This is Potter's earliest known picture letter, written to Noel Moore when he was four years old. It describes a holiday trip to a seaside resort in language easily understandable at his age with illustrations that might pique his interest and retain his attention. Note the passage in square brackets (at the bottom of the third page) cautioning his mother about seashells she proposed to give him and his younger brother.

This is Potter's earliest known picture letter, written to Noel Moore when he was four years old. It describes a holiday trip to a seaside resort in language easily understandable at his age with illustrations that might pique his interest and retain his attention. Note the passage in square brackets (at the bottom of the third page) cautioning his mother about seashells she proposed to give him and his younger brother.

In this letter Potter touches on several topics including the winter weather, a pet cat, and the latest antics of Peter Rabbit. She wrote several letters to children with references to Peter and made at least three drawings of him asleep before the fire. She bought Peter in 1892, taught him tricks, took him on summer vacations, sketched him in a multitude of poses, and mourned his loss when he died in 1901: "whatever the limitations of his intellect or outward shortcomings of his fur, and his ears and toes, his disposition was uniformly amiable and his temper unfailingly sweet. An affectionate companion and a quiet friend."

In this letter Potter touches on several topics including the winter weather, a pet cat, and the latest antics of Peter Rabbit. She wrote several letters to children with references to Peter and made at least three drawings of him asleep before the fire. She bought Peter in 1892, taught him tricks, took him on summer vacations, sketched him in a multitude of poses, and mourned his loss when he died in 1901: "whatever the limitations of his intellect or outward shortcomings of his fur, and his ears and toes, his disposition was uniformly amiable and his temper unfailingly sweet. An affectionate companion and a quiet friend."

This is the first of several get-well letters Potter wrote to Noel Moore while he was sick in bed during the spring of 1895. Her stories about a visit to the zoo were designed to raise the spirits of a child who might hope for similar adventures when his health improved. Instead of the usual cheery admonitions, she devised an amusing fantasy where the patient is attended by a solicitous mole physician and a sprightly mouse nurse bearing a tea-cup on a tray. She liked the image of the light-footed lady mouse and adapted it in Appley Dapply's Nursery Rhymes (1917), where the title character is shown scampering off with a platter full of pies.

This is the first of several get-well letters Potter wrote to Noel Moore while he was sick in bed during the spring of 1895. Her stories about a visit to the zoo were designed to raise the spirits of a child who might hope for similar adventures when his health improved. Instead of the usual cheery admonitions, she devised an amusing fantasy where the patient is attended by a solicitous mole physician and a sprightly mouse nurse bearing a tea-cup on a tray. She liked the image of the light-footed lady mouse and adapted it in Appley Dapply's Nursery Rhymes (1917), where the title character is shown scampering off with a platter full of pies.

Potter sent Noel a series of letters with anecdotes about animals she had seen in her travels. Here she reports on a trip to Wales, where she observed the curious conduct of donkeys, dogs, and a pony. Although she was appealing to Noel's interests, she also reveals her likes and dislikes: a life-long passion for antiques and fine old houses as well as a distinct lack of sympathy for a Welsh village she had visited.

Potter sent Noel a series of letters with anecdotes about animals she had seen in her travels. Here she reports on a trip to Wales, where she observed the curious conduct of donkeys, dogs, and a pony. Although she was appealing to Noel's interests, she also reveals her likes and dislikes: a life-long passion for antiques and fine old houses as well as a distinct lack of sympathy for a Welsh village she had visited.

This letter contains two self-caricatures. One shows Potter contemplating the awful prospect of a ladder she would have to climb to view a roost of pigeons. In the other she is walking a rambunctious Peter Rabbit on a leash. An earlier letter to Noel contains a sketch of Peter's predecessor, Benjamin Bouncer, on a similar outing with a collar and a lead. She often sketched herself in her letters for humorous effect and included two notional self-portraits in her books, one in The Roly-Poly Pudding and another in The Tale of Pigling Bland.

This letter contains two self-caricatures. One shows Potter contemplating the awful prospect of a ladder she would have to climb to view a roost of pigeons. In the other she is walking a rambunctious Peter Rabbit on a leash. An earlier letter to Noel contains a sketch of Peter's predecessor, Benjamin Bouncer, on a similar outing with a collar and a lead. She often sketched herself in her letters for humorous effect and included two notional self-portraits in her books, one in The Roly-Poly Pudding and another in The Tale of Pigling Bland.

Once again Potter writes to Noel about a trip to the zoo, an opportunity to draw exotic animals in addition to familiar creatures such as the rabbits gamboling at the head of the letter and the sparrows nesting at the end. As much as Potter loved her pets, she was also remarkably unsentimental about animals, both as a naturalist who studied them from a scientific point of view and as a farmer who tended livestock for sale and home consumption. The death of the elephant was regrettable but also occasioned a comic drawing of the valetudinarian about to receive a jumbo dose of medicine. The mother sparrow lamenting the loss of her baby is a parody of grief.

