The Postcard
A postally unused postcard that was printed by Balding & Mansell Ltd. on behalf of the National Portrait Gallery.
Beatrix Potter
Helen Beatrix Potter (28th. July 1866 - 22nd. December 1943) was an English writer, illustrator, natural scientist and conservationist. She was best known for her children's books featuring animals, such as 'The Tale of Peter Rabbit'.
Born into an upper-middle-class household, Potter was educated by governesses and grew up isolated from other children. She had numerous pets, and spent holidays in Scotland and the Lake District, developing a love of landscape, flora and fauna, all of which she closely observed and painted.
Potter's study and watercolours of fungi led to her being widely respected in the field of mycology.
In her thirties, Potter self-published the highly successful children's book 'The Tale of Peter Rabbit'. Following this, Potter began writing and illustrating children's books full-time.
Beatrix wrote thirty books, the best known being her twenty-three children's tales. With the proceeds from the books and a legacy from an aunt, Potter bought Hill Top Farm in Near Sawrey in 1905; this is a village in the Lake District in the historic county of Lancashire. (The neighbouring village is called Far Sawrey). Over the following decades, Beatrix purchased additional farms to preserve the unique hill country landscape.
In 1913, at the age of 47, Beatrix married William Heelis, a respected local solicitor from Hawkshead.
Beatrix was also a prize-winning breeder of Herdwick sheep, and a prosperous farmer keenly interested in land preservation. She continued to write and illustrate, and to design spin-off merchandise based on her children's books for British publisher Warne until the duties of land management and her diminishing eyesight made it difficult for her to continue.
Beatrix Potter died of pneumonia and heart disease on the 22nd. December 1943 at her home at the age of 77, leaving almost all her property to the National Trust. She is credited with preserving much of the land that now constitutes the Lake District National Park.
Potter's books continue to sell throughout the world in many languages, with her stories being re-told in songs, films, ballet, and animations, and her life is depicted in two films and a television series.
Beatrix Potter - The Early Years
Potter's family on both sides were from the Manchester area. They were English Unitarians, associated with dissenting Protestant congregations that were influential in 19th. century England. They affirmed the oneness of God, and rejected the doctrine of the Trinity.
Beatrix's paternal grandfather, Edmund Potter, from Glossop in Derbyshire, owned what was then the largest calico printing works in England, and later served as a Member of Parliament.
Potter's father, Rupert William Potter (1832–1914), was educated at Manchester College by the Unitarian philosopher James Martineau. He then trained as a barrister in London.
Rupert practised law, specialising in equity law and conveyancing. He married Helen Leech (1839–1932) on the 8th. August 1863 at Hyde Unitarian Chapel, Gee Cross. Helen was the daughter of Jane Ashton (1806–1884) and John Leech, a wealthy cotton merchant and shipbuilder from Stalybridge.
Helen's first cousins were siblings Harriet Lupton (née Ashton) and Thomas Ashton, 1st Baron Ashton of Hyde. It was reported in July 2014 that Potter had personally given a number of her own original hand-painted illustrations to the two daughters of Arthur and Harriet Lupton, who were cousins to both Beatrix Potter and Catherine, Duchess of Cambridge.
Potter's parents lived comfortably at 2 Bolton Gardens, West Brompton, where Helen Beatrix was born on the 28th. July 1866; her younger brother Walter Bertram was born there on the 14th. March 1872.
The house was destroyed in the Blitz. Bousfield Primary School now stands where the house once was. A blue plaque on the school building testifies to the former site of the Potter home.
Both of Beatrix's parents were artistically talented, and Rupert was an adept amateur photographer. Rupert had invested in the stock market, and by the early 1890's, he was extremely wealthy.
Beatrix Potter was educated by three governesses, the last of whom was Annie Moore (née Carter), just three years older than Potter, who tutored Potter in German as well as acting as lady's companion. She and Potter remained friends throughout their lives, and Annie's eight children were the recipients of many of Potter's picture letters. It was Annie who later suggested that these letters might make good children's books.
