Pooh PDF

THE
WINNIE-THE-POOH
COLLECTION
OF
Pat McInally
works by
a. a. Milne & E. H. Shepard
THE
WINNIE-THE-POOH
COLLECTION
OF
Pat McInally
works by
a. a. Milne & E. H. SheparD
Peter Harrington Catalogue 80
Catalogue of an Exhibition first held at The items in this catalogue are offered for sale. The
condition is guaranteed as described. Items ordered
Peter Harrington
without prior inspection are understood to be sent
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on approval and may be returned for any reason
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Wednesday 30 November to Wednesday 14 December 2011 Design Nigel Bents; photography Ruth Segarra; text Laura Massey
Opening Hours: Monday to Saturday, 10:00–18:00 Catalogue text and images copyright Peter Harrington 2011
The biographer
This is an altogether extraordinary collection, including many things I would have loved to have
seen when I was working on my biography of A. A. Milne over twenty years ago.
A. A. Milne and E. H. Shepard are inextricably linked. But both men were highly professional
and prolific – Milne as a writer (journalist, essayist, playwright and novelist), Shepard as an
artist (painter, illustrator, cartoonist) – long before they came together to produce the four
famous children’s books.
They were born only a few years apart, Shepard in 1879 and Milne in 1882, and they grew
up, unknowingly, only a few streets away from each other in North London – Milne called it
Kilburn, Shepard St John’s Wood. For best, they both wore black velvet suits with lace collars,
the fashion made popular (at least among mothers) by Mrs Burnett’s Fauntleroy. They met when
working for Punch. It seems a miracle that the Pooh books, as we know them, exist: both writer
and illustrator were young officers on the Somme.
Right from the beginning, Methuen, their publisher, realised the potential of their partnership.
There are highly desirable limited signed editions here as well as the unique family books,
including (most special of all) Christopher Robin’s own copy of Winnie-the-Pooh. There are
original Shepard illustrations and all sorts of attractive curiosities, a feast even for those who can
afford only to look and not buy.
Ann Thwaite
Ann Thwaite has written five major biographies, including A. A. Milne; A Life (London: Faber, 1990;
republished Stroud: Tempus, 2006) which was named Whitbread Biography of the Year in 1990. The
Brilliant Career of Winnie-the Pooh, an abbreviated and fully illustrated version of the biography, was
published on both sides of the Atlantic in 1992. She is an Oxford D.Litt and a Fellow of the Royal Society
of Literature.
The collector
John Patrick “Pat” McInally found fame in his native USA as a punter and wide receiver for
the National Football League’s Cincinnati Bengals from 1976 to 1985. A Harvard graduate, he
remains the only footballer to have achieved a verified perfect score on the Wonderlic Test, the
intelligence test given to prospective players by the NFL. He also has the distinction of being
the first Harvard graduate ever to play in a Pro Bowl and a Super Bowl, both of which he did
in the 1981 season. After retiring from the game, he was the founder of the Kenner “Starting
Lineup” action figures, the first of their kind for American athletes. He is now the head
varsity football coach at Brethren Christian Junior/Senior High School in Huntington Beach,
California.
As a collector of children’s literature, Pat has shown all the same qualities that stood him in such
good stead in his professional career – intelligence, perseverance, personal integrity, commercial
discernment, even bravery – albeit in a very different arena.
For twenty years now, his main collecting interest has centred on the works of A. A. Milne and
E. H. Shepard, and their inspired collaboration in creating the world of Winnie-the-Pooh. The
four books themselves were originally published in a variety of editions and deluxe formats
aimed at collectors, with a number of related books and products quickly following, and Pat
has gathered the best of them. He has persevered in choosing only copies in the finest attainable
condition, or with the most intimate and important associations and presentations, and the most
redolent and interesting original artworks.
We believe that Pat has succeeded in assembling the most comprehensive collection of books
and artwork relating to the Pooh books ever formed by a private collector. This is everything
that a lifetime collection in a single field should be.
Peter Harrington
From the offices of Punch
1. Signed photographic portraits of Milne and Shepard.

(c. 1920s) (69865)
Original photographic portraits of E. H. Shepard (145 × 98 mm) and A. A. Milne (oval approximately 130
× 95 mm). Individually mounted, glazed, and framed. Minor scratches to edge of photo of Milne. Excellent
condition.
Together £3,750
Shepard’s inscription “Yours Truly, E. H. Shepard” is tipped onto the mount below his portrait, and Milne
has signed the mount to the lower right of his portrait. These photographs come from the offices of Punch
magazine, where the custom was to keep signed photographs of contributors on the walls.
Before Pooh, Alan Alexander Milne (1882–1956) had a thriving career as a humorist and playwright. In
1904, shortly after graduating from Trinity College, Cambridge, he published his first piece in Punch, and
by 1906 was an assistant editor. His plays, such as Mr Pim Passes By (1919) and The Dover Road (1921), were
enormously successful, as were his forays into literature; his only detective novel, The Red House Mystery
(1922) was “much admired and much translated” (ODNB).
The Winnie-the-Pooh Collection
Ernest Howard Shepard (1879–1976) grew up in an artistic family and from an early age showed aptitude
for drawing. While attending the Royal Academy Schools he began submitting illustrations to magazines to
supplement his income, and, though he exhibited paintings regularly until the 1920s, illustration gradually
became his primary occupation. In 1906 his drawings were accepted by Punch for the first time, and he
became a regular contributor by 1914, though the outbreak of war interrupted his career. Only in 1921 was
he invited to become a member of the staff and could settle down to salaried employment.
In 1924 A. A. Milne had written a series of children’s verses for Punch and Shepard was suggested as the
illustrator. Had it been entirely up to Milne this might not have been. Prior to the war the author had on
several occasions asked Punch’s art editor, “What on earth do you see in this man? He’s perfectly hopeless”,
to which the reply was, “You wait” (Milne, By Way of Introduction, p. 252). And indeed, Milne was delighted
with Shepard’s interpretation of his verses. The artist’s “delicately precise and fresh drawings” (ODNB) had
an instant appeal and the resulting series of Pooh books established both Milne and Shepard, with one critic
arguing that the verses and illustrations belonged together “as intimately as the echo does to the voice”
(Thwaite p. 253).
Peter Harrington
The Publication History

When We Were Very Young was published in London on 6 November 1924 and in New York on 20 November.
The printers, Jarrold of Norwich, produced 113 large paper copies on handmade paper (only 100 were
for sale) and 5,175 regular trade copies, with 10 salesman’s dummies. Copies of the seventh and tenth
impressions were later issued in deluxe bindings of red, blue or green leather.
Winnie-the-Pooh was published in London on 14 October 1926 and in New York on 21 October. Methuen
produced 30,000 regular trade copies, with 11 salesman’s dummies. Another 3,000 copies of the first trade
impression were bound in red, blue or green leather by Burn, enclosed in a printed card box. There were also
two special impressions aimed at book collectors: 24 copies printed on Japanese vellum and bound in vellum
(20 for sale), signed by both author and illustrator; and 365 large paper copies (350 for sale) signed by both.
In New York, Dutton issued 200 large paper copies signed by both.
Now We Are Six was published on 13 October 1927 in both England and America. Methuen published
50,000 trade copies. There were 26 copies on Japanese vellum (20 for sale) and 218 large paper copies (200
for sale). The final 5,000 trade copies were bound in leather by Ship Binding Company: 1,500 copies each
in blue and green leather, and 2,000 copies in red. In America 90,000 copies had already been ordered on
publication day. Dutton again issued 200 signed large paper copies.
The House at Pooh Corner was published on 11 October 1928 in both England and America. Methuen’s first
impression was 75,000 regular trade copies, with 300 salesman’s dummies. There were 28 copies printed
on Japanese vellum (20 for sale) and 360 large paper copies (350 for sale). 4,000 trade copies were bound in
leather by Ship: 1,200 in blue, 1,200 in green, and 1,600 in red. The American large paper issue was 250
signed copies.
Source: John R. Payne, “Four Children’s Books by A. A. Milne”, Studies in Bibliography, University of Virginia Press, vol. 23 (1970), pp.
127–139.
Fine set of the four Pooh books

2. MILNE, A. A. (The Pooh books:) When We Were Very Young; Winnie-the-Pooh;
Now We Are Six; The House at Pooh Corner.
London: Methuen & Co., 1924–8 (69936)
4 volumes, octavo. Original cloth (blue, green, red and pink respectively), titles to spines gilt, rules and
illustrations to boards gilt, top edges gilt. With the dust jackets. Housed in a four colour morocco backed
slipcase with individual chemises. Illustrated throughout by E. H. Shepard. Fine condition.
£29,500
First trade editions. When We Were Very Young is in the first state with page ix in the preliminaries not
numbered. A superb set, the best we have seen.
The Contents
1. When We Were Very Young............items 3-21

2. Winnie-the-Pooh...........................items 22-39
3. Now We Are Six..........................items 40-48
4. The House at Pooh Corner.............items 49-59
5. Pooh related material....................items 60-75
6. Milne and Shepard’s other works.....items 76-95
1. When We Were Very Young
Milne had no particular ambition to write for children, but in 1922 a glimpse of his two-year-old
son Christopher being taught to pray by his nanny inspired him to compose the verse “Vespers”,
a gently ironic take on the innocence of childhood intended for an adult readership, which was
published in Vanity Fair in January 1923. It proved popular, and Milne was asked to contribute
to The Merry-Go-Round, a new periodical for children. The success of these pieces led him to
consider writing further verses for children, and he composed most of When We Were Very Young as
entertainment during a dreary holiday in Wales. Many of the poems first ran as weekly instalments
in Punch, charmingly illustrated by fellow contributor Shepard. The complete book was published
to immense acclaim, and the first printing sold out in one day. By the end of the year more than
53,000 copies had been printed of what The Times called “the greatest children’s book since Alice”
(Thwaite p. 286).
Peter Harrington
HIS FIRST WORK SPECIFICALLY FOR CHILDREN

3. (MILNE, A. A.) The Merry-Go-Round. A Monthly Magazine for Children. Volume
I, Number I. Edited by Rose Fyleman.
Oxford: Basil Blackwell, November 1923 (69887)
Quarto. Original white wrappers printed in black, pink, and light blue. Illustrations throughout. Lightly
rubbed and toned. An excellent copy.
£300
First edition of “The Dormouse and the Doctor”, Milne’s first work specifically for children and the first
appearance in print of the poem that would later appear in When We Were Very Young.
PREPARATORY SKETCHES
4. SHEPARD, Ernest H. First sketches for “The King’s Breakfast”.
(1924) (69855)
Single sheet with pencil sketches (380 × 280 mm). Mounted, glazed, and framed. Horizontal fold. Excellent
condition.
£5,000
Original working pencil sketches for the illustrations to the poem “The King’s Breakfast”, one of Milne’s
most popular children’s poems, published on pages 55–59 of When We Were Very Young. Signed, titled, and
dated 1924 by Shepard. The subsequent world-wide fame of the Pooh books meant that Shepard produced
many copies of his illustrations over the years. However, genuine preparatory sketches and original artwork
as used in the books are rare in commerce.
Peter Harrington
5. SHEPARD, Ernest H. Original drawing “The King & Queen Dancing” and five
preliminary sketches for The King’s Breakfast.
1924 (70577)
Pencil drawing on paper (122 × 170 mm) and five pencil sketches on tracing paper (185 × 257 mm). Pen
trial to lower right corner of the drawing of the King and Queen dancing, two minor creases to the sheet of
tracing paper. Excellent condition.
£2,000
Original preliminary sketches for the illustrations to “The King’s Breakfast”. In the more finished sketch on
paper the King and Queen dance, the King with buttered toast in hand. The image of the King brandishing
his toast was used as the central gilt block on the front cover of the trade edition. The second piece is a sheet
of tracing paper with five pencil sketches of the King and Queen at the breakfast table, the maid speaking
to the cow, the King crying, the maid running, and the King and Queen dancing.
FINE COPY OF THE SIGNED LIMITED EDITION

