopher Robin’s bed.

When We Were Very Young

Published on 6 November 1924, the first book, When We Were Very Young, is a collection of verses including ‘Buckingham Palace’, ‘The King’s Breakfast’, ‘Halfway Down’, and ‘Vespers’. Many of these are familiar from their musical settings: famously Ann Stephens’s rendition of ‘Buckingham Palace’, and ‘Halfway Down the Stairs’ sung by Robin the Frog (Kermit’s nephew). Shepard’s illustration for ‘Halfway Down’ has Pooh bear at the top of the stairs and the original dust jacket for the book features him on the front panel. There was a standard trade edition and a signed limited edition (100 copies) published by Methuen in the UK. In the US, the Milne books were published by Dutton.

When We Were Very Young

Published on 6 November 1924, the first book, When We Were Very Young, is a collection of verses including ‘Buckingham Palace’, ‘The King’s Breakfast’, ‘Halfway Down’, and ‘Vespers’. Many of these are familiar from their musical settings: famously Ann Stephens’s rendition of ‘Buckingham Palace’, and ‘Halfway Down the Stairs’ sung by Robin the Frog (Kermit’s nephew). Shepard’s illustration for ‘Halfway Down’ has Pooh bear at the top of the stairs and the original dust jacket for the book features him on the front panel. There was a standard trade edition and a signed limited edition (100 copies) published by Methuen in the UK. In the US, the Milne books were published by Dutton.

Winnie-the-Pooh

The stories started when, in December 1925, Milne was asked to contribute a tale to the Christmas Eve issue of The Evening News. The story of Pooh climbing a tree to steal honey from some bees was also broadcast on the radio on Christmas Day. Winnie-the-Pooh had arrived, and a full book of adventures was published on 14 October 1926 by Methuen in the UK. It is an indication of the publisher’s faith in the new book that it was first published in three different versions: the standard trade edition, the signed limited edition (350 copies), and the signed extra limited edition (20 copies).

Winnie-the-Pooh

The stories started when, in December 1925, Milne was asked to contribute a tale to the Christmas Eve issue of The Evening News. The story of Pooh climbing a tree to steal honey from some bees was also broadcast on the radio on Christmas Day. Winnie-the-Pooh had arrived, and a full book of adventures was published on 14 October 1926 by Methuen in the UK. It is an indication of the publisher’s faith in the new book that it was first published in three different versions: the standard trade edition, the signed limited edition (350 copies), and the signed extra limited edition (20 copies).

Now We Are Six

For the third book in the series, Now We Are Six, Milne returned to verse. Publication date was 13 October 1927. Winnie-the-Pooh was now firmly established, and Shepard included him in many of his illustrations. When Christopher Robin meets a charcoal-burner, for example, there are three illustrations and Pooh is present in all. There is also the five stanza poem, ‘Us Two’, which commences “Wherever I am, there’s always Pooh, | There’s always Pooh and Me”. Shepard concludes this poem with another illustration of that famous staircase complete with bear. Once again, the English publishers issued a standard trade edition, a signed limited edition (200 copies), and a signed extra limited edition (20 copies).

Now We Are Six

For the third book in the series, Now We Are Six, Milne returned to verse. Publication date was 13 October 1927. Winnie-the-Pooh was now firmly established, and Shepard included him in many of his illustrations. When Christopher Robin meets a charcoal-burner, for example, there are three illustrations and Pooh is present in all. There is also the five stanza poem, ‘Us Two’, which commences “Wherever I am, there’s always Pooh, | There’s always Pooh and Me”. Shepard concludes this poem with another illustration of that famous staircase complete with bear. Once again, the English publishers issued a standard trade edition, a signed limited edition (200 copies), and a signed extra limited edition (20 copies).