Beatrix and her younger brother Walter Bertram, who died in 1918, grew up with few friends outside their large extended family. Her parents were artistic, interested in nature, and enjoyed the countryside.
As children, Beatrix and Bertram had numerous small animals as pets which they observed closely and drew endlessly. In their schoolroom, they kept a variety of small pets - mice, rabbits, a hedgehog and some bats, along with collections of butterflies and other insects - which they drew and studied.
Potter was devoted to the care of her small animals, often taking them with her on long holidays. In most of the first fifteen years of her life, Potter spent summer holidays at Dalguise, an estate on the River Tay in Perthshire, Scotland. There she sketched and explored an area that nourished her imagination and her observation.
Potter and her brother were allowed great freedom in the country, and both children became adept students of natural history. In 1882, when Dalguise was no longer available, the Potters took their first summer holiday in the Lake District, at Wray Castle near Lake Windermere. Here Potter met Hardwicke Rawnsley, vicar of Wray and later the founding secretary of the National Trust, whose interest in the countryside and country life inspired the same in Potter, and who was to have a lasting impact on her life.
At about the age of 14, Potter began to keep a diary. It was written in a code of her own devising which was a simple letter for letter substitution. Her Journal was important to the development of her creativity, serving as both sketchbook and literary experiment: in tiny handwriting, she reported on society, recorded her impressions of art and artists, recounted stories, and observed life around her.
The Journal, decoded and transcribed by Leslie Linder in 1958, does not provide an intimate record of her personal life, but it is an invaluable source for understanding a vibrant part of British society in the late 19th. century. It describes Potter's maturing artistic and intellectual interests, her often amusing insights on the places she visited, and her unusual ability to observe nature and to describe it.
Started in 1881, her journal ends in 1897 when her artistic and intellectual energies were absorbed in scientific study and in efforts to publish her drawings. Precocious but reserved and often bored, she was searching for more independent activities, and wished to earn some money of her own while dutifully taking care of her parents, dealing with her especially demanding mother, and managing their various households.
Scientific Illustrations and Work in Mycology
Beatrix Potter's parents did not discourage higher education. As was common in the Victorian era, women of her class were privately educated, and rarely went to university.
Beatrix was interested in every branch of natural science save for astronomy. Botany was a passion for most Victorians, and nature study was a popular enthusiasm. She collected fossils, studied archaeological artefacts from London excavations, and was interested in entomology.
In all these areas, she drew and painted her specimens with increasing skill. By the 1890's, her scientific interests centred on mycology. First drawn to fungi because of their colours and evanescence in nature and her delight in painting them, her interest deepened after meeting Charles McIntosh, a revered naturalist and amateur mycologist, during a summer holiday in Dunkeld in Perthshire in 1892.
McIntosh helped to improve the accuracy of her illustrations, taught her taxonomy, and supplied her with live specimens to paint during the winter. Curious as to how fungi reproduced, Potter began microscopic drawings of fungus spores (the agarics) and in 1895 developed a theory of their germination.
Through the connections of her uncle Sir Henry Enfield Roscoe, a chemist and vice-chancellor of the University of London, she consulted with botanists at Kew Gardens, convincing George Massee of her ability to germinate spores and her theory of hybridisation.
She did not believe in the theory of symbiosis proposed by Simon Schwendener, the German mycologist, as previously thought; instead, she proposed a more independent process of reproduction.
Rebuffed by William Thiselton-Dyer, the Director at Kew, because of her gender and amateur status, Potter wrote up her conclusions and submitted a paper, 'On the Germination of the Spores of the Agaricineae', to the Linnean Society in 1897.
The paper was introduced by Massee because, as a female, Potter could not attend proceedings or read her paper herself. She subsequently withdrew it, realising that some of her samples were contaminated, but continued her microscopic studies for several more years.
Beatrix's paper has only recently been re-discovered, along with the rich, artistic illustrations and drawings that accompanied it. Her work is only now being properly evaluated.
Potter later gave her other mycological and scientific drawings to the Armitt Museum and Library in Ambleside, where mycologists still refer to them to identify fungi. There is also a collection of her fungus paintings at the Perth Museum and Art Gallery in Perth, Scotland, donated by Charles McIntosh.