6. MILNE, A. A. When We Were Very Young. With Decorations by Ernest H.
Shepard.
London: Methuen & Co., 1924 (69691)
Quarto. Original red cloth backed grey boards, printed paper label to upper board. With the dust jacket.
Housed in an orange quarter morocco slipcase and chemise. Illustrated throughout by E. H. Shepard. A fine
copy in the fine jacket.
£27,500
First edition, number 12 of 100 copies signed by the author and illustrator on the limitation leaf. A beautiful
copy retaining the pure blue of the dust jacket with no fading or tanning, rare thus.
Peter Harrington
ONE OF SIX OUTSIDE THE LIMITATION,

ADDITIONALLY INSCRIBED BY E. V. LUCAS
7. MILNE, A. A. When We Were Very Young.
London: Methuen & Co. Ltd., 1924 (69694)
Quarto. Original red cloth backed grey boards, printed paper label to upper board. With the dust jacket.
Housed in an orange quarter morocco slipcase and chemise. Illustrated throughout by E. H. Shepard. A fine
copy in the dust jacket.
£27,500
First edition, first impression. One of the limited edition of large paper copies signed on the limitation leaf
by both author and illustrator, this copy an extra-limitation presentation copy inscribed by the author “This
is a presentation copy for S. Killby, Esq.”, with the limitation space struck through. Additionally inscribed
by E. V. Lucas above and below the limitation notice: “In addition to the 100 numbered copies of this large-
paper issue, which were instantly sold, 6 more were printed, for the Author, the Artist, & the four directors
of Methuen & Co of which I am Chairman. This is the copy alloted to Mr Killby, the fourth director. (signed)
E. V. Lucas.” (Lucas seems to have forgotten that there were actually 113 large paper copies printed.) Edward
Verrall Lucas (1868–1938) had just become chairman of Methuen and led the company until his death. He
was also influential at Punch at this time, and he is usually credited with responsibility for teaming Milne
and Shepard together. His fellow director Killby was among the recipients of copies on Japanese vellum of
the subsequent three Pooh books; in the absence of a Japanese vellum issue of this first book, this large paper
copy would have completed his set of the books in their most luxurious obtainable formats.
EXCEPTIONAL CONDITION
Shepard.
Octavo. Original blue cloth, titles to spine, pictorial decoration to upper board, and top edge gilt. With the
dust jacket. Illustrated throughout by E. H. Shepard. A little bubbling to lower board, endpapers lightly
toned and spotted. An excellent copy in the fine dust jacket.
£12,500
First trade edition, second state with the page number ix present in the preliminaries. In copies of the first
issue the contents leaf (ix-x) is unnumbered. A beautiful copy, rare in this condition.
Peter Harrington
SIGNED BY BILLY MOON

New York: E. P. Dutton & Co., 1924 (69743)
Octavo. Original green cloth backed pictorial boards, pictorial endpapers, green top-stain. Illustrated
throughout by E. H. Shepard. A superb copy.
£9,500
First US edition. Number 3 of 100 copies signed by the author from a limited edition of 500, and one of only
eight copies additionally signed by Christopher Robin Milne as “Billy Moon”. This nickname originated
from his parents’ pet name for him (Billy) and his childish pronunciation of his surname; the book is
dedicated to him under that name. Loosely inserted is a typed letter signed by John Macrae, the president
of E. P. Dutton & Co. He writes, “When Mr. Milne was signing this limited edition of When We Were Very
Young, his son and the inspirer of these verses – Christopher Robin Milne – thought it would be an excellent
idea to have a finger in the pie, so of his own accord he took pencil in hand to write “Billy Moon” in the first
eight of the one hundred copies signed by his father”. A rare and charming limitation.
INSCRIBED BY MILNE
New York: E. P. Dutton & Co., 1924 (69808)
Octavo. Original red cloth, titles to spine and upper board gilt, pictorial endpapers, blue top-stain. A little
rubbed, gilt dulled, occasional light spotting to contents. An excellent copy in the supplied first printing
dust jacket.
£8,750
First US trade edition, originally published in the UK in the same year. Inscribed by the author on the front
blank, “For Mrs. Barnside from A. A. Milne. Christmas, 1924”. Inscribed copies of the first US trade edition
are rare; we know of only one other to have appeared on the market.
Peter Harrington
THE FIRST DELUXE LEATHER ISSUE,

SIGNED BY BOTH THE AUTHOR AND ILLUSTRATOR
Shepard.
Octavo. Publisher’s deluxe red calf, titles to spine and pictorial design to upper board gilt, pictorial
endpapers, all edges gilt. Original glassine wrapper. With the publisher’s box. Housed in a blue quarter
morocco solander case. Illustrated throughout by E. H. Shepard. Lightly rubbed at the spine ends. An
excellent copy.
£7,500
First deluxe issue (seventh edition overall). The first of the books to be bound in deluxe leather by Methuen,
this is a rare edition. No deluxe edition was planned when the book was originally published; it was only
later that Methuen decided to publish deluxe editions of all the Pooh books, including When We Were Very
Young. For this reason it is the only one of the deluxe editions that is not also a first edition. This copy is
signed by both the author and illustrator on the title page, and no other signed copies have appeared at
auction in the past 35 years.
“HUSH, HUSH, WHISPER WHO DARES…”

12. MILNE, A. A. Vespers.
New York: E. P. Dutton, 1925 (69890)
Single sheet folded twice. Colour illustration to title and colour border to poem incorporating animals, toys,
and a child praying. Cover tanned, contents toned, some minor creasing and rubbing to edges. A very good
copy.
£75
Separate printing of the poem “Vespers”, the first piece of writing inspired by Milne’s son, originally published
in Vanity Fair in 1924. Framed broadside printings such as this one soon became a staple of nursery walls.
Peter Harrington
WITH MILNE’S MANUSCRIPT

13. (MILNE, A. A.) SHEPARD, Ernest H. Happiness.
(69858)
Single printed sheet (324 × 225 mm), and autograph manuscript signed on a single piece of letterhead.
Mounted, glazed, and framed together. Broadside lightly toned, manuscript with minor creases from folding.
Excellent condition.
£7,500
Number 8 of a limited edition of 20 broadside printings of the poem “Happiness”, signed by both the author
and the illustrator. Together with a manuscript copy of the poem on Milne’s letterhead, signed and dated 8
June 1928 by the author. This poem was originally published in When We Were Very Young.
“THE MUSIC IS EXACTLY RIGHT” – INSCRIBED BY MILNE

14. MILNE, A. A. Fourteen Songs from When We Were Very Young. Music by H.
Fraser-Simson. Decorations by E. H. Shepard.
London: Methuen & Co., Ltd.; Ascherberg, Hopwood & Crew Ltd., 1924 (69914)
Quarto. Original tan cloth backed grey boards, printed paper label to upper board. With the supplied first
impression dust jacket. Illustrated throughout by E. H. Shepard. Rubbed and marked, light tanning to free
endpapers. A very good copy in the lightly rubbed and creased jacket with a few short closed tears and a chip
from the lower panel.
£650
First edition. Inscribed by the author on the front free endpaper, “For Marjory, with love, from A. A. Milne.
Christmas 1924”. As Milne’s verses for children appeared in Punch during 1924 he was approached by a
number of composers interested in setting them to music. Milne chose his Chelsea neighbour Harold Fraser-
Simson (1872–1944). He had recently written a record-breaking musical and his spaniel, Henry Woggins,
was an especial favourite of Christopher Robin. It was the beginning of a fruitful collaboration that would
result in a total of 67 songs, with Milne telling his agent Curtis Brown that “The music is exactly right”
(Thwaite 272).
Peter Harrington
SIGNED LIMITED EDITION, ADDITIONALLY INSCRIBED

15. MILNE, A. A., & H. Fraser-Simson. The King’s Breakfast.
London: Methuen & Co. Ltd, 1925 (69907)
Quarto. Original green cloth backed grey boards, printed paper label to upper board. Illustrations by E.
H. Shepard throughout. Lightly rubbed at extremities, a few small spots to paper label, title page partially
tanned, contents toned. A very good copy.
£675
First separate edition of one of Milne’s most popular poems, originally published in When We Were Very Young
in 1924. One of a limited edition of 100 numbered copies signed by Milne, Fraser-Simson and Shepard.
This is an out-of-series presentation copy additionally inscribed by Milne on the limitation leaf, “This is a
presentation copy to Hugh Morgan”. The identity of the recipient is unknown.
16. MILNE, A. A. The King’s Breakfast. Words by A. A. Milne. Music by H. Fraser-

Simson. Decorations by E. H. Shepard.
London: Methuen & Co., Ltd., 1925 (69880)
Large octavo. Original grey cloth backed pictorial boards. With the dust jacket. Illustrations throughout by
E. H. Shepard. Boards a little rubbed and faded along the edges and slightly loose, partial tanning to free
endpapers. A very good copy in the price-clipped and faded jacket with short closed tears repaired with tape
to the verso.
£300
First trade edition.
Peter Harrington
PROOFS
17. MILNE, A. A., & Ernest H. Shepard. Proof set of Six Drawings. Illustrating
Poems from ‘When We Were Very Young’ by A. A. Milne.
N. p., Methuen & Co., (c. 1925). (70097)
A portfolio of 6 proof sheets. Fitted in the original paper-covered board portfolio with a printed paper label
to the upper flap. A superb set.
£5,000
An extremely rare proof set of the limited edition broadsides presenting Milne’s verses with Shepard’s
illustrations. The poems are “Happiness”, “Vespers”, “The King’s Breakfast”, “Lines and Squares”, “Hoppity”,
and “Teddy Bear”. Each sheet is labelled “proof” in pencil.
RARE COMPLETE SET OF BROADSIDES

18. MILNE, A. A., & Ernest H. Shepard. Six Drawings. Illustrating Poems from
‘When We Were Very Young’ by A. A. Milne.
N. p., Methuen & Co., (c. 1925). (70096)
A portfolio of 6 sheets each with a verse and hand-coloured illustrations. In the original paper-covered
board portfolio, with two labels and one set of title labels laid-down. Only occasional light foxing, portfolio
slightly rubbed with a crease to the upper flap. Excellent condition.
£8,750
An extremely rare set of hand-coloured broadsides, this number 81 of 250 sets that present Milne’s verses with
Shepard’s illustrations. These sets are scarce as in most cases they were broken up and the sheets individually
framed. This is the only set known to have appeared in commerce.
Peter Harrington
INSCRIBED BY MILNE
19. MILNE, A. A. Teddy Bear and Other Songs from When We Were Very Young.
Music by H. Fraser-Simson. Decorations by E. H. Shepard.
London: Methuen & Co. Ltd.; Ascherberg, Hopwood & Crew, Ltd., 1926 (69913)
Quarto. Original tan cloth backed brown boards, printed paper label to upper board. With the dust jacket.
Illustrations throughout by E. H. Shepard. Boards a little rubbed and spotted. An excellent copy in the
rubbed and partially toned jacket with a few small spots.
£650
First edition. Inscribed by the author on the front free endpaper, “For Maud with love from A. A. Milne”.
Maud Milne, née Innes, was the author’s sister-in-law, married to his brother Kenneth.
20. MILNE, A. A. The Very Young Calendar.