The House at Pooh Corner

Despite the assurance in ‘Us Two’ that “two can stick together”, it’s the second story book and fourth volume in the series, The House at Pooh Corner, in which Christopher Robin and Pooh “come to an enchanted place, and we leave them there”. It’s one of the saddest episodes in children’s literature when we confront the truth that in growing up the child will spend less time with his beloved bear. Before this conclusion, however, there are the tales which feature a new character: Tigger. It’s a surprise that one of the most popular inhabitants of the Hundred Acre Wood is such a late appearance. He bounces off the page, however, and becomes one of Milne’s most beloved characters. By now the publishers knew they had a hit on their hands and on 11 October 1928, in addition to the standard trade edition, a signed limited edition (back to 350 copies), and a signed extra limited edition (20 copies) were published.

The House at Pooh Corner

Despite the assurance in ‘Us Two’ that “two can stick together”, it’s the second story book and fourth volume in the series, The House at Pooh Corner, in which Christopher Robin and Pooh “come to an enchanted place, and we leave them there”. It’s one of the saddest episodes in children’s literature when we confront the truth that in growing up the child will spend less time with his beloved bear. Before this conclusion, however, there are the tales which feature a new character: Tigger. It’s a surprise that one of the most popular inhabitants of the Hundred Acre Wood is such a late appearance. He bounces off the page, however, and becomes one of Milne’s most beloved characters. By now the publishers knew they had a hit on their hands and on 11 October 1928, in addition to the standard trade edition, a signed limited edition (back to 350 copies), and a signed extra limited edition (20 copies) were published.

Deluxe Bindings

It’s worth noting that Methuen also sold a deluxe binding of the trade issue of all the books (although the deluxe binding of When We Were Very Young only appears from the seventh impression). In contrast with a cloth binding dust jacket published at 7/6, the deluxe bindings in calf came with a thin tissue jacket in a box at 10/6.

A Winning Collaboration

It is true that Milne’s texts are inexorably linked to Shepard’s illustrations. E. H. Shepard was a well-respected artist working for Punch when he was asked to illustrate Milne’s work. His standard practice was to create a preliminary drawing in pencil. Having revised this, Shepard would then cover the reverse of the sheet with pencil shading. Placed on top of a sheet of artist’s board, he would then copy the drawing by tracing the appropriate lines of the composition. With a faint pencil outline, Shepard would then draw the finished illustration in black ink. The preliminary pencil sketches were retained by Shepard and throughout his life he would occasionally produce new drawings from them. The preliminaries are now in the Victoria and Albert Museum. The original ink drawings, once used by the publishers, were returned to Shepard and sold through a series of exhibitions at The Sporting Galleries in Covent Garden. It is because of these exhibitions that it is still possible to acquire Shepard’s original drawings, as published in the four Pooh books.

A Winning Collaboration

It is true that Milne’s texts are inexorably linked to Shepard’s illustrations. E. H. Shepard was a well-respected artist working for Punch when he was asked to illustrate Milne’s work. His standard practice was to create a preliminary drawing in pencil. Having revised this, Shepard would then cover the reverse of the sheet with pencil shading. Placed on top of a sheet of artist’s board, he would then copy the drawing by tracing the appropriate lines of the composition. With a faint pencil outline, Shepard would then draw the finished illustration in black ink. The preliminary pencil sketches were retained by Shepard and throughout his life he would occasionally produce new drawings from them. The preliminaries are now in the Victoria and Albert Museum. The original ink drawings, once used by the publishers, were returned to Shepard and sold through a series of exhibitions at The Sporting Galleries in Covent Garden. It is because of these exhibitions that it is still possible to acquire Shepard’s original drawings, as published in the four Pooh books.

An Excellent Reference Collection

One of the finest private collections of Milne and Shepard material was handled by Peter Harrington in 2011. Pat McInally (b. 1953), the distinguished former American football player and children’s book collector, assembled a magnificent collection over two decades. Our catalogue is still available as a wonderful source of reference of Milne and Shepard’s work, including a limited edition signed by Pat.