In 1967, the mycologist W.P.K. Findlay included many of Potter's beautifully accurate fungus drawings in his Wayside & Woodland Fungi, thereby fulfilling her desire to one day have her fungus drawings published in a book. In 1997, the Linnean Society issued a posthumous apology to Potter for the sexism displayed in its handling of her research.
Beatrix Potter's Artistic and Literary Career
Beatrix Potter's artistic and literary interests were deeply influenced by fairy tales and fantasy. She was a student of the classic fairy tales of Western Europe. As well as stories from the Old Testament, John Bunyan's 'The Pilgrim's Progress' and Harriet Beecher Stowe's 'Uncle Tom's Cabin', she grew up with Aesop's Fables, the fairy tales of the Brothers Grimm and Hans Christian Andersen, Charles Kingsley's 'The Water Babies', the folk tales and mythology of Scotland, the German Romantics, Shakespeare, and the romances of Sir Walter Scott.
As a young child, before the age of eight, Edward Lear's 'A Book of Nonsense', including the much loved 'The Owl and the Pussycat', and Lewis Carroll's 'Alice in Wonderland' had made their impression, although she later said of Alice that she was more interested in Tenniel's illustrations than what they were about.
The Brer Rabbit stories of Joel Chandler Harris had been family favourites, and she later studied his Uncle Remus stories and illustrated them.
Beatrix studied book illustration from a young age and developed her own tastes, but the work of the picture book triumvirate Walter Crane, Kate Greenaway and Randolph Caldecott, the last an illustrator whose work was later collected by her father, was a great influence.
When Beatrix started to illustrate, she chose first the traditional rhymes and stories, 'Cinderella', 'Sleeping Beauty', 'Ali Baba and the Forty Thieves', 'Puss-in-Boots', and 'Red Riding Hood'. However, most often her illustrations were fantasies featuring her own pets: mice, rabbits, kittens, and guinea pigs.
In her teenage years, Potter was a regular visitor to the art galleries of London, particularly enjoying the summer and winter exhibitions at the Royal Academy in London. Her Journal reveals her growing sophistication as a critic as well as the influence of her father's friend, the artist Sir John Everett Millais, who recognised Potter's talent of observation. Although Beatrix was aware of art and artistic trends, her drawing and her prose style were uniquely her own.
As a way to earn money in the 1890's, Potter and her brother began to print Christmas cards of their own design, as well as cards for special occasions. Mice and rabbits were the most frequent subject of her fantasy paintings.
In 1890, the firm of Hildesheimer and Faulkner bought several of the drawings of her rabbit Benjamin Bunny to illustrate verses by Frederic Weatherly entitled 'A Happy Pair'.
In 1893, the same publisher bought several more drawings for Weatherly's 'Our Dear Relations', another book of rhymes, and the following year Potter sold a series of frog illustrations and verses for 'Changing Pictures', a popular annual offered by the art publisher Ernest Nister. Potter was pleased by this success, and determined to publish her own illustrated stories.
Whenever Beatrix went on holiday to the Lake District or Scotland, she sent letters to young friends, illustrating them with quick sketches. Many of these letters were written to the children of her former governess Annie Carter Moore, particularly to Moore's eldest son Noel, who was often ill.
In September 1893, Potter was on holiday at Eastwood in Dunkeld, Perthshire. She had run out of things to say to Noel, and so she told him a story about "Four little rabbits whose names were Flopsy, Mopsy, Cottontail and Peter". It became one of the most famous children's letters ever written, and the basis of Potter's future career as a writer-artist-storyteller.
In 1900, Potter revised her tale about the four little rabbits, and fashioned it into a dummy book - it has been suggested, in imitation of Helen Bannerman's 1899 bestseller 'The Story of Little Black Sambo'.
Unable to find a buyer for the work, she published it for family and friends at her own expense in December 1901. It was drawn in black and white with a coloured frontispiece.