New York: E. P. Dutton & Co., Inc., 1930 (69904)
Monthly wall calendar on 13 card sheets bound with cord. In the original printed box. Illustrated by E. H.
Shepard, rectos only. Some tiny abraded areas on cover, occasional light spotting to cover and pages. Excellent
condition in the original printed box. The box with some restoration and an ink stamp to the cover.
£950
Monthly calendar with an excerpt from When We Were Very Young and illustrations by E. H. Shepard on each
page. In the original box.
Peter Harrington
21. MILNE, A. A. When We Were Very Young. With Decorations by E. H. Shepard.

London: Methuen Children’s Books, 1974 (69732)
Octavo. Original turquoise morocco, titles and pictorial decoration to spine and upper board gilt, light blue
pictorial endpapers, all edges gilt. Illustrations by E. H. Shepard throughout. Spine very lightly toned. An
excellent copy.
£650
Fiftieth anniversary limited edition, number 140 of 300 copies signed by Christopher Robin Milne on the
limitation leaf.
2:Winnie-the-Pooh
Having found success with his first book of children’s verse, Milne was asked to contribute a story to the
London Evening News. “The Wrong Sort of Bees”, published on Christmas Eve 1925, was based on a bedtime
story that Milne had told his son Christopher. It starred his stuffed bear, who had made his first public
appearance in the poem “Teddy Bear”, published in Punch in 1924 and later in When We Were Very Young. The
original toy 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), though Shepard had actually based his drawings on Growler, a stuffed bear owned by
his own son. Winnie-the-Pooh was an immediate success and garnered even more enthusiastic reviews than its
predecessor, with one critic writing that “When the real Christopher Robin is a little old man, children will
find him waiting for them. It is the child’s book of the season that seems certain to stay” (Thwaite p. 317).
Peter Harrington
PREPARING POOH
22. MILNE, A. A. Autograph letter signed to Ernest H. Shepard.
(London: Spring 1926) (70587)
Double-sided letter signed on a single sheet of Milne’s printed stationery. A few very minor creases at the
lower left corner. Excellent condition.
£7,500
Autograph letter signed 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. It appears that Shepard
was illustrating individual chapters as Milne wrote them, having at this date completed drawings for two
chapters and awaiting more text.
Milne goes on to discuss the planned Mother Goose (which would not be completed). In March of that year
he had signed a contract with Dutton’s to prepare an edition of these rhymes to be illustrated by Shepard and
delivered before 1 February 1927 (Thwaite p. 527). “My idea is that when I have chosen the nursery rhymes
to go in – about 51, I should think – but some will be very short – we should each make our own comments
on them independently – I in words and you in pictures”.
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 (Thwaite pp. 296–7). Now his offer is even more generous, as he proposes “that we share 50/50” of
the Mother Goose royalties. He closes with an invitation: “We go to Cotchford today till May 3rd. Do come
over – with family or without some time. You may have other suggestions to make about Mother Goose, and
anyhow we should be delighted to see you. Yours ever, A. A. Milne”. A very nice letter providing a glimpse
into one of the most important creative partnerships in children’s literature.
THE LANDSCAPE OF CHILDHOOD

23. SHEPARD, Ernest H. Preparatory sketch-map for the endpapers of Winnie-the-
Pooh.
(1926) (70253)
Pencil sketch on paper (380 × 458 mm). Mounted, glazed, and framed. Professional conservation to remove
marginal foxing and repair short closed tears.
£115,000
An impressive and detailed map of the Hundred Acre Wood, the only known preparatory drawing for the map
that was used as the endpapers of Winnie-the-Pooh. Shortly after the publication of When We Were Very Young
the Milnes purchased Cotchford Farm, their country home 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, “What sort of House is
Kangas?” A beautiful working drawing of one of the most familiar landscapes of childhood.
Peter Harrington
24. SHEPARD, Ernest H. Suite of four original drawings “The Tail is Lost”. Complete
suite of four illustrations for Winnie-the-Pooh.
(1926) (69933)
4 pen and ink drawings on artist’s board (largest 75 × 80 mm). Mounted, glazed, and framed together.
£50,000
A set of four original drawings illustrating Eeyore’s search for his missing tail on page 44 of Winnie-the-
Pooh, one of which is initialled by the artist. “‘Let’s have a look,’ said Eeyore, and he turned slowly round
to the place where his tail had been a little while ago, and then, finding that he couldn’t catch it up, he
turned round the other way, until he came back to where he was at first, and then he put his head down and
looked between his front legs, and at last he said, with a long, sad, sigh, ‘I believe you’re right’.” In later
years Shepard made copies of some of his Pooh drawings, but original artwork used to illustrate the books
is uncommon on the market. Originals, such as this example, are characteristically on artist’s board rather
than paper.
“A HEFFALUMP,
A HORRIBLE HEFFALUMP!”
25. SHEPARD, Ernest H.
Original drawing “Pooh Meets a Heffalump”.
(1926) (69863)
Pen and ink drawing on Whatman drawing board (135 × 105 mm). Mounted, glazed, and framed. Toning
from previous mount to edges. Excellent condition.
£45,000
Original artwork used to illustrate the chapter “In Which Piglet Meets a Heffalump” on page 62 of Winnie-
the-Pooh. With Shepard’s pencilled caption. Pooh and Piglet set out to capture a “heffalump” by leaving a
pot of honey in a hole in the ground, and both spend a sleepless night imagining what the heffalump will
be like.
Peter Harrington
26. SHEPARD, Ernest H. Original drawing “Piglet Meets a Heffalump”.

(1926) (70703)
Pen and ink drawing on Whatman drawing board (135 × 155 mm). Mounted, glazed, and framed. Toning
from previous mount to edges. Excellent condition.
£45,000
Original artwork used to illustrate the chapter “In Which Piglet Meets a Heffalump” on page 65 of Winnie-
the-Pooh. Initialled by Shepard, who has also signed and written his address on the verso.
27. SHEPARD, Ernest H. Original drawing “Winnie-the-Pooh, Kanga, Roo, Piglet

and Rabbit”.
1926 (42234)
Pen and ink drawing on artist’s board (140 × 190 mm). Mounted, glazed, and framed. Excellent condition.
£97,500
Original artwork used to illustrate page 98 of the chapter “Kanga and Baby Roo” in Winnie-the-Pooh. A
lovely drawing including almost all of the book’s characters, it depicts the scene in which Pooh, Rabbit, and
Piglet first meet Kanga and Roo, and Roo demonstrates his jumping.
Peter Harrington
“OPENING IT AS QUICKLY AS EVER HE COULD”

28. SHEPARD, Ernest H. Original drawing “Pooh’s Party”.
(1926) (70104)
Pen and ink drawing on artist’s board (90 × 155 mm). Mounted, glazed, and framed. A few faint spots.
£125,000
Original artwork illustrating Pooh receiving the gift of a pencil case from Christopher Robin during his
party on page 155 of Winnie-the-Pooh. Initialled by Shepard. “Nobody was listening, for they were all saying,
‘Open it Pooh,’ ‘What is it, Pooh?’… And of course Pooh was opening it as quickly as ever he could, but
without cutting the string, because you never know when a bit of string might be Useful.”
“BUMP, BUMP, BUMP…”

29. SHEPARD, Ernest H. Original drawing “Up Stairs with Teddy Bear”.
(1926) (69856)
Pen and ink drawing on artist’s board (206 × 143 mm.) Mounted, glazed, and framed. Excellent condition.
£150,000
Original artwork used to illustrate the final page of Winnie-the-Pooh. Initialled by Shepard and captioned by
him in pencil on the reverse. An iconic image, it comes from the last chapter “In which Christopher Robin
gives a Pooh party, and we say good-bye”. “He nodded and went out …and in a moment I heard Winnie-
the-Pooh – bump, bump, bump – going up the stairs behind him.”
Peter Harrington
ONE OF 20 VELLUM COPIES

30. MILNE, A. A. Winnie-the-Pooh. With Decorations by Ernest H. Shepard.
Small quarto. Original full stiff vellum with yapp edges, front cover lettered in gilt. Original plain dust
jacket. Housed in a custom morocco-backed folding case. Printed on Japanese vellum. Illustrated throughout
by E. H. Shepard. Remnants of an early bookseller’s description on the front free endpaper, a superb copy,
entirely unopened.
£50,000
Signed limited edition, large paper issue, one of 20 copies printed on Japanese vellum and bound in vellum,
signed by both the author and the illustrator, this an unnumbered out-of-series copy presented to E. V.
Lucas, chairman of Methuen and the man who brought Milne and Shepherd together. The vellum format
is the most luxurious and exclusive issue of the various formats done for the first editions of Milne’s Pooh
books.
THE BLUEST BLUE

Quarto. Original blue cloth backed boards, printed paper label to upper board. With the dust jacket. Housed
in an orange quarter morocco slipcase and chemise. Illustrations by E. H. Shepard throughout. A fine copy
in the superb jacket with a few tiny marks.
£15,000
First edition, number 93 of 350 copies signed by the author and illustrator on the limitation leaf. A stunning
copy with the blue jacket entirely unfaded; it is the best we have seen.
Peter Harrington
INSCRIBED TO CHRISTOPHER ROBIN AND POOH

Octavo. Original green cloth, titles to spine and pictorial decoration to upper board gilt, map endpapers, top
edge gilt. Housed in a green quarter morocco solander case. Illustrations by E. H. Shepard throughout. Very
lightly rubbed at extremities, occasional small spots to contents. A very good copy.
£200,000
First trade edition. Presentation copy 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 original toy bear was bought at Harrods for Christopher Milne’s first birthday. In later life Christopher
Milne described Pooh as “‘the oldest (toy), 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 surely the most desirable of all examples of this, the most beloved of 20th-century
children’s books.
Peter Harrington
INSCRIBED BY SHEPARD ON PUBLICATION DAY

Octavo. Original green cloth, titles and pictorial decoration to spine and upper board gilt, map endpapers,
top edge gilt. With the dust jacket. In a green quarter morocco folding case. Illustrated throughout by
Ernest H. Shepard. Some minor rubbing to corners and ends of spine, internally crisp and clean. A very good
copy in the jacket that is slightly creased at the top edges, with the rubbed spine panel reinforced at the head
and tail with tape.
£57,500
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.
MILNE’S TOUCHING VERSE TRIBUTE TO SHEPARD