Once again Potter writes to Noel about a trip to the zoo, an opportunity to draw exotic animals in addition to familiar creatures such as the rabbits gamboling at the head of the letter and the sparrows nesting at the end. As much as Potter loved her pets, she was also remarkably unsentimental about animals, both as a naturalist who studied them from a scientific point of view and as a farmer who tended livestock for sale and home consumption. The death of the elephant was regrettable but also occasioned a comic drawing of the valetudinarian about to receive a jumbo dose of medicine. The mother sparrow lamenting the loss of her baby is a parody of grief.

The Lake District in northwest England was a vacation spot favored by the Potter family, especially Beatrix, who eventually settled in the vicinity. Here are some of her first impressions of this picturesque locale. She frequently sketched the marshland scenery around Esthwaite Water, which probably inspired parts of The Tale of Mr. Jeremy Fisher. Other picture letters contain the rudiments of that story, in which Jeremy embarks on his fishing adventures by rowing out on a river, an idea prompted by holiday excursions along the River Tay in Scotland. In the published version, however, Jeremy flirts with danger while floating on a lily pad like those depicted in this letter. Potter's experiences on Esthwaite Water may have convinced her that a tranquil pond would be a better setting for an afternoon idyll on the water, the mood broken only briefly by delightfully absurd, nearly fatal developments in a deceptively simple plot.

The Lake District in northwest England was a vacation spot favored by the Potter family, especially Beatrix, who eventually settled in the vicinity. Here are some of her first impressions of this picturesque locale. She frequently sketched the marshland scenery around Esthwaite Water, which probably inspired parts of The Tale of Mr. Jeremy Fisher. Other picture letters contain the rudiments of that story, in which Jeremy embarks on his fishing adventures by rowing out on a river, an idea prompted by holiday excursions along the River Tay in Scotland. In the published version, however, Jeremy flirts with danger while floating on a lily pad like those depicted in this letter. Potter's experiences on Esthwaite Water may have convinced her that a tranquil pond would be a better setting for an afternoon idyll on the water, the mood broken only briefly by delightfully absurd, nearly fatal developments in a deceptively simple plot.

Potter adored Edward Lear's nonsense rhymes and particularly this prime example, which she first saw at age four and a half in a copy of Lear's Nonsense Songs, a Christmas present from her father. She retold the story of the Owl and the Pussy-Cat with her own illustrations in two letters to Noel Moore—this one and another in the collection of the Cotsen Children's Library at Princeton University. They contain an abridged version of Lear's text but a larger selection of pictures, some based on Lear, others invented by Potter.



It was during a holiday visit to Falmouth harbor that Potter glimpsed a pig on board a ship and wondered what its fate might be on a sea voyage ("when the sailors get hungry they eat it"). In the picture letter in the Cotsen Collection she imagined how it might escape in the ship's dinghy and go off to live on an island like Robinson Crusoe. Even better, she succeeded in linking one children's classic with another by supposing that the escapee might row off to safety in the island "where the Bong-tree grows" and become the "Piggy-wig" who assisted in the nuptials of the Owl and the Pussy-Cat.

Potter would later turn the pig-on-board theme into a book, The Tale of Little Pig Robinson (1930).

Potter adored Edward Lear's nonsense rhymes and particularly this prime example, which she first saw at age four and a half in a copy of Lear's Nonsense Songs, a Christmas present from her father. She retold the story of the Owl and the Pussy-Cat with her own illustrations in two letters to Noel Moore—this one and another in the collection of the Cotsen Children's Library at Princeton University. They contain an abridged version of Lear's text but a larger selection of pictures, some based on Lear, others invented by Potter.



It was during a holiday visit to Falmouth harbor that Potter glimpsed a pig on board a ship and wondered what its fate might be on a sea voyage ("when the sailors get hungry they eat it"). In the picture letter in the Cotsen Collection she imagined how it might escape in the ship's dinghy and go off to live on an island like Robinson Crusoe. Even better, she succeeded in linking one children's classic with another by supposing that the escapee might row off to safety in the island "where the Bong-tree grows" and become the "Piggy-wig" who assisted in the nuptials of the Owl and the Pussy-Cat.

Potter would later turn the pig-on-board theme into a book, The Tale of Little Pig Robinson (1930).