Rawnsley had great faith in Potter's tale, recast it in didactic verse, and made the rounds of the London publishing houses. Frederick Warne & Co. had previously rejected the tale but, eager to compete in the booming small format children's book market, reconsidered and accepted the 'Bunny Book' (as the firm called it) following the recommendation of their prominent children's book artist L. Leslie Brooke.
The firm declined Rawnsley's verse in favour of Potter's original prose, and Potter agreed to colour her pen and ink illustrations, choosing the then-new Hentschel three-colour process to reproduce her watercolours.
Potter used many real locations for her book illustrations. The Tower Bank Arms, Near Sawrey appears in 'The Tale of Jemima Puddle-Duck'.
On the 2nd. October 1902, 'The Tale of Peter Rabbit' was published, and was an immediate success. It was followed the next year by 'The Tale of Squirrel Nutkin' and 'The Tailor of Gloucester', which had also first been written as picture letters to the Moore children.
Working with Norman Warne as her editor, Potter published two or three little books each year: 23 books in all. The last book in this format was 'Cecily Parsley's Nursery Rhymes' in 1922, a collection of favourite rhymes. Although 'The Tale of Little Pig Robinson' was not published until 1930, it had been written much earlier.
Potter continued creating her little books until after the Great War when her energies were increasingly directed toward her farming, sheep-breeding and land conservation.
The immense popularity of Potter's books was based on the lively quality of her illustrations, the non-didactic nature of her stories, the depiction of the rural countryside, and the imaginative qualities she lent to her animal characters.
Potter was also a canny businesswoman. As early as 1903, she made and patented a Peter Rabbit doll. It was followed by other spin-off merchandise over the years, including painting books, board games, wall-paper, figurines, baby blankets and china tea-sets. All were licensed by Frederick Warne & Co., and earned Potter an independent income, as well as immense profits for her publisher.
In 1905, Potter and Norman Warne became unofficially engaged. Potter's parents objected to the match because Warne was "in trade" and thus not socially suitable. The engagement lasted only one month - Warne died of pernicious anaemia at the age of 37.
That same year, Potter used some of her income and a small inheritance from an aunt to buy Hill Top Farm, Near Sawrey in the English Lake District near Windermere. Potter and Warne may have hoped that Hill Top Farm would be their holiday home, but after Warne's death, Potter went ahead with its purchase as she had always wanted to own the farm, and live in "that charming village".
Country Life and Marriage
Hill Top is now owned by the National Trust, and preserved as it was when she lived and wrote her stories there.
The tenant farmer John Cannon and his family agreed to stay on to manage the farm for her while she made physical improvements and learned the techniques of fell farming and of raising livestock, including pigs, cows and chickens; the following year she added sheep.
Realising she needed to protect her boundaries, she sought advice from W.H. Heelis & Son, a local firm of solicitors with offices in nearby Hawkshead. With William Heelis acting for her, she bought contiguous pasture, and in 1909 the 20 acre (8.1 ha) Castle Farm across the road from Hill Top Farm.
Beatrix visited Hill Top at every opportunity, and her books written during this period (such as 'The Tale of Ginger and Pickles', about the local shop in Near Sawrey and 'The Tale of Mrs. Tittlemouse', a wood mouse) reflect her increasing participation in village life and her delight in country living.
Owning and managing these working farms required routine collaboration with the widely respected William Heelis. By the summer of 1912, Heelis had proposed marriage and Potter had accepted; although she did not immediately tell her parents, who once again disapproved because Heelis was only a country solicitor.
Potter and Heelis were married on the 15th. October 1913 in London at St. Mary Abbots in Kensington. The couple moved immediately to Near Sawrey, residing at Castle Cottage, the renovated farmhouse on Castle Farm, which was 34 acres large.
Hill Top remained a working farm, but was now remodelled to allow for the tenant family and Potter's private studio and workshop. At last her own woman, Potter settled into the partnerships that shaped the rest of her life: her country solicitor husband and his large family, her farms, the Sawrey community and the predictable rounds of country life.
'The Tale of Jemima Puddle-Duck' and 'The Tale of Tom Kitten' are representative of Hill Top Farm and her farming life, and reflect her happiness with her country life.