An Excellent Reference Collection

One of the finest private collections of Milne and Shepard material was handled by Peter Harrington in 2011. Pat McInally (b. 1953), the distinguished former American football player and children’s book collector, assembled a magnificent collection over two decades. Our catalogue is still available as a wonderful source of reference of Milne and Shepard’s work, including a limited edition signed by Pat.

Written by Dr Phil Errington, Senior Specialist

BROWSE A. A. MILNE
BROWSE CHILDREN'S
The Contradictions of A.A. Milne

The Contradictions of A.A. Milne

Jan 30, 2014 | History, Illustrated Books, Literature

“I suppose that every one of us hopes secretly for immortality; to leave, I mean, a name behind him which will live forever in this world, whatever he may be doing, himself, in the next.”

It is easy enough to take tales of bears, piglets, owls and donkeys at face value, labelling a writer penning such stories as nothing more or less than a delightful children’s author.

Shephard's copy of Winnie the Pooh

First trade edition. Shepard’s own copy, inscribed by him on the day of publication on the verso of the title page, “Artist’s Copy, Ernest H. Shepard, Oct. 14th 1926″, and with his pencilled initials to the spine of the dust jacket. Provenance: from the collection of Pat McInally.

Take Pooh out of the equation, however, and A.A. Milne’s writing career reveals a personal evolution and contradiction in more ways than one. His 1917 book Once on a Time, a ‘fairy tale for adults’, while possessing  a familiar light hearted air and devotion to family – the likeable villain Countess Bevane was based on his wife –  was a different affair entirely, one which the author himself struggled to define:

“As you see, I am still finding it difficult to explain just what sort of book it is. Perhaps no explanation is necessary. Read in it what you like; read it to whomever you like; be of what age you like; it can only fall into one of the two classes. Either you will enjoy it, or you won’t. It is that sort of book.”

There is much to surprise here: a sharp wit and sense of satire for instance, which had previously been aired through countless Punch articles (in which he was first published in around 1904) and Cambridge university magazine Granta, which he contributed to while studying. The effort in character creation of significant depth, too, is very much at odds with Milne’s later (admittedly posthumous) association with Disney and all things Pooh.

Milne himself denied a target audience in the foreword – claiming to have written the story primarily for his wife – yet many critics believed the book to be too complex for younger readers. Either way, Once on a Time achieved remarkable levels of commercial and critical success. 

Original artwork for dustjacket of Once On a Time

Original artwork for the dust jacket of the 1925 reissue of Once On A Time, the first edition to be illustrated by Charles Robinson. Signed by the artist.

The contradictory nature of Milne’s life was evident in more than just fiction. Despite already defining himself as a pacifist, Milne volunteered in the First World War, becoming an Officer in the Signals Corps. During the Battle of the Somme, Milne fought alongside future Winnie-the-Pooh illustrator E. H. Shepard, a colleague from the more light-hearted days of Punch.

Milne was discharged after a year with trench fever, but was almost immediately recruited into the highly secretive propagandist branch MI7b. ’The Green Book’, a collection of his anti-(British) government propaganda writing, came to light nearly one hundred years after the war, in which he mocked the work he had been forced to undertake – writing anti-German propaganda that more often than not, had no basic truth to it.

In MI7b
who loves to lie with me
about atrocities.
And Hun Corpse Factories
come hither, come hither, come hither
here shall we see
No enemy
But sit all day and blather.

Even before The Green Book was discovered, Milne was already known as a voice of controversial ideas of moral justice, writing extensively across articles, essays and full tomes against violence, including his works Peace with Honour, and later War with Honour.

Peace With Honour

First edition, first impression. Inscribed by the author on the front free endpaper, “For Athene – with that admiration of her intelligence – and love of herself – which prove the author of this book to be wise but not necessarily original, A. A. Milne”. We are aware of other books having been inscribed by Milne to “Athene” and it is likely she was a friend.