Following up on the previous letter, Potter wrote again to Noel Moore about the Owl and the Pussy-Cat, this time with a sequel showing an idyllic portrait of the married couple. The owl sips honey spoon in hand while the cat fishes for dinner. This scene required an explanation: "It is funny to see a bird with hands, but how could he play the guitar without them?" Logical conundrums like this were part of the pleasure she took in the nonsense verse of Edward Lear. In these letters she paid tribute to Lear and perfected the story-telling skills she would employ in her own publications.

Following up on the previous letter, Potter wrote again to Noel Moore about the Owl and the Pussy-Cat, this time with a sequel showing an idyllic portrait of the married couple. The owl sips honey spoon in hand while the cat fishes for dinner. This scene required an explanation: "It is funny to see a bird with hands, but how could he play the guitar without them?" Logical conundrums like this were part of the pleasure she took in the nonsense verse of Edward Lear. In these letters she paid tribute to Lear and perfected the story-telling skills she would employ in her own publications.

One of Potter's last publications, The Tale of Little Pig Robinson (1930), contains story ideas that first appeared in her picture letters of the 1890s. This picture letter is noteworthy for its fine illustrations and the curious account of the dog Stumpy, pensioned off for life by his grateful owner. Stumpy and his trust fund remained in the back of the mind of the author, who transcribed some details of the letter almost word-for-word in the published version.

One of Potter's last publications, The Tale of Little Pig Robinson (1930), contains story ideas that first appeared in her picture letters of the 1890s. This picture letter is noteworthy for its fine illustrations and the curious account of the dog Stumpy, pensioned off for life by his grateful owner. Stumpy and his trust fund remained in the back of the mind of the author, who transcribed some details of the letter almost word-for-word in the published version.

One of Potter's last publications, The Tale of Little Pig Robinson (1930), contains story ideas that first appeared in her picture letters of the 1890s.

One of Potter's last publications, The Tale of Little Pig Robinson (1930), contains story ideas that first appeared in her picture letters of the 1890s.

One of Potter's last publications, The Tale of Little Pig Robinson (1930), contains story ideas that first appeared in her picture letters of the 1890s.

Here is another account of a seaside holiday, somewhat more sophisticated in style and content because Noel was six years older at that time. Potter knew how to calibrate her prose for an intended age group, an essential skill for an author of children's books. In this case, she understood that a boy at his age might like to learn about ocean liners and the technicalities of recovering a lightship cast adrift. She apologized for her pictures, but they were no longer quite so necessary for reading comprehension, and they include two comic sketches perfectly suited for his sense of humor. No doubt he relished the idea of a man-eating, twenty-foot conger eel, but that is a fish story. Even the most formidable specimens do not grow larger than ten feet long.

Here is another account of a seaside holiday, somewhat more sophisticated in style and content because Noel was six years older at that time. Potter knew how to calibrate her prose for an intended age group, an essential skill for an author of children's books. In this case, she understood that a boy at his age might like to learn about ocean liners and the technicalities of recovering a lightship cast adrift. She apologized for her pictures, but they were no longer quite so necessary for reading comprehension, and they include two comic sketches perfectly suited for his sense of humor. No doubt he relished the idea of a man-eating, twenty-foot conger eel, but that is a fish story. Even the most formidable specimens do not grow larger than ten feet long.

Around 1900 Potter began to explore the possibility of making commercial publications out of the stories she had written in her picture letters. She borrowed them back from the children and decided to start with Peter Rabbit. Eight pages long, each episode accompanied with an illustration, that letter most obviously had the makings of a book. (The original is now on deposit at the Victoria & Albert Museum.) The publication process was frustrating and arduous, partly because publishers did not understand what she was trying to achieve and partly because she disagreed with them about publishing techniques. Here she confided to a younger sister of Noel Moore that negotiations were not going well and that she might have to try again with another firm. One of the sticking points was the price and size of the book, the publisher arguing for a larger and more expensive product, the author demanding something smaller and cheaper, a booklet "little rabbits" could afford. Eventually she got her way and succeeded in setting modest prices for a book in a smaller format, an endearing feature of the Peter Rabbit series to this day.

Around 1900 Potter began to explore the possibility of making commercial publications out of the stories she had written in her picture letters. She borrowed them back from the children and decided to start with Peter Rabbit. Eight pages long, each episode accompanied with an illustration, that letter most obviously had the makings of a book. (The original is now on deposit at the Victoria & Albert Museum.) The publication process was frustrating and arduous, partly because publishers did not understand what she was trying to achieve and partly because she disagreed with them about publishing techniques. Here she confided to a younger sister of Noel Moore that negotiations were not going well and that she might have to try again with another firm. One of the sticking points was the price and size of the book, the publisher arguing for a larger and more expensive product, the author demanding something smaller and cheaper, a booklet "little rabbits" could afford. Eventually she got her way and succeeded in setting modest prices for a book in a smaller format, an endearing feature of the Peter Rabbit series to this day.