Rupert Potter died in 1914 and, with the outbreak of the Great War, Beatrix, by now a wealthy woman, persuaded her mother to move to the Lake District, and found a property for her to rent in Near Sawrey.
Finding life in Near Sawrey dull, Helen Potter soon moved to Lindeth Howe (now a 34 bedroomed hotel), a large house that the Potters had previously rented for the summer in Bowness, on the other side of Lake Windermere.
Beatrix's brother Walter Bertram Potter, who was also an accomplished artist and farmer, died suddenly of a stroke after working in his garden on the 22nd. June 1918. He was buried in the parish churchyard at Ancrum, Scotland, near the remains of the Old Parish Church, which was abandoned in 1890. Walter was 46 years of age when he died, or, to put it another way, he lived for 16,900 days.
Beatrix continued to write stories for Frederick Warne & Co., and fully participated in country life. She established a Nursing Trust for local villages, and served on various committees and councils responsible for footpaths and other rural issues.
Sheep Farming
Soon after acquiring Hill Top Farm, Potter became keenly interested in the breeding and raising of Herdwick sheep, the indigenous fell sheep breed.
In 1923 she bought a large sheep farm in the Troutbeck Valley called Troutbeck Park Farm, formerly a deer park. Beatrix restored its land with thousands of Herdwick sheep, and this established her as one of the major Herdwick sheep farmers in the county.
She was admired by her shepherds and farm managers for her willingness to experiment with the latest biological remedies for the common diseases of sheep, and for her employment of the best shepherds, sheep breeders, and farm managers.
By the late 1920's, Potter and her Hill Top farm manager Tom Storey had made a name for their prize-winning Herdwick flock, which took many prizes at the local agricultural shows, where Potter was often asked to serve as a judge.
In 1942 Beatrix became President-elect of the Herdwick Sheepbreeders' Association, the first time a woman had been elected, although she died before taking office.
Lake District Conservation
Beatrix Potter had been a disciple of the land conservation and preservation ideals of her long-time friend and mentor, Canon Hardwicke Rawnsley, the first secretary and founding member of the National Trust for Places of Historic Interest or Natural Beauty.
According to the National Trust:
"She supported the efforts of the National Trust
to preserve not just the places of extraordinary
beauty, but also those heads of valleys and low
grazing lands that would be irreparably ruined
by development."
Beatrix Potter was also an authority on the traditional Lakeland crafts and period furniture, as well as local stonework. She restored and preserved the farms that she bought or managed, making sure that each farm house had in it a piece of antique Lakeland furniture.
Beatrix was interested in preserving not only the Herdwick sheep, but also the way of life of fell farming. In 1930 the Heelises became partners with the National Trust in buying and managing fell farms included in the large Monk Coniston Estate. The estate comprised many farms spread over a wide area of north-western Lancashire, including the Tarn Hows.
Potter was the de facto estate manager for the Trust for seven years until the National Trust could afford to re-purchase most of the property from her. Potter's stewardship of these farms earned her full regard, but she was not without her critics, including those who felt that she used her wealth and the position of her husband to acquire properties in advance of their being made public.
She was notable in observing the problems of afforestation, preserving the intact grazing lands, and husbanding the quarries and timber on the farms. All her farms were stocked with Herdwick sheep, and frequently with Galloway cattle.
Beatrix Potter - The Later Years
Beatrix Potter continued to write stories and to draw as she aged, although mostly for her own pleasure. Her books in the late 1920's included the semi-autobiographical 'The Fairy Caravan', a fanciful tale set in her beloved Troutbeck fells. It was published only in the US during Potter's lifetime, and not until 1952 in the UK.
'Sister Anne', Potter's version of the story of Bluebeard, was written for her American readers, but illustrated by Katharine Sturges. A final folktale, 'Wag by Wall', was published posthumously by The Horn Book Magazine in 1944.
Potter was a generous patron of the Girl Guides, whose troupes she allowed to make their summer encampments on her land, and whose company she enjoyed as an older woman.