 

In their later years, both Milne and Shepard had grown tired of the bear’s success, with Shepard in particular being heard to refer to him as ‘that silly old bear’ on numerous occasions, resenting his close association with the books that he felt overshadowed the rest of his work.

Milne’s own brand of humour fell out of vogue in the early thirties, and the author struggled somewhat with the commercial demand for more Winnie-the-Pooh after the war, but nevertheless he lived a comfortable life in Kent – in the Ashdown Forest, East Sussex, that inspired the Hundred Acre Wood – until his death from a lingering illness in 1956.

His widow, Daphne, sold her rights to the Pooh characters to Stephen Slesinger, whose own widow later sold the rights to the Walt Disney Company, sparking the massive commercial revival of Winnie-the-Pooh, including a series of animated feature films from 1966 reimagining the anthropomorphic cartoon bear most memorable today.

Had his career not been eclipsed by a small yellow lover of ‘hunny’, Milne’s legacy would have perhaps lived on through his immutable sense of moral justice, his prolific and career-spanning satire, or perhaps his fame as a playwright. As it was he is best known for a Bear of Very Little Brain – a frustration and a joy all at once.

The Winnie-the-Pooh Collection of Pat McInally

The Winnie-the-Pooh Collection of Pat McInally

Nov 21, 2011 | Children's books featured, Childrens' Books

In 2011, Peter Harrington announced the exhibition and sale of the most comprehensive collection of Winnie-the-Pooh books and artwork ever assembled. Including more than one hundred items gathered together over twenty years by American football legend Pat McInally, the collection includes fine examples of all the Pooh books, important inscribed copies, correspondence and photos, toys, and original artwork.

This was not only the best Pooh collection ever to come to market, but a superb example of the art of collecting, and everything that a lifetime collection in a single field should be. Illustrated below are some of the highlights, including the stand-out piece, a presentation copy of Winnie-the-Pooh inscribed from Milne to both Christopher Robin and Winnie-the-Pooh.

An exhibition of the material was held in our gallery at 100 Fulham Road, where paper copies of the catalogue were offered for sale.

Winnie-the-Pooh presentation inscription to Christopher Robin

Winnie-the-Pooh presentation inscription to Christopher Robin

Above, a presentation copy of Winnie-the-Pooh inscribed by Milne to both his son and Winnie-the-Pooh, “For Moonest Moon and Poohest Pooh from their adoring Bluest Blue. Oct. 16th 1926”.

Christopher Robin Milne was born on 21 August 1920 and quickly became one of the sources of inspiration for his father’s writing. “Moonest Moon” refers to his nickname, “Billy Moon”, which originated from his parents’ nickname for him (Billy) and his childish pronunciation of his surname. “Blue” was the elder Milne’s nickname, probably from the colour of his eyes, and because of his penchant for wearing blue clothing.

The toy bear was a top-of-the-range Alpha Farnell bought at Harrods for Christopher Milne’s first birthday, known initially as Edward or Edward Bear, then later rechristened Winnie-the-Pooh (after a favourite bear cub at London zoo).

In later life Christopher Milne described Pooh as “‘the oldest , only a year younger than I was, and my inseparable companion. As you find us in the poem ‘Us Two’, so we were in real life. Every child has his favourite toy, and every only-child has a special need for one. Pooh was mine, and probably, clasped in my arms, not really very different from the countless other bears clasped in the arms of countless other children” (Enchanted Places, pp. 76–79).

Inscribed by the author to both Christopher Robin and his “inseparable companion”, this stunning association copy is arguably one of the most important children’s books in commerce, standing alongside only the copy of Alice in Wonderland inscribed to Alice Liddell.

Fine first edition copies of all four Pooh books.

Fine first edition copies of all four Pooh books.

The set pictured above includes fine first editions of all four of the Pooh books. Like most children’s books, the Pooh stories were usually read to pieces, and copies in such beautiful and fresh dust jackets are incredibly rare.