New York: E. P. Dutton & Company 1926 (69737)
Octavo. Original green cloth, titles and pictorial decoration to spine and upper board gilt, green top-stain,
map endpapers printed in red. With the dust jacket. Housed in a green cloth folding case. Illustrations
throughout by E. H. Shepard. Very slight rubbing at extremities, an excellent copy in the lightly rubbed
and creased jacket with faded spine panel and a few nicks and short closed tears.
£65,000
First US trade edition. An extremely personal gift from the author to his illustrator, signed “A. A. Milne”
and inscribed with the following lines:
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.
Shepard has also signed the title page, and he may have used this volume as a guide for later duplicate
drawings, as there are pencil marks on some illustrations that are probably offset from newly drawn copies.
From the library of E. H. Shepard.
Milne and Shepard, though never close personal friends, had an unusually supportive working relationship.
This unique verse inscription is a touching testament to one of the most important artistic and literary
partnerships in all of children’s literature.
Peter Harrington
STUNNING AMERICAN EDITION IN THE ORIGINAL BOX

35. MILNE, A. A. Winnie-the-Pooh. With Decorations by E. H. Shepard.
New York: E. P. Dutton & Company, 1926 (70068)
Quarto. Original blue cloth backed pink boards, printed paper label to spine, pink endpapers. With the dust
jacket and the publisher’s printed box. Housed in a blue quarter morocco slipcase and chemise. Illustrated
throughout by E. H. Shepard. A fine copy.
£9,500
First US edition, number 190 of 200 large paper copies signed by both the author and illustrator on the
limitation leaf. A stunning copy in a lovely example of the original publisher’s box.
DELUXE LEATHER ISSUE – SIGNED BY MILNE

Octavo. Publisher’s deluxe green leather, titles and pictorial design to spine and upper board gilt, map
endpapers, all edges gilt. Original glassine wrapper. With the publisher’s box. Housed in a green quarter
morocco solander case. Illustrations throughout by E. H. Shepard. A fine copy.
£8,750
First edition, deluxe issue. Signed by the author on the title page. A beautiful copy in a nice example of the
original publisher’s box. Rare signed: we know of only one other copy to have appeared on the market.
Peter Harrington
PRESENTATION TO THE CHAIRMAN

37. MILNE, A. A. The Hums of Pooh. Lyrics by Pooh. Music by H. Fraser-Simson.
Introduction and Notes by A. A. Milne. Decoration by E. H. Shepard. Additional Lyric
by Eeyore.
London: Methuen & Co. Ltd. in conjunction with Ascherberg, Hopwood & Crew, Ltd., 1929 (69916)
Quarto. Original blue cloth backed grey boards, printed paper label to upper board. Illustrated throughout
by E. H. Shepard. A little rubbed and toned along edges of boards, corners bumped, free endpapers tanned,
contents unopened. A very good copy.
£2,250
First edition. One of a limited edition of 100 numbered copies signed by Milne, Shepard, and composer
Fraser-Simson on the limitation leaf. This an out-of-series copy further inscribed by Milne to one of the
chairmen of Methuen, “This is a presentation copy to C. W. Chamberlain, Esq.”
FIRST COLOUR ILLUSTRATIONS

38. MILNE, A. A. Winnie-the-Pooh. With colour illustrations by E. H. Shepard.
Octavo. Original blue morocco, titles to spine and pictorial design to upper board gilt, colour map endpapers,
all edges gilt. In the publisher’s blue board slipcase. Colour illustrations by E. H. Shepard throughout. Spine
a little toned. An excellent copy.
£600
First edition with colour illustrations, number 163 of 300 copies signed by the illustrator on the limitation
leaf.
Peter Harrington
39. MILNE, A. A. Winnie-the-Pooh. Decorated by E. H. Shepard.

Octavo. Original red morocco, titles to spine and pictorial decoration to upper board gilt, map endpapers, all
edges gilt. In the publisher’s red morocco slipcase. Illustrations throughout by E. H. Shepard. A fine copy.
£1,000
limitation leaf.
3: Now We Are Six
Following the success of When We Were Very Young Milne began planning a second book of poetry for children.
In a January 1926 letter to his brother Ken he included it as number one in a list of “things which ought to
be done”: “A book of verses (about 15 done to date) to appear in 1927 or 1928” (Thwaite p. 293). By the time
that Winnie-the-Pooh was published in late 1926 half the poems for this third book were already complete.
Published on 13 October 1927, it took only two months for Now We Are Six to eclipse the sales records of
the previous two books. Full of Milne’s charming verse, this collection is also notable for including many
illustrations of Pooh, Piglet, and the other nursery toys, even when uncalled for by the poems.
Peter Harrington
40. SHEPARD, Ernest H. Original drawing “There’s a Dark Dead Water-Wheel Under
the Mill”.
(1927) (69862)
Pen and ink drawing, heightened with whitening, on Aquarelle drawing board (210 × 145 mm). Mounted,
glazed, and framed. Toning from previous mount to edges. Excellent condition.
£17,500
Original artwork illustrating “There’s a dark dead water-wheel under the mill” from the poem “Come Out
With Me” on page 56 of Now We Are Six and also used as the frontispiece to the US large paper edition.
Initialled by the artist on the lower left and with his pencilled caption beneath the image. Also signed and
addressed on the verso by the illustrator. Shepard sold his original Pooh drawings through the Sporting
Gallery, Covent Garden, in 1928, and this piece comes together with the original backing and label from
that exhibition.
41. SHEPARD, Ernest H. Original drawing “Down By the Pond”.

1927 (70571)
Pen and ink drawing on paper, heightened with whitening (137 × 159 mm). Mounted, glazed, and framed.
Tanning to edges from mount. Excellent condition.
£18,000
Original drawing illustrating the poem “Down by the Pond” on pages 58 and 59 of Now We Are Six. This
piece depicts Christopher Robin in a large floppy hat walking purposefully with his fishing gear, the rod over
his shoulder. A delightful drawing that was also used on the endpapers and as the gilt centrepiece to the front
cover of the deluxe edition, as well as the gilt block on the front cover of Christopher Robin Verses.
Peter Harrington
ORIGINAL MANUSCRIPT
42. MILNE, A. A. Manuscript of “Cradle Song”.
(c. 1924) (70584)
Autograph manuscript in pencil on a single sheet of note paper (225 × 175 mm), roughly torn from a notebook
at the inner margin. Toned and lightly spotted, two minor creases from folding. Excellent condition.
£3,000
Original manuscript of “Cradle Song” in pencil in the hand of the author. This poem was first published on
page 87 of Now We Are Six. Biographer Anne Thwaite notes that Milne typically composed in pencil, writing
quickly and fluently without making many changes. These initial pencil drafts were replaced by fair copies
in ink and then usually discarded (Thwaite p. 293). Original manuscript material by Milne is scarce on the
market; pencil drafts such as this are even rarer survivals.
PRE-PUBLICATION SALESMAN’S DUMMY

43. MILNE, A. A. Now We Are Six. With Decorations by Ernest H. Shepard.
Octavo. Original red cloth, titles to spine and pictorial design to upper board gilt, top edge gilt. With
the proof dust jacket. Illustrated by E. H. Shepard. Lightly rubbed at extremities, partial tanning to free
endpapers. An excellent copy in the rubbed, toned, and marked jacket with nicks at the corners and a closed
tear and chip to the lower panel.
£1,750
Pre-publication salesman’s dummy with illustrations to both panels of the dust jacket and no text on the
flaps. The first 23 pages of text and illustrations are present, but the rest of the pages are blank, the dedication
and introduction leaves are blank, and the endpapers are white.
Peter Harrington
ONE OF 20 VELLUM COPIES

Octavo. Original full stiff vellum with yapp edges, front cover lettered in gilt. Housed in a blue cloth
slipcase with chemise. Illustrated throughout by Ernest H. Shepard. A fine copy.
£35,000
Signed limited edition, number 4 of 20 large-paper copies printed on Japanese vellum and signed by the
author and illustrator on the limitation leaf.
SIGNED BY CHRISTOPHER ROBIN

Octavo. Original red cloth, titles to spine and pictorial decoration to upper board gilt, pink pictorial
endpapers, top edge gilt. With the dust jacket. Illustrated throughout by E. H. Shepard. Cloth bright and
fresh. An excellent copy in the lightly rubbed jacket with tanned spine panel and edges.
£2,750
First trade edition. Signed on the front free endpaper by Christopher Robin Milne in a childish cursive and
on the title page by A. A. Milne.
Peter Harrington
DELUXE ISSUE SIGNED BY BOTH AUTHOR AND ARTIST

Octavo. Publisher’s deluxe blue calf, titles and pictorial decoration to spine and upper board gilt, pink
pictorial endpapers, all edges gilt. In the publisher’s box with printed paper label. Housed in a green cloth
folding case. Illustrations throughout by Ernest H. Shepard. Spine a trifle faded and minimally rubbed but
a very nice copy.
£4,750
First edition, deluxe leather issue. Signed by both Milne and Shepard on the title page. Loosely inserted is
a letter from Milne’s secretary returning this signed copy to its original owner. Deluxe issues of any of the
Pooh books signed by either of their creators are particularly uncommon. Double-signed copies are rare, and
this copy is also notable for retaining the original box in very nice condition.

New York: E. P. Dutton & Company, 1927 (70069)
Quarto. Original pink half cloth, blue sides, printed paper label to spine, titles and pictorial decoration to
upper board in black, blue endpapers. With the dust jacket and the publisher’s printed box. Housed in a blue
quarter morocco slipcase and chemise. Illustrations by E. H. Shepard throughout. A fine copy.
£2,500
First US edition, number 143 of 200 large paper copies signed by both the author and illustrator on the
limitation leaf. A beautiful copy in a lovely example of the original publisher’s box.
Peter Harrington

Octavo. Original burgundy morocco, titles and pictorial decoration to spine and upper board gilt, pictorial
endpapers, all edges gilt. In a burgundy slipcase. Illustrations by E. H. Shepard throughout. A fine copy.
£750
limitation leaf. This copy with the loosely inserted slip signed by the chairman and director of Methuen
apologising that the stated limitation of 490 is incorrect and that in actuality only 300 copies were
produced.
4: The House at Pooh Corner
Milne began planning his final Pooh book in 1927. Three years of intense publicity were taking their toll on
the family, and Milne longed to return full-time to adult literature, telling his brother that “after one more
Pooh book I must think of something else. In fact, it’s time I tried a novel” (Thwaite p. 328). Christopher
Robin was growing up, soon to leave for boarding school, and The House at Pooh Corner would be a farewell.
But first there was an introduction to be made. Milne had bought his son a stuffed tiger, “Tigger”, and
told Shepard that he was longing to see the illustrations for this new character, who would become one of
the author’s most popular creations. Published in October 1928, The House at Pooh Corner was received by
critics with a delight tinged by sadness. “The Times Literary Supplement congratulated Milne on avoiding ‘the
temptation to repeat his successful formula mechanically’, though it was ‘sad to see the stories end’” (Thwaite
p. 336); but the stories have never ended for the millions of children who continue to wander the Hundred
Acre Wood, where “a little boy and his bear will always be playing”.
Peter Harrington
49. SHEPARD, Ernest H. Original drawings: “It isn’t so Hot in my field about three
o’clock in the morning”; “It isn’t close”; and “It isn’t Stuffy”.
(1928) (69857)
Three pen and ink drawings, heightened with whitening, on illustration card mounted on illustration board
(sizes: 149 x 126 mm; 150 x 108 mm; 147 x 135 mm). Mounted, glazed and framed together. Some tanning
from the mat and toning to images. Excellent condition.
£30,000
Three original drawings illustrating Eeyore’s plight after Pooh and Piglet accidentally dismantle his house
of sticks in the first chapter of The House at Pooh Corner. The illustrations can be found on pages 9, 10, and
11, and each is initialled and captioned by Shepard, with one image captioned in ink on a label mounted to
the verso of the backing board.
50. SHEPARD, Ernest H. Original drawing “…and Sniffed the Warm Spring
Morning”.
(1928) (69854)
Pen and ink drawing on paper (160 × 195 mm). Mounted, glazed, and framed. Excellent condition.
£30,000
Original drawing of Rabbit for page 74 of The House at Pooh Corner, signed and titled by Shepard. “It was
going to be one of Rabbit’s busy days. As soon as he woke up he felt important, as if everything depended
upon him. It was just the day for Organizing Something, or for Writing a Notice Signed Rabbit, or for
Seeing What Everybody Else Thought About It… He came out of his house and sniffed the warm spring
morning as he wondered what he would do.”
Peter Harrington
PRE-PUBLICATION SALESMAN’S SAMPLE