Potter and William Heelis enjoyed a happy marriage of thirty years, continuing their farming and preservation efforts throughout the hard days of World War II. Although they were childless, Potter played an important role in William's large family, particularly enjoying her relationship with several nieces whom she helped educate, and giving comfort and aid to her husband's brothers and sisters.
The Death of Beatrix Potter
Beatrix Potter died of complications from pneumonia and heart disease on the 22nd. December 1943 at Castle Cottage, and her remains were cremated at Carleton Crematorium.
Beatrix left nearly all her property to the National Trust, including over 4,000 acres (16 km2) of land, sixteen farms, cottages and herds of cattle and Herdwick sheep.
Hers was the largest gift at that time to the National Trust, and it enabled the preservation of the land now included in the Lake District National Park, as well as the continuation of fell farming. The central office of the National Trust in Swindon was named "Heelis" in 2005 in her memory.
William Heelis continued his stewardship of their properties and of her literary and artistic work for the twenty months he survived her. When he died in August 1945, he left the remainder of the land and property to the National Trust.
Beatrix Potter's Legacy
Beatrix left almost all the original illustrations for her books to the National Trust. The copyright to her stories and merchandise was left to her publisher Frederick Warne & Co., now a division of the Penguin Group.
On the 1st. January 2014, the copyright expired in the UK and other countries with a 70-years-after-death limit.
Hill Top Farm was opened to the public by the National Trust in 1946; her artwork was displayed there until 1985 when it was moved to William Heelis's former law offices in Hawkshead, also owned by the National Trust as the Beatrix Potter Gallery.
Beatrix gave her folios of mycological drawings to the Armitt Library and Museum in Ambleside before her death.
'The Tale of Peter Rabbit' is owned by Frederick Warne and Company, 'The Tailor of Gloucester' by the Tate Gallery, and 'The Tale of the Flopsy Bunnies' by the British Museum.
The largest public collection of her letters and drawings is the Leslie Linder Bequest and Leslie Linder Collection at the Victoria and Albert Museum in London. (Linder was the collector who—after five years of work—finally transcribed Potter's early journal, originally written in code.)
In the United States, the largest public collections are those in the Rare Book Department of the Free Library of Philadelphia, and the Cotsen Children's Library at Princeton University.
In 2015 a manuscript for an unpublished book was discovered by Jo Hanks, a publisher at Penguin Random House Children's Books, in the Victoria and Albert Museum archive. The book 'The Tale of Kitty-in-Boots', with illustrations by Quentin Blake, was published on the 1st. September 2016, to mark the 150th. anniversary of Potter's birth.
In 2017, 'The Art of Beatrix Potter: Sketches, Paintings, and Illustrations' by Emily Zach was published after San Francisco publisher Chronicle Books decided to mark the 150th. anniversary of Beatrix Potter's birth by showing that:
"She was far more than a 19th.-century
weekend painter. She was an artist of
astonishing range."
In December 2017, the asteroid 13975 Beatrixpotter, discovered by Belgian astronomer Eric Elst in 1992, was named in her memory.
Beatrix Potter's Work
There are many interpretations of Beatrix's literary work, the sources of her art, and her life and times. These include critical evaluations of her corpus of children's literature. 'That Naughty Rabbit: Beatrix Potter and Peter Rabbit' by Judy Taylor tells the story of the book's first publication and its many subsequent editions.
Potter's country life and her farming have been discussed in the work of Susan Denyer and other authors in the publications of The National Trust, such as 'Beatrix Potter at Home in the Lake District' (2004).
Potter's work as a scientific illustrator and her work in mycology are discussed in Linda Lear's books 'Beatrix Potter: A Life in Nature' (2006) and 'Beatrix Potter: The Extraordinary Life of a Victorian Genius' (2008).
Adaptations of Beatrix Potter's Work
In 1971, a ballet film was released, 'The Tales of Beatrix Potter'. It was directed by Reginald Mills, set to music by John Lanchbery with choreography by Frederick Ashton, and performed in character costume by members of the Royal Ballet and the Royal Opera House orchestra. The ballet of the same name has been performed by other dance companies around the world.
In 1992, Potter's children's book 'The Tale of Benjamin Bunny' was featured in the film Lorenzo's Oil.
