Contents. Plot The story begins with nervously packing her portfolio and narrating that she is a London, and that her ambition to become a children's author meets with wide disapproval. She and her chaperone, Miss Wiggin, visit the publishing house of Harold and Fruing Warne, who decide to publish her. Beatrix is thrilled and returns home, taking a drive through the parks to celebrate first. However, it is revealed the Warne brothers think her book is ridiculous and will no doubt be a failure. The only reason they agreed to publish it is because they promised their younger brother, a project.

1. Miss Potter Amazon Prime

Helen Beatrix Potter. Chris Noonan directed Miss Potter, a biographical film of Potter's life focusing on her early career and romance with her editor Norman Warne.

When Norman Warne visits Beatrix, they make decisions about her book regarding size, colour and price. Norman admits he has never done anything like this before but has given her book a great deal of thought. Beatrix realises what Norman's brothers have done regarding him and her, but they become determined to prove them wrong.

Norman takes Beatrix to the printer, and she has her drawings reproduced and copies of her book sold. Thrilled, Beatrix and Norman visit the Warne family, where Beatrix meets the wheelchair-bound but lovely Mrs. Warne, and Norman's sister, Amelia, nicknamed 'Millie'. Millie has decided that she and Beatrix are going to be friends and is overjoyed that Beatrix is a spinster, as is Millie, who believes men to be nothing but bores. The family befriends Beatrix, yet Helen Potter, Beatrix's social-climbing mother, is unhappy about her daughter spending time in the company of 'tradesmen'. When she returns home, Beatrix and Helen bicker about Beatrix's stubborn decision not to marry. Beatrix reminds her mother of the book she wrote, and her mother retorts she believes the venture will fail.

However, the book sales are very successful and copies are displayed in many store windows. Norman encourages Beatrix to submit other stories for publication. Even Beatrix's father, Rupert, buys a copy of after hearing how his friends at the were buying them. Encouraged by this success and her father's support, Beatrix invites Norman and Millie to her family's Christmas party, despite her mother's misgivings. At the party everyone enjoys themselves and Beatrix shows Norman a story she is writing especially for him, 'The Rabbits' Christmas Party'. She shows him a drawing from the story and shows him her studio where she writes and draws.

Miss Wiggin falls asleep from too much brandy (a generous portion of which had been added to her coffee cup by Norman), and Norman plucks up the courage to propose to Beatrix. Potter interrupts before Beatrix can reply, and they join the other guests in the drawing room. Beatrix confides in Millie about Norman proposing, and Millie encourages her to say yes. Beatrix then tells the guests of the stories she writes and they are delighted and amused. Potter, however, can not see what all the fuss is about. As the guests leave, Beatrix whispers her agreement to marry Norman, who is overjoyed.

Norman visits Rupert Potter at his club to ask his consent, and is dismissed within minutes. At the Potter household, Beatrix and her parents argue about her decision to marry Norman.

Beatrix is adamant and will not be dissuaded. Potter tells her no Potter can marry into trade, but Beatrix reminds her that her grandfathers were both tradesmen.

Potter threatens to cut her daughter off, Beatrix reminds them of her brother, Bertram, who married a wine merchant's daughter and was not disowned. She states she can survive on her own with her books. Potter attempts to reason with his daughter, but she tells him she wants to be loved and not simply marry someone because he can provide for her. Beatrix inquires with the bank about her royalty earnings, wondering if she would perhaps someday be able to buy a house in the country. She is amazed and delighted to learn that her book sales have made her wealthy enough to buy several estates and a house in town if she wishes.

When she returns home her parents offer a proposition: that Beatrix keep her engagement to Norman a secret and holiday with them in the Lake District for the summer. If she still wishes to marry him at the end of the summer, they agree that they will not object to the marriage. Beatrix agrees to the proposition and is quite convinced that she will not change her mind, telling her parents to prepare for an October wedding. Norman and Beatrix kiss each other goodbye at the railway station and write many letters during their time apart, until one day a letter arrives from his sister Millie, informing her that Norman is ill. Beatrix travels back to London only to find that Norman has died.

Overcome with grief, Beatrix shuts herself up in her room. She turns to her drawing, but discovers that her characters disappear off the page. Millie comes to visit and comfort her, and Beatrix decides she must leave the house. Beatrix buys a farm in the country in the Lake District and moves there to resume her work. She hires a farmhand to run the farm and finds comfort in her surroundings. With the help of her solicitor, William Heelis, she outbids developers at auctions and buys many other farms and land in the area to preserve nature. In captions, it is explained that eight years after moving to the Lake District she marries William (to her mother's disapproval) and the land she purchased eventually forms part of the in.

Cast. as. as Young Beatrix. as. as Millie Warne.

as Helen Potter. as Rupert Potter. as William Heelis. as Young William. as Harold Warne. as Fruing Warne.

as Mrs. Louisa Warne. as Hilda. as Lady Sybil. as Sir Nigel. as Lady Armitage.

as Mr. Copperthwaite. as Mrs.