51. MILNE, A. A. The House at Pooh Corner. With Decorations by Ernest H.
Shepard.
Octavo. Original pink cloth, titles to spine and pictorial design to upper board gilt, top edge gilt. With the
proof dust jacket. Illustrated throughout by E. H. Shepard. Slightly faded to spine and edges of boards, spine
rolled, partial tanning to free endpapers. An excellent copy in the very good dust jacket with some repairs.
£2,000
Pre-publication salesman’s dummy with illustrations to both panels of the dust jacket and no text on the
flaps. The first 23 pages of text and illustrations are present, but the rest of the pages are blank, the dedication
and introduction leaves are blank, and the endpapers are white.
ONE OF 20 – FINE COPY – ADDITIONALLY INSCRIBED

Shepard.
London: Methuen, 1928 (69696)
Small quarto. Original full stiff vellum with yapp edges, front cover lettered in gilt. Housed in an orange
morocco slipcase and chemise. Illustrated throughout by E. H. Shepard. A fine copy.
£35,000
Signed limited edition, large paper issue, number 1 of 20 copies printed on Japanese vellum and bound in
vellum, signed by both the author and the illustrator. Presentation copy additionally inscribed “This book of
Pooh belongs to Vincent Seligman” and with a signed verse by the author on the front free endpaper:
How proud is Pooh, because the fluff
Which blew into his cerebellum
Was deemed inspiring enough
To justify a book in vellum.
This is the only known inscribed copy of the vellum special edition.
Peter Harrington
FINE COPY
Shepard.
Octavo. Original blue cloth backed white paper boards, printed paper label to upper board. With the dust
jacket and original glassine. In a red quarter morocco slipcase and chemise. Illustrated throughout by E. H.
Shepard. A fine copy retaining the pure blue of the dust jacket, entirely unfaded.
£8,750
First edition, number 308 of 350 large paper copies signed by the author and illustrator on the limitation
leaf. A beautiful copy in fine condition.
TASHA TUDOR’S COPY, WITH A LETTER FROM SHEPARD

Shepard.
Octavo. Original pink cloth, titles to spine and pictorial design to upper board gilt, pink pictorial endpapers,
top edge gilt. With the supplied first impression dust jacket. Housed in a blue quarter morocco slipcase with
chemise. Illustrations throughout by E. H. Shepard. Gift inscription to half-title. Lightly rubbed, uneven
fading to boards, spine faded, free endpapers browned, light spotting to edges. A very good copy in the
lightly rubbed jacket with tanned spine panel.
£4,500
First trade edition. Signed by Shepard on the title page together with an autograph letter signed from
Shepard to Tasha Tudor tipped-in on the verso of the front free endpaper. The letter, addressing Tudor by
her married name, McCreedy, is dated 28 November 1957. Tudor (1915–2008) was the American author
and illustrator of numerous children’s books, notably Pumpkin Moonshine (1938). Shepard writes to her that
“I have heard from Miss George of the Oxford University Press that you are staying in the neighbourhood.
It will give great pleasure to my wife and to myself if you will come and see us”. Tudor has additionally
inscribed this copy to her eldest daughter on the half-title, “To Bethany with much love from Mummy”.
Peter Harrington

Shepard.
Octavo. Publisher’s deluxe red leather, titles to spine and pictorial design to upper board gilt, pink pictorial
endpapers, all edges gilt. With a facsimile of the publisher’s box. Housed in a pink quarter morocco solander
case. Illustrated throughout by E. H. Shepard. A fine copy.
£1,500
First edition, deluxe issue. A stunning copy.
FINE US EDITION
Shepard.
New York: E. P. Dutton & Co. Inc., 1928 (69718)
Quarto. Original green cloth backed yellow boards, printed paper label to spine, green endpapers. In the
original printed box. Illustrations throughout by E. H. Shepard. A fine copy in the box that is in very good
condition.
£3,250
First US edition, number 157 of 250 large-paper copies signed by the author and illustrator on the limitation
leaf. A superb copy in a fine example of the publisher’s box.
Peter Harrington

Shepard.
Octavo. Original pink cloth, titles and pictorial decoration to spine and upper board gilt, pictorial endpapers,
all edges gilt. With the original glassine dust jacket. Housed in a red quarter morocco slipcase and chemise.
Illustrated throughout by E. H. Shepard. Very lightly rubbed at extremities. An excellent copy.
£2,250
First US edition, number 157 of 250 copies signed by the author and illustrator on the limitation leaf.

Shepard.
Octavo. Original pink morocco, titles and pictorial decoration to spine and upper board gilt, pink pictorial
endpapers, all edges gilt. Housed in a slipcase. Illustrations by E. H. Shepard throughout. A fine copy.
£650
limitation leaf.
Peter Harrington
59. SHEPARD, Ernest H. Pen and ink drawing “Tiggers Don’t Like Honey”.
1935 (69860)
Pen and ink drawing on paper (120 × 154 mm). Mounted, glazed, and framed. Minor tanning at edges of
paper. Excellent condition.
£42,500
Later drawing of Pooh and Tigger at a table with honey pots, based on the illustration to page 23 of The
House at Pooh Corner. Over the years Shepard made copies of some of his favourite Pooh illustrations as
presents for friends or to give away for charity, and this is one such drawing. These later drawings can be
identified because Shepard dated them. Signed, titled, and dated June 1935 by the artist.
5: Pooh Before and After
SUGGESTING A SOURCE FOR SHEPARD’S ILLUSTRATIONS

60. Collection of photographs of Christopher Milne, together with letters from A. A.
Milne and Christopher Milne, suggesting a source of E. H. Shepard’s illustrations.
1925 & 1976 (70120)
2 letters, the first being a one-page autograph letter by Daphne Milne and signed by A. A. Milne, the second
a double-sided typed letter signed by Christopher Milne. 3 photographs. The autograph letter shows some
light soiling and creases and one short tear, and it is lacking one corner, not affecting the text.
£6,750
Two letters and three photographs suggesting a source for Shepard’s illustrations of Christopher Robin in
the Pooh books. The first letter is in the hand of Milne’s wife, Daphne, and is additionally signed by A. A.
Milne. A very early reference to When We Were Very Young, it is dated 15 March 1925 and addresses a class
at the Palfrey Girl’s School in Walsall who had enjoyed the book and written to the author. Daphne Milne
writes that she is enclosing, “some little photographs of Christopher Robin. In one of them he has a butterfly
in his hand, which he is holding very carefully so as not to hurt it”. She closes by saying that Christopher
Robin “sends his love to you all, and thanks you for liking his book so much”. The three photographs include
one of Christopher Milne from the side, holding a butterfly and looking down at it (99 × 61 mm); another
of Christopher “trying to see what a butterfly smells like” by holding it up to his nose (103 × 58 mm with
a short closed tear); and one of Christopher on a horse (53 × 70 mm).
The second letter is from the adult Christopher Robin Milne to a Mrs Scott, apparently the child who kept
the letter and photos sent to her class in 1925, and who was put in touch with Milne via the BBC. Milne
provides details of the letter and locations for the photographs, writing that, “If you ever come across my own
book, The Enchanted Places… you will see that I have used a “butterfly” picture very similar to one of yours as
one of the illustrations – and that Shepard clearly used this picture to help him with his drawings”. He also
muses on the scarcity of such images, writing, “if there were more than a dozen copies of those photographs
I would be very surprised”.
Peter Harrington
PHOTOGRAPHS OF CHRISTOPHER ROBIN AND WINNIE-THE-POOH

61. Two vintage photographs of Christopher Robin Milne, his grandfather, and the
original Winnie-the-Pooh teddy bear.
(c. 1927) (69859)
Two photographs (each 152 × 105 mm). Mounted, glazed, and framed together. With some later manuscript
notes on the verso of one photograph by a member of the Crawford family whose forebears attended Streete
Court school.
£2,950
The 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.
62. Pooh and Piglet plush toys.

(c. 1920s) (69763)
Two plush toys (Pooh 290 × 140 mm; Piglet 270 × 70 mm). Pooh: brown velour, thread-knot eyes, red
clothing. Piglet: brown velour, plastic eyes, brown silk ribbon tied around neck. Some wear: Pooh with one
thread eye coming unknotted, small split to seam of left leg; Piglet missing an arm, some repairs to feet,
metal armature slightly protruding from back of right foot.
£12,500
Stuffed toys given to Vincent and Barbara Seligman by A. A. Milne soon after the publication of the Pooh
books. Inscribed by A. A. Milne on the left foot, “To Bobs” and on the right foot, “from A. A. Milne”.
Vincent Seligman was a good friend of Milne’s, and he and his wife Barbara (Bobs) were also given an
inscribed copy of the one of twenty limited edition of The House at Pooh Corner (see item 52 above), as well
as the manuscript of Milne’s play Michael and Mary, inscribed and specially bound as a wedding present, in
1930. The Pooh stories had been based on Christopher Robin’s toy animals, which now reside in the New
York Public Library. After the books became successful Milne agreed to merchandising rights for toys and
other items, such as these stuffed dolls.
Peter Harrington
SIGNED LIMITED EDITIONS,

WITH ADDITIONAL ORIGINAL SHEPARD DRAWINGS
63. (SHEPARD, E. H.) MILNE, A. A. Winnie-the-Pooh; Now We Are Six; The House
at Pooh Corner. Decorated by E. H. Shepard.
London: Methuen & Co., 1926–28 (69710)
3 volumes, octavo. Original cloth backed boards, printed paper labels to upper boards. With the dust jackets.
Housed in a brown cloth solander case. Illustrated throughout by E. H. Shepard. Contents unopened. A
superb grouping in the jackets, two of which are lightly tanned along the spine panels.
£150,000
First editions, numbers 134 and 102 of 200 large paper copies, and number 6 of 350 large paper copies
respectively, signed by the author and illustrator on the limitation leaves. Each book with a significant
original illustration, signed and dated, in ink by Shepard. Winnie-the-Pooh is illustrated on the verso of the
front blank with a charming image of Christopher Robin in the bath (from the image published on page
19) as well as Pooh puzzling over the reverse of a bath mat (from the verso of the dedication leaf). Now We
Are Six is illustrated on the verso of the half-title with an image of Christopher Robin resisting his nanny,
who wields a hairbrush (published on page 18). Decorating the title page of The House at Pooh Corner is an
illustration of Christopher Robin knighting a kneeling Pooh, from page 176 of 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 we can find. Clearly drawn with the utmost care and attention, probably
for commission, this is a spectacular and unique set.
Peter Harrington
Peter Harrington
ENDING POOH
64. MILNE, A. A. By Way of Introduction.
Octavo. Original pink cloth, titles to spine and upper board gilt. With the dust jacket. Spotting to edges.
An excellent copy in the tanned jacket.
£150
First edition. A collection of introductions written by Milne for various publications, including an essay
on Shepard recounting how the two became creative partners. The final piece is an important essay on his
personal reasons for ending the Pooh books, particularly the intense public interest in the family. “All I have
got from Christopher Robin is a name which he never uses, an introduction to his friends… and a gleam
which I have tried to follow. However, the distinction, if clear to me, is not so clear to others; and to them,
anyhow, perhaps to me also, the dividing line between the imaginary and the legal Christopher Robin
becomes fainter with each book”.
65. MILNE, A. A. The Christopher Robin Story Book. Illustrated by Ernest H.