Winnie-the-Pooh with an original, full-page drawing by E. H. Shepard

Winnie-the-Pooh with an original, full-page drawing by E. H. Shepard.

The collection includes a set of three first edition large-paper copies signed by the author and illustrator, each with a significant original illustration in ink by E. H. Shepard.

Winnie-the-Pooh is illustrated on the verso of the front blank with a charming image of Christopher Robin in the bath as well as Pooh puzzling over the reverse of a bath mat. Now We Are Six is illustrated with an image of Christopher Robin resisting his nanny, who wields a hairbrush.

Decorating the title page of The House at Pooh Corner is an illustration of Christopher Robin knighting a kneeling Pooh, from the poignant final chapter in which the boy says good-bye to his childhood friends. Only a handful of books with original drawings by Shepard have come to market over the years.

These are the only large paper examples that were found in sales records, and they are clearly drawn with the utmost care and attention, probably for commission.

Now We Are Six with original illustration

Now We Are Six with original illustration by E. H. Shepard.

Original drawing by E. H. Shepard in The House at Pooh Corner

Original drawing by E. H. Shepard in The House at Pooh Corner.

Original photographs of Christopher Robin and Pooh

Original photographs of Christopher Robin and Pooh.

These original photographs depict Christopher Robin Milne and Winnie-the-Pooh with grandfather John Vine Milne (1845–1932) who ran Henley House private school in Kilburn, remarkable for having (briefly) H. G. Wells as a science master and Alfred Harmsworth, later Lord Northcliffe, as a pupil; and, from 1894, Streete Court preparatory school in Westgate-on-Sea, Kent.

A. A. Milne was a pupil at Henley House before winning a scholarship to Westminster School. Photos of this nature are extremely rare in commerce.

original letter from A. A. Milne to E. H. Shepard

An original letter from A. A. Milne to E. H. Shepard.

A hand-written letter from A. A. Milne to Ernest H. Shepard discussing the progress of the latest Pooh book and a potential collaboration on a volume of Mother Goose rhymes. Milne begins, “Dear Shepard, I enclose the latest Pooh. I saw the drawings of the first two at Methuens yesterday, and loved them”.

Milne is referring to Winnie-the-Pooh, which was in production during the first half of 1926 and published on October 14th of that year. It appears that Shepard was illustrating individual chapters as Milne wrote them, here having completed drawings for two chapters and awaiting more text.

Milne goes on to discuss the planned Mother Goose (which would not be completed). As evidenced by this letter, Milne had an unusually supportive relationship with his illustrator. Earlier that year he had offered Shepard a 20% stake in the royalties from Winnie-the-Pooh, an unprecedented move at the time.

Now his offer is even more generous, as he proposes “that we share 50/50” of the Mother Goose royalties.  A very nice letter providing a glimpse into one of the most important creative partnerships in children’s literature.

Original working drawing for the map of the Hundred Acre Wood

Original working drawing for the map of the Hundred Acre Wood.

This impressive and detailed map of the Hundred Acre Wood is the only known preparatory drawing for the map that was used as the endpapers of Winnie-the-Pooh. Shortly after the publication of Milne’s first children’s book, When We Were Very Young, he purchased Cotchford Farm, located on the edge of the Ashdown Forest in East Sussex, and it was this landscape that would inspire many of the Pooh stories. Although the geography was not revised between this initial sketch and the book’s publication, several captions were changed.

“Eeyores Gloomy Place” was first “Eeyores Pasture Land” and “The Floody Place” was originally captioned “Floods Might Happen Here”. The caption at the foot originally appeared as “Drawn by Me helped by Mr Shepard” and shows a process of revision. Additionally, at the top of the map Shepard asks the question, “What sort of House is Kangas?”, a beautiful working drawing of one of the most familiar landscapes of childhood.

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BROWSE A. A. MILNE