Potter is also featured in Susan Wittig Albert's series of light mysteries called 'The Cottage Tales of Beatrix Potter'. The first of the eight-book series is 'Tale of Hill Top Farm' (2004), which deals with Potter's life in the Lake District and the village of Near Sawrey between 1905 and 1913.
Beatrix Potter in Film
In 1982, the BBC produced 'The Tale of Beatrix Potter'. This dramatisation of her life was written by John Hawkesworth, directed by Bill Hayes, and starred Holly Aird and Penelope Wilton as the young and adult Potter, respectively.
'The World of Peter Rabbit and Friends', a TV series based on nine of her twenty-four stories, starred actress Niamh Cusack as Beatrix Potter.
In 1993, Weston Woods Studios made a film called 'Beatrix Potter: Artist, Storyteller, and Countrywoman' with narration by Lynn Redgrave and music by Ernest Troost.
In 2006, Chris Noonan directed 'Miss Potter', a biographical film of Potter's life focusing on her early career and romance with her editor Norman Warne. The film stars Renée Zellweger, Ewan McGregor and Emily Watson.
On 9 February 2018, Columbia Pictures released 'Peter Rabbit', directed by Will Gluck, based on the work by Beatrix Potter. The character Bea, played by Rose Byrne, is a re-imagined version of Beatrix. A sequel to the film entitled 'Peter Rabbit 2: The Runaway' was released in 2021.
On the 24th. December 2020, Sky One premiered 'Roald & Beatrix: The Tail of the Curious Mouse', a made-for-television drama film. The film was inspired by the true story of six-year-old Roald Dahl meeting his idol Beatrix Potter.
Set in 1922, the movie was written by Abigail Wilson, directed by David Kerr and starred Dawn French as Beatrix Potter, Rob Brydon as William Heelis and Jessica Hynes as Sofie Dahl. Filming took place in Wales (the birthland of Roald Dahl, French and Brydon), during the COVID-19 pandemic. This production incorporates live action, stop motion and puppetry.
Final Thoughts From Beatrix Potter
"There is something delicious about
writing the first words of a story. You
never quite know where they'll take you."
"Once upon a time there were four little
Rabbits, and their names were--Flopsy,
Mopsy, Cottontail, and Peter."
"I hold that a strongly marked personality
can influence descendants for generations."
"Believe there is a great power silently
working all things for good, behave
yourself and never mind the rest."
"Thank goodness I was never sent to
school; it would have rubbed off some
of the originality."
"I cannot rest, I must draw, however poor
the result, and when I have a bad time
come over me, it is a stronger desire than
ever."
"All outward forms of religion are almost
useless, and are the causes of endless
strife."
"I remember I used to half believe and
wholly play with fairies when I was a child.
What heaven can be more real than to
retain the spirit-world of childhood,
tempered and balanced by knowledge
and common-sense."
"It is said that the effect of eating
too much lettuce is 'soporific'."
"Most people, after one success, are so
cringingly afraid of doing less well that
they rub all the edge off their subsequent
work."
"Peter was not very well during the evening.
His mother put him to bed, and made some
chamomile tea: 'One table-spoonful to be
taken at bedtime'."
"This is a fierce bad rabbit; look at his savage
whiskers, and his claws and his turned-up tail."
"I hold an old-fashioned notion that a happy
marriage is the crown of a woman’s life."
"In the time of swords and periwigs and full-skirted
coats with flowered lappets - when gentlemen wore
ruffles, and gold-laced waistcoats of paduasoy and
taffeta - there lived a tailor in Gloucester."
"I fear that we shall be obliged
to leave this pudding."
"Peter lost one of his shoes among the
cabbages, and the other shoe amongst
the potatoes."
"I am aware these little books don't
last long, even if they are a success."
"With opportunity the world
is very interesting."
"If I have done anything, even a little,
to help small children enjoy honest,
simple pleasures, I have done a bit
of good."
"But not even Hitler can damage the fells."
"One place suits on person, another place
suits another person. For my part, I prefer
to live in the country, like Timmy Willie."