Shepard.
Octavo. Original light blue cloth, titles and pictorial decoration to spine and upper board gilt, pictorial
endpapers, blue top-stain. With the dust jacket. A fine copy in the near-fine jacket.
£975
First edition. A collection of the author’s favourite verses and stories from all four of the Pooh books. Milne
writes in the introduction that the stories “are about the adventures which Pooh and his friends have in the
Forest with Christopher Robin. And though some of the verses seem to be about some other little boy or
girl, yet this one little boy was always in my mind when I wrote them. Even when I wrote about Kings and
Queens (as you will see that I have) I tried to write about them as Christopher Robin would think about
them. So it is really as if all the time he had been telling me what to say, and I had been writing it down in
verse for him”.
66. MILNE, A. A. The Christopher Robin Story Book. Selected and Introduced by the
Author. With Decorations by Ernest H. Shepard.
Quarto. Original green half cloth, pink paper sides printed in black, green endpapers. In the publisher’s
printed card box. Illustrations throughout by E. H. Shepard. A fine copy.
£2,250
First US edition, number 315 of 350 large paper copies signed by the author and illustrator on the limitation
leaf.
Peter Harrington
67. MILNE, A. A. The Christopher Robin Calendar. 1929.

Monthly wall calendar on 13 card sheets bound with cord. With the original printed envelope. Illustrated
by E. H. Shepard, printed on rectos only. A fine copy.
£950
Monthly calendar with a verse by Milne and illustrations by E. H. Shepard on each page.
“WE ARE SO SORY THAT WE CANT COME TO YUOR PARTY”

68. SHEPARD, Ernest H. A letter from Pooh and Piglet.
London: 17 March 1930 (70573)
Autograph letter signed with an illustration on a single sheet of embossed stationery. Minor crease from
folding. Excellent condition.
£17,500
A charming letter from Pooh and Piglet on E. H. Shepard’s stationery apologising that they cannot attend
a child’s party. The letter, addressed to “Dere Buffkins” is complete with Pooh’s misspellings, “We are so
sory that we cant come to yuor party” and includes an original illustration of the two characters crying. The
recipient was Dr. Harry Stopes-Roe, the son of birth-control advocate Marie Stopes, who was good friends
with the illustrator. Harry, whose nickname was Buffkins, often invited Shepard and Pooh along to his
parties, and said later that “Quite often Shepard came, but when he did not come he sent those letters”. This
letter and one other were sold by Stopes-Rowe at auction in 2001, while a third was donated to the British
Library.
Peter Harrington
69. MILNE, A. A. When I Was Very Young. Illustrations by Ernest Shepard.

New York, The Fountain Press; London, Methuen and Company, Ltd., 1930 (69877)
Octavo. Original pink and white cloth patterned with animal designs, printed paper label to spine. In the
publisher’s brown card slipcase. Illustrations throughout by E. H. Shepard. Printed in red and black. A fine
copy.
£500
First edition, number 808 of 842 copies signed by the author on the limitation leaf. With an autograph
letter signed by the artist loosely inserted, congratulating James R. Wells, the founder of the Fountain Press,
on this attractive limited edition of the book.
70. MILNE, A. A. The Pooh Calendar. 1930. Decorations by E. H. Shepard.

Monthly wall calendar on 13 card sheets bound with cord. In the original printed box and with the original
printed wrapper. Illustrated by E. H. Shepard, rectos only. Some minor areas of abrasion on the cover. An
excellent copy in the original box with tape repairs at the corners.
£950
Monthly calendar with an excerpt from the Pooh stories and illustrations by E. H. Shepard on each page.
Peter Harrington
SIGNED BY MILNE ON HIS OWN BIRTHDAY PAGE

71. MILNE, A. A. The Christopher Robin Birthday Book. Decorated by E. H.
Shepard.
Octavo. Original red cloth, titles to spine and upper board gilt. With the dust jacket. Illustrated throughout
by E. H. Shepard. Spine rolled, a little rubbed and darkened along lower edges, light partial tanning to free
endpapers. An excellent copy in the faded, tanned, and chipped jacket.
£2,500
First edition of a calendar book featuring Shepard’s illustrations and a quotation from one of the Pooh
books for each day of the year. Inscribed by the author on the front free endpaper, “Jim Solomon from A. A.
Milne 2.i.31”. Additionally signed by Milne on his birthday page, 18 January. With Solomon’s ownership
signature on the front pastedown and the inscriptions of cast members of the 1933 production of Toad of
Toad Hall throughout. Solomon was a young aspiring actor who presumably appeared in this production of
the play. A 1931 letter from Milne to his mother, discussing the boy’s acting career, is known from auction
records.

Shepard.
Octavo. Original red cloth, titles to spine and upper board gilt. With the dust jacket. Illustrated throughout
by E. H. Shepard. A superb copy in the jacket that is only a little faded at the spine panel.
£1,000
First edition.
INSCRIBED
Shepard.
Octavo. Original green cloth, titles and decoration to spine and upper board gilt. Lightly rubbed, spine and
edges of boards a little tanned, faint spotting to endpapers. An excellent copy.
£875
First US edition, originally published in the UK in 1930. Inscribed by the author on the front free endpaper,
“For (Maud M) for her birthday from A. A. Milne”. Maud Milne, née Innes, was the author’s sister-in-law,
married to his brother Kenneth. A different hand, presumably Maud’s, has crossed out her name and re-
presented the book to “Julie”, added “(or for any other day)” after birthday, and dated the gift inscription 3
July 1949.
Peter Harrington
74. MILNE, A. A. Pooh Goes Visiting in Story-Folk.

London: Methuen & Co. Ltd., & D. P. Bent, Ltd., 1931 (69758)
Octavo. Two copies in original blue wrappers, titles to front covers in white. 7 colour cut-out figures. With
the publisher’s box with colour pictorial illustrations to each side. Housed in the publisher’s slipcase. Wax
crayon marks to one side of the box, two corners of box split, edges of slipcase rubbed with small loss to foot
of spine. One figure is detached from its stand and another figure has a new stand.
£4,500
First edition of a four-act play based on chapters two and seven of Winnie-the-Pooh, accompanied by seven
colour cut-outs representing characters from the play: two versions of Pooh, and one each of Christopher
Robin, Rabbit, Piglet, Rabbit’s friends and relations, and a bush with a hole through the centre. The set
was to be used to enact the play, with the pictorial illustrations of the publisher’s box serving as backdrops
for the Hundred Acre Wood and the inside of Rabbit’s house. The “Story-Folk” series had at least five titles
and was intended to allow children “to spend a winter’s evening, a rainy afternoon or a convalescent period
cheerfully”. A rare set of early Pooh merchandise.
Peter Harrington
75. MILNE, A. A. The Christopher Robin Verses. Being When We Were Very Young
and Now We Are Six with a Preface for Parents. With Twelve Plates in Colour and Text
Decorations by Ernest H. Shepard.
Octavo. Original blue cloth, titles to spine and pictorial design to upper board gilt, blue top-stain. With the
dust jacket. Colour frontispiece and 11 plates, line drawings throughout by E. H. Shepard. Light spotting to
edges, a beautiful copy in the jacket that is only lightly rubbed and nicked at the extremities.
£1,000
First combined edition with new illustrations in colour by E. H. Shepard. A charming and scarce volume.
6: Life Without Pooh
76. MILNE, A. A. Humorous early unpublished autograph manuscript “Weekes &

Wrench”.
(1917) (69875)
Unbound 8 page manuscript on ruled paper, rectos only. Housed in a blue quarter morocco slipcase and
chemise. Worn and soiled along folds, some chipping and paper loss to last leaf not affecting the text.
£5,000
Original manuscript signed by Milne comprising a humorous dialogue between two performers, Weekes
and Wrench, as they muddle through a disastrous conjuring performance. Milne has added a note on the
last leaf, “Written for Private H. J. Wrench … in 1917 by A. A. Milne”. Milne, despite strong pacifist
convictions, interrupted his successful career to serve in the First World War. He fought at the Somme, but
was invalided out in late 1916 due to trench fever and spent the remainder of the war in the intelligence
services. It was while in the service that he wrote his first play, The Two Wishes, and another, Wurzel-Flummery,
which was produced at the New Theatre, London, on 7 April 1917. Composed in the same period, this early
effort may have been inspired by the fellow soldier to whom it is inscribed. Original manuscripts of any of
Milne’s writings are extremely rare. Other correspondence with Herbert J. Wrench is known, but no other
manuscript material like this.
Peter Harrington
“TO THE AUTHOR’S DEAR MOTHER”

77. MILNE, A. A. The Day’s Play.
Octavo. Original red cloth, titles and floral pattern to spine and upper board gilt. Housed in a blue quarter
morocco slipcase and chemise. Spine slightly rolled and faded, front blank and half title browned, a little
spotting and toning to contents. An excellent copy.
£850
First edition of Milne’s first collection of material originally published in Punch. Presentation copy inscribed
by the author on the front free endpaper, “To the author’s dear Mother with his fond love. Sep. 17, 1910”.
Though it was not his first published work (Lovers in London appeared in 1905), Milne liked to consider it
such (Thwaite p. 133). It was certainly his first critical success, with The Scotsman writing “it would seem
that the mantle of the late lamented Lewis Carroll had fallen on Mr. Milne” (Thwaite p. 134).
78. MILNE, A. A. The Holiday Round.

Octavo. Original green cloth, titles and floral decoration to spine gilt, titles to upper board in blind. Very
lightly rubbed at extremities, half-title tanned, occasional spotting to contents, cloth bright and fresh. An
excellent copy.
£850
First edition of Milne’s second collection of short stories and sketches originally published in Punch.
Presentation copy inscribed by the author on the front free endpaper, “To my dear Mother with all my love,
AAM”.
79. MILNE, A. A. Once A Week.

Octavo. Original purple cloth, titles and floral pattern to spine gilt, titles to upper board in blind. Housed
in a blue quarter morocco slipcase and chemise. Cloth mottled, spine and edges of boards tanned, a little
wear to corners and ends of spine, some small spots to edges and occasionally to margins of contents. A very
good copy.
£850
First edition of a collection of comedic material originally published in Punch. Presentation copy inscribed
by the author on the front free endpaper, “To my darling Mother from her very loving son, Alan. October
15th 1914”. Milne’s work for Punch was only increasing in popularity. “Everyone loves A.A.M.”, wrote The
Observor, and in its review of Once A Week the Times Literary Supplement argued that Milne “had one of the
most engaging silly senses of humour in the world” and that he was already “one of the foremost English
humourists” (Thwaite p. 158).
CARDS DESIGNED AND SIGNED BY SHEPARD

80. SHEPARD, E. H. Collection of Christmas cards and military reunion invitations.
1920-48 (69775)
27 cards of varying sizes Lightly rubbed, some cards with tiny marks, the first dinner invitation with some
staining. Excellent condition overall.
£4,750
A collection of 27 Christmas cards and 15 military reunion invitations, many designed and signed by
Shepard. All 27 of the greeting cards were designed by Shepard for his family’s Christmas and New Year
celebrations. Six are inscribed by Shepard and one features Winnie-the-Pooh, Piglet, and Eeyore, while two
other cards include characters from The Wind in the Willows.
In addition to the holiday cards there are 15 invitations to reunion dinners of the 24th brigade of the
Royal Garrison Artillery. All the cards for the first to tenth dinners, as well as those for the 14th to 18th,
are present. Six of the cards are illustrated by Shepard and 13 of them are signed by him along with other
members of the brigade. At the outbreak of the First World War Shepard sought a commission with the
Peter Harrington
Royal Artillery, having always been “fascinated with guns” (ODNB). He served with the 105th siege battery,
and in 1916 he began sketching combat areas for the intelligence department. Shepard saw action at the
Somme, Arras, and Ypres, and at the end of the war was serving as a major in Italy. The final card in this
collection, dated 1939, is particularly nice. Illustrated by Shepard, it depicts his younger self in a First
World War trench and, below that, his middle-aged self as an Air Raid Protection Warden in an Anderson
shelter. This collection of greeting cards and invitations was owned by fellow soldier Harold Scott, known
to the regiment as “Scotty”.
Peter Harrington
INSCRIBED TO HIS PARENTS

81. MILNE, A. A. The Sunny Side.
Octavo. Original green cloth, titles to spine gilt and to upper board in blind. Spine rolled and tanned,
lightly rubbed at extremities with some wear to corners, endpapers tanned. A very good copy.
£1,000
First edition of Milne’s final collection of essays, short stories, and verses originally published in Punch.
Presentation copy inscribed by the author on the front free endpaper, “For Father and Mother with much
love from Alan”. In his introduction Milne writes that this is his final Punch compilation because “this sort of
writing depends largely upon the irresponsibility and high spirits of youth for its success, and I want to stop
before (may I say ‘before’?) the high spirits become mechanical and the irresponsibility a trick”.
A CORNERSTONE OF DETECTIVE FICTION

82. MILNE, A. A. The Red House Mystery.
Octavo. Original green cloth, titles to spine gilt and to upper board in blind. Small spots to binding, spine
tanned and rolled, minor repair to head of spine, spotting to edges and endpapers. A very good copy.
£750
First edition of Milne’s most popular novel, a mystery story that is listed among the Haycraft–Queen
cornerstones of detective fiction. Signed by the author on the title page. With the bookplate of the
distinguished collectors Florence and Edward Kaye.
INSCRIBED TO MILNE’S FATHER

83. MILNE, A. A. Three Plays. The Dover Road, The Truth About Blayds, the Great
Broxopp.
New York and London: G. P. Putnam’s Sons, 1922 (69805)
Octavo. Original boards, titles to spine and upper board in brown. Lightly rubbed, wear to joints and ends
of spine, hinges starting, some small spots to front endpapers. A good copy.
£500
First edition of the compilation of three of Milne’s most popular plays. Presentation copy inscribed by the
author on the front free endpaper, “For Father with all love from A. A. M. April 1922”. The Dover Road was
extremely popular, with P. G. Wodehouse writing to a friend, “What a genius he is at drawing character. Did
you ever see his The Dover Road? My favourite play” (Thwaite p. 372).
Peter Harrington
ORIGINAL ARTWORK
84. (MILNE, A. A.) ROBINSON, Charles. Original artwork for the dust jacket of
Once On a Time.
(1925) (69853)
Gouache on artist’s board (264 × 346 mm). Excellent condition.
£6,000
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. Milne considered Once On a Time to be his favourite of all the
books he had written prior to When We Were Very Young. He had hoped that E. H. Shepard would illustrate
this reissue, but the artist was unavailable. Instead, it was delightfully illustrated by Charles Robinson,
known for his beautiful art nouveau illustrations for books such as A Child’s Garden of Verses.
FINE COPY
85. MILNE, A. A. Once On a Time. Decorated by Charles Robinson.
London: Hodder and Stoughton, (1925) (69722)
Octavo. Original light blue cloth, titles and elaborate pictorial decoration to spine and upper board in gilt
and black, pictorial endpapers. With the dust jacket. Colour frontispiece and line drawings throughout by
Charles Robinson. Minor fading at the top edge of the spine. A beautiful copy in the very lightly rubbed
jacket with faded spine panel and some scuffs to the lower panel.
£400
First Charles Robinson edition, originally published in 1917. The idea for the novel Once On a Time began
with the play entitled The Two Wishes, and the book was largely composed in 1915 while Milne was stationed
on the Isle of Wight. He describes it in the preface to this edition as being written “for the amusement of
my wife and myself at a time when life was not very amusing; it was published at the end of 1917… and
died quietly, without seriously detracting from the interest which was being taken in the World War, then
in progress”. Milne writes that, as he was “unduly fond of it”, he had it republished with new illustrations
by Charles Robinson, and goes on to explain that he does not know himself whether the book is intended for
children or for adults, but that both find can find meaning in it. A beautiful copy in the colourful Robinson-
designed jacket.
Peter Harrington
STRUGGLES WITH AN ITALIAN TAILOR

86. SHEPARD, Ernest H. Autograph letter signed from Shepard to his son.
Genoa: 19 February 1925 (70590)
Autograph letter signed on 5 double-sided leaves of note paper. Creased vertically and horizontally from
folding, some light marks and toning at the edges. Excellent condition.
£500
Autograph letter signed from Ernest H. Shepard to his son Graham, then aged eighteen. Shepard and his
wife had just arrived in Genoa on holiday, and he discusses in detail the journey, including misplacing his
dinner-jacket and their humorous attempts to obtain a replacement, with an illustration of himself in his
new attire but without trousers. On the verso of the final leaf he has sketched the couple’s Genoese hotel
room, complete with a butler carrying a tray of food.
Graham Shepard (1907–1943) followed in his father’s footsteps as an illustrator and cartoonist. He served in
the RNVR during the Second World War, and was lost when his ship was sunk by a U-boat. His sister Mary
(to whom Shepard asks that he show this letter) also became an illustrator, best known for her illustrations
of P. L. Travers’s Mary Poppins.
ONE OF 15 ON JAPANESE VELLUM

87. (SHEPARD, E. H.) LUCAS, E. V. Playtime & Company. A Book for Children.
Pictures by E. H. Shepard.
Quarto. Original limp vellum, titles to upper cover gilt. Housed in a cream cloth slipcase and chemise.
Illustrations throughout by E. H. Shepard. An excellent copy.
£850
First edition, number 10 of 15 copies on Japanese vellum signed by both the author and illustrator on the
limitation leaf. Edward Verrall Lucas (1868–1938) was chairman of Methuen and led the company until his
death. He was also influential at Punch, and he is credited with teaming Milne and Shepard together, despite
Milne’s initial doubts.
Peter Harrington
MILNE’S MOST POPULAR PLAY

88. MILNE, A. A. (GRAHAME, Kenneth). Toad of Toad Hall. A Play from Kenneth
Grahame’s Book “The Wind in the Willows”.
Octavo. Original blue cloth backed cream boards, printed paper label to upper board. With the dust jacket.
A fine copy in the excellent jacket with a small tear at the head of the spine panel.
£3,000
First edition, number 20 of 200 copies on handmade paper signed by both Grahame and Milne on the
limitation leaf. Milne was a great admirer of Grahame’s story, The Wind in the Willows, and this dramatisation
became one of Milne’s most popular plays.
INSCRIBED COPY
89. MILNE, A. A. Toad of Toad Hall. A Play from Kenneth Grahame’s “The Wind in
the Willows.”
Octavo. Original blue cloth, titles to spine and toad design to upper board gilt, top edge gilt. With the dust
jacket. Faint partial tanning to free endpapers. An excellent copy in the lightly rubbed and marked jacket
with tanned spine panel and a few nicks and short closed tears.
£1,500
First trade edition. Inscribed by the author on the title page, “A. A. Milne (for Louis Grabosky)”. Grabosky
was a book collector whose library was sold at auction in 1935, and his bookplate is also present in this
volume.
Peter Harrington
SHEPARD’S DEFINITIVE ILLUSTRATIONS

90. (SHEPARD, Ernest H.) GRAHAME, Kenneth. The Wind in the Willows.
Large octavo. Original green cloth backed grey boards, printed paper label to spine, edges untrimmed. With
the dust jacket. Illustrated throughout by E. H. Shepard. A fine copy with uncut pages. In the cream dust
jacket that is very lightly rubbed. The best copy we have seen.
£15,000
First Shepard edition, number 11 of 200 large-paper copies signed by both Grahame and Shepard on the
limitation leaf. It was through Milne’s involvement with Toad of Toad Hall, the dramatic version of Wind in
the Willows, that Shepard was first introduced to Kenneth Grahame. This serendipitous meeting lead to their
partnership in producing a new edition illustrated by Shepard, still considered by most to be the definitive
illustrated Wind in the Willows.
91. MILNE, A. A. Four Day’s Wonder.

Octavo. Original orange cloth, titles to spine and double line rules to boards gilt. With the dust jacket.
Spotting to edges of contents. An excellent copy in the dust jacket.
£1,000
First edition. A beautiful copy. Described by the publisher as “not a detective story although there is a body
in it; nor is it a humorous book, although there is a laugh on every page; nor a romance, although there
is a hero and heroine… Perhaps the only thing to say is that it is by A. A. Milne, and therefore entirely
delightful”.
Peter Harrington
“KIP” TO HIS FRIEND AND FELLOW ILLUSTRATOR

92. SHEPARD, E. H. Correspondence to Pauline Baynes.
Woodmancote, Lodsworth, West Sussex, 1956-69 (69776)
41 autograph letters signed, 2 autograph postcards signed, and a small quantity of related items including
a photograph of Shepard, a photocopy of a letter from Shepard to Baynes, and newspaper cuttings of
obituaries.
£15,000
A substantial archive of correspondence from Shepard (signing himself “Kip”) to his fellow children’s books
illustrator, Pauline Baynes (1922–2008), best known for her work on C. S. Lewis’s Narnia books, as well
as her map of Tolkien’s Middle Earth and others of his works. Shepard and Baynes met after the war, when
Shepard encouraged the younger artist and took her to London to show her portfolio to his editor at the
Illustrated London News. As the correspondence shows, they remained friends, exchanging letters for the rest
of Shepard’s life. The earliest dated letter is 29 March 1956; the last 28 November 1969.
Shepard on illustrating: “I have had a nice offer from G. Bell (publishers of Pepys etc) which is giving me
some concern. It is to illustrate a book of old French fairy stories by Lancelyn Green… though I doubt for
any profit… . I do hope your drawings are going better than mine – I think a thing looks right when I knock
off in the evening & then, next morning, it looks horrible and I want to begin all over again”.
An allusion to Christopher Robin: “… I am trying to work out for Punch, for Badgers are partial to bulbs and
Brock the badger is a leading character. They are quite enthusiastic about it at Punch and now the difficult
part will be to keep the story going along, with new adventures. A boy an everyday boy not like C. Robin,
goes ahead with Brock. The trouble is I have to make sure of being 4 weeks in hand.”
The Wind in the Willows: “I am getting much enjoyment from making the coloured drawings for ‘Wind in the
Willows’. Did I tell you they are going to do a larger 21/s- Edition in the autumn… . It is rather a nuisance
for Scribners have sent back my design for the colour jacket for ‘Wind in the Willows’ as it is quite the wrong
size – It was their fault as they gave me the size of the book & never said that the thing was to be a panel
with their own type of lettering above. However I hope I may do a better one, now that I know I have till
mid September. Yesterday afternoon Norah and I went out to look for a nice Willow tree, not too easy to find
round here and we went Miles, then at Selham, which is only two miles away on the way home I found one
by the Rother, quite a nice one, not pollarded, but good enough”.
His autobiography: “I have now started on the drawings for my book and find that easier than the writing. It
is rather startling to find what a lot I can remember, I suppose that, by drawing everything as I did, events &
people & places got fixed at the back of my mind… . I have written to John Betjeman to ask him to review
it when the time comes” and the launch, “The Army and Navy Stores are really putting their backs into
publicity & being most helpful including a window display of ‘Wind in Willows’ drawings borrowed from
Methuens”.
Reminiscences about his childhood home in Kent Terrace, London: “The outside is exactly as it was even
down to the lamp post in front… we tried to get inside but it was empty & locked up… it was Crown
property & we should get permission… this was not good enough, so, remembering what I used to do when
I was 7, I led them round to the mews at the back where the garden door was not locked. Then we got in
through the back door… the place has been empty for over 10 years… some of the floors have even fallen in
but we got up to the top and I fear that I got a lump in my throat – so many things still there – banisters,
doors etc even the little niche behind the front door…”
On Baynes’s work: “… you showed me some rough sketches for your Arabian Nights and among them, was
one of the nativity. I fell in love with it and asked if I might be allowed to buy it…”
An amusing account of a visit by two of Pauline Baynes’s aunts: “I have tried to point out to them the
inadequacy of your accommodation & the difficulty of supplying meals. I have not the least doubt that you
will be expected to provide transport for this invasion. Besides numerous suitcases they have two enormous
trunks, so nothing short of a bus would suffice. The two women bicker about the house all day, so it is
difficult to see how you will be able to work.”
Peter Harrington
93. SHEPARD, Ernest H. Drawn from Memory.

London: Methuen & Co Ltd, 1957 (69764)
Octavo. Original turquoise wrappers printed in black. Ink inscriptions to upper wrapper reading, “21/= net”
and “Pub Sep.” Rubbed and lightly marked, wear to tail of spine. A very good copy.
£125
Proof copy. With a loosely inserted autograph letter signed by the author and referring to an exhibition of
his works to coincide with the book’s publication.
TO HIS DAUGHTER
94. SHEPARD, Ernest H. Drawn from Memory.
Octavo. Original green cloth, titles to spine gilt on red ground, red top-stain. Portrait frontispiece and
illustrations throughout by the author. Lightly rubbed, spine rolled, gilt to spine dulled, top-stain a little
faded, light partial tanning to free endpapers. An excellent copy.
£350
First edition. Inscribed by the author on the front blank, “Mary with love from Kip, Sept 1957”. Kip was E.
H. Shepard’s nickname, and Mary E. Knox was his daughter and the illustrator of the Mary Poppins books.
She was married to E. V. Knox, a poet and editor of Punch, and has inscribed her name and address on the
front pastedown.
95. SHEPARD, Ernest H. Drawn from Life.

Octavo. Original blue cloth, titles to spine gilt on red ground, red top-stain. With the dust jacket. Illustrated
throughout by the author. An excellent copy in the lightly rubbed jacket with nicks at the corners and a few
short splits.
£125
First edition. The dedicatee’s copy, with the ownership inscription of Mary Knox, Shepard’s daughter and the
illustrator of the Mary Poppins books.
Index
References are to catalogue item numbers. All works are by A. A. Milne unless otherwise specified.
Barnside, Mrs: 10 Milne, Maud (formerly Innes, AAM’s sister-in-

Baynes, Pauline: 92 law): 19, 73
By Way of Introduction: 64 Morgan, Hugh: 15
Chamberlain, C. W.: 37 Mother Goose: 22
The Christopher Robin Birthday Book: 71–73 Now We Are Six: 2, 40–48
The Christopher Robin Calendar, 1929: 67 Once a Week: 79
The Christopher Robin Story Book: 66 Once On a Time: 84, 85
The Christopher Robin Verses: 75 The Pooh Calendar, 1930: 70
“Come Out with Me”: 40 Pooh Goes Visiting: 74
Cotchford Farm: 22, 23 Punch: 1
“Cradle Song”: 42 The Red House Mystery: 82
The Day’s Play: 77 Robinson, Charles: 84, 85
“The Dormouse and the Doctor”: 3 Royal Garrison Artillery: 80
“Down by the Pond”: 41 Scott, Harold: 80
Drawn From Life (Shepard): 95 Seligman, Barbara: 62
Drawn From Memory (Shepard): 93, 94 Seligman, Vincent: 52, 62
Four Day’s Wonder: 91 Shepard, Ernest Howard, original artwork:
Fourteen Songs from When We Were Very Young: 14 4, 23–29, 40, 41, 49, 50, 59, 63, 68, 86, 92
Fyleman, Rose: 3 Shepard, Graham 86
Grabosky, Louis: 89 Simson, Harold Fraser-: 14, 15, 16, 19
Grahame, Kenneth: 88, 89 Solomon, James (Jim): 71
“Happiness”: 13, 17, 18 The Sunny Side: 81
The Holiday Round: 78 “Teddy Bear”: 17, 18
“Hoppity”: 17, 18 Teddy Bear and Other Songs: 19
The House at Pooh Corner: 2, 49–59 Three Plays: 83
Killby, S.: 7 Toad of Toad Hall: 88, 89
“The King’s Breakfast”: 4, 5, 15, 16, 17, 18 Toys: 62
Knox, Mary E. (formerly Shepard, EHS’s Tudor, Tasha: 54
daughter): 94, 95 The Very Young Calendar: 20
“Lines and Squares”: 17, 18 “Vespers”: 12, 17, 18
Lucas, Edward Verrall: 7, 30, 87 “Weekes and Wrench”: 76
Macrae, John: 9 Wells, James R.: 69
The Merry-Go-Round: 3 When I Was Very Young: 69
Milne, Christopher Robin (AAM’s son): 9, 21, When We Were Very Young: 3–21
32, 39, 45, 48, 58, 60, 61 The Wind in the Willows (Grahame): 80, 90
Milne, Daphne (AAM’s wife): 60 Winnie-the-Pooh: 2, 22–39
Milne, John Vane (AAM’s father): 61, 81, 83 Wodehouse, P. G.: 83
The Winnie-the-Pooh Collection of Pat McInally
An exhibition first held at

Peter Harrington, 100 Fulham Road, Chelsea, London SW3 6HS
Tel + 44 (0)20 7591 0220 Fax + 44 (0)20 7225 7054 Email: mail@peterharrington.co.uk
Wednesday 30 November to Wednesday 14 December 2011

Monday to Saturday, 10:00–18:00

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THE

a. a. Milne & E. H. SheparD

Peter Harrington Catalogue 80

From the offices of Punch

1. Signed photographic portraits of Milne and Shepard.

The Publication History

Fine set of the four Pooh books

1. When We Were Very Young............items 3-21

1. When We Were Very Young

HIS FIRST WORK SPECIFICALLY FOR CHILDREN

FINE COPY OF THE SIGNED LIMITED EDITION

ONE OF SIX OUTSIDE THE LIMITATION,

SIGNED BY BILLY MOON

THE FIRST DELUXE LEATHER ISSUE,

“HUSH, HUSH, WHISPER WHO DARES…”

WITH MILNE’S MANUSCRIPT

“THE MUSIC IS EXACTLY RIGHT” – INSCRIBED BY MILNE

SIGNED LIMITED EDITION, ADDITIONALLY INSCRIBED

16. MILNE, A. A. The King’s Breakfast. Words by A. A. Milne. Music by H. Fraser-

RARE COMPLETE SET OF BROADSIDES

20. MILNE, A. A. The Very Young Calendar.

21. MILNE, A. A. When We Were Very Young. With Decorations by E. H. Shepard.

THE LANDSCAPE OF CHILDHOOD

26. SHEPARD, Ernest H. Original drawing “Piglet Meets a Heffalump”.

27. SHEPARD, Ernest H. Original drawing “Winnie-the-Pooh, Kanga, Roo, Piglet

“OPENING IT AS QUICKLY AS EVER HE COULD”

“BUMP, BUMP, BUMP…”

ONE OF 20 VELLUM COPIES

THE BLUEST BLUE

INSCRIBED TO CHRISTOPHER ROBIN AND POOH

INSCRIBED BY SHEPARD ON PUBLICATION DAY

MILNE’S TOUCHING VERSE TRIBUTE TO SHEPARD

STUNNING AMERICAN EDITION IN THE ORIGINAL BOX

DELUXE LEATHER ISSUE – SIGNED BY MILNE

PRESENTATION TO THE CHAIRMAN

FIRST COLOUR ILLUSTRATIONS

39. MILNE, A. A. Winnie-the-Pooh. Decorated by E. H. Shepard.

3: Now We Are Six

41. SHEPARD, Ernest H. Original drawing “Down By the Pond”.

PRE-PUBLICATION SALESMAN’S DUMMY

ONE OF 20 VELLUM COPIES

SIGNED BY CHRISTOPHER ROBIN

DELUXE ISSUE SIGNED BY BOTH AUTHOR AND ARTIST

47. MILNE, A. A. Now We Are Six. With Decorations by Ernest H. Shepard.

48. MILNE, A. A. Now We Are Six. With Decorations by Ernest H. Shepard.

4: The House at Pooh Corner

PRE-PUBLICATION SALESMAN’S SAMPLE

ONE OF 20 – FINE COPY – ADDITIONALLY INSCRIBED

TASHA TUDOR’S COPY, WITH A LETTER FROM SHEPARD

55. MILNE, A. A. The House at Pooh Corner. With Decorations by Ernest H.

57. MILNE, A. A. The House at Pooh Corner. With Decorations by Ernest H.

58. MILNE, A. A. The House at Pooh Corner. With Decorations by Ernest H.

5: Pooh Before and After

SUGGESTING A SOURCE FOR SHEPARD’S ILLUSTRATIONS

PHOTOGRAPHS OF CHRISTOPHER ROBIN AND WINNIE-THE-POOH

62. Pooh and Piglet plush toys.

SIGNED LIMITED EDITIONS,

65. MILNE, A. A. The Christopher Robin Story Book. Illustrated by Ernest H.

67. MILNE, A. A. The Christopher Robin Calendar. 1929.

“WE ARE SO SORY THAT WE CANT COME TO YUOR PARTY”

69. MILNE, A. A. When I Was Very Young. Illustrations by Ernest Shepard.

70. MILNE, A. A. The Pooh Calendar. 1930. Decorations by E. H. Shepard.

SIGNED BY MILNE ON HIS OWN BIRTHDAY PAGE