Haddon-Bell. Andrew Sloey as Young Farmer Production The film was director Chris Noonan's first in 10 years (since he made ), having waited for many years until he finally found a script that inspired him., who originally suggested Noonan for the role of director, was at one point set to star in the film but apologetically left the project when one of her other films was green-lighted before this one. Zellweger ended up becoming an executive producer on the film because she was dissatisfied with the script and wanted to get more involved. The film was first brought to Ewan McGregor's attention by Zellweger, who had kept in contact with him after collaborating on. McGregor described the film as having a somewhat similar appeal as that film, and noted that he was familiar with Beatrix Potter's illustrations and stories, which he said he reads to his children.

To prepare for the role, McGregor studied photographs of Norman Warne and visited the modern-day Warne publishing house. Zellweger read actual letters between Beatrix Potter and Norman Warne and Millie to prepare for the role, but had difficulty with the accent, which she said was very different from '. As there were no records of Beatrix Potter's speaking voice, they had to guess; ultimately the voice was softened so as not to irritate contemporary audiences with the tight, high voice a woman of Beatrix Potter's standing at that time may have had. Zellweger said that she had read a few of Beatrix Potter's stories growing up, but that she had never known anything about the woman herself. Noonan said that when growing up he had never read Beatrix Potter's stories, and that, 'I was aware of her because of all that crockery with her characters on it.' The film used animated versions of Beatrix Potter's characters and illustrations, which were composited into the live-action shots.

According to Chris Knott (who had previously worked on ), supervisor on the film for, they were given access to collections of Potter's original work to help them recreate it for the animations. Noonan said that it was hard to find anyone who still did, but did end up finding such a person in Alyson Hamilton, who already had a great deal of appreciation for Potter's work. Costumes for the film were designed by Academy Award winner. The score for the film was composed by (who had previously worked with Noonan on Babe) although was brought in to record some of the music for the Lake District scenes.

Westlake was asked by Noonan during filming to come up with a -like tune for some of their lyrics, and, with the collaboration of and, this same song was also turned into a pop song used in the end credits of the film. Reception The film received positive reviews.

Review aggregator Rotten Tomatoes ranks the film with a 66% rating, based on 126 reviews. The critics' consensus is that it is a 'charming biopic that maintains its sweetness even in sadder moments.' Songs.

When You Taught Me How to Dance - Performed by. Let Me Teach You How to Dance - Performed by Ewan McGregor Historical inaccuracies. After Norman dies, his sister describes his symptoms as mainly having consisted of coughing. He actually died of, which typically does not cause coughing. No mention is made of her detailed studies of fungi and her desire for a career as a.

The Tale of Peter Rabbit was privately published before being taken up by F. The film makes much of the first printing of the book, but wrongly associates this with Warne. The film starts in 1902, in which time Beatrix states that she is 'an unmarried woman of 32', but in reality she would have been either 35 or 36 depending on what month it was. She was born in 1866.

A sequence in the film shows Jemima Puddleduck as one of the early publications; this was actually published in 1908, after the period shown in the film ends. References.

Potter in 1913 Born Helen Beatrix Potter 28 July 1866, London, Died 22 December 1943 ( 1943-12-22) (aged 77), Lancashire, Occupation Children's author and illustrator Nationality British Genre Children's literature Notable works Spouse William Heelis (m. 1913–43; her death) Helen Beatrix Potter (British English, North American English also, 28 July 1866 – 22 December 1943) was an English writer, illustrator, and best known for her children's books featuring animals, such as those in. Born into a upper-class household, Potter was educated by and grew up isolated from other children. She had numerous pets and spent holidays in Scotland and the, developing a love of landscape, flora, and fauna, all of which she closely observed and painted. Though Potter was typical of women of her generation in having limited opportunities for higher education, her study and watercolours of fungi led to her being widely respected in the field of. In her thirties, Potter self-published the highly successful children's book,.

Following this, Potter began writing and illustrating children's books full-time. In all, Potter wrote thirty books; the best known being her. With the proceeds from the books and a legacy from an aunt, in 1905 Potter bought in, a village in the, which at that time was in. Over the following decades, she purchased additional farms to preserve the unique hill country landscape. In 1913, at the age of 47, she married William Heelis, a respected local solicitor from. Potter was also a prize-winning breeder of and a prosperous farmer keenly interested in land preservation. She continued to write and illustrate, and to design spin-off merchandise based on her children's books for British publisher Warne, until the duties of land management and her diminishing eyesight made it difficult to continue.

She died of and on 22 December 1943 at her home in Near Sawrey at the age of 77, leaving almost all her property to the. She is credited with preserving much of the land that now constitutes the. Potter's books continue to sell throughout the world in many languages with her stories being retold in song, film, ballet, and animation, and her life depicted in a feature film and television film.

Beatrix Potter: reproductive system of, 1897. Beatrix Potter's parents did not discourage higher education. As was common in the, women of her class were privately educated and rarely went to university.

Beatrix Potter was interested in every branch of natural science save. Was a passion for most and nature study was a popular enthusiasm. Potter was eclectic in her tastes: collecting fossils, studying artefacts from London excavations, and interested in. In all these areas she drew and painted her specimens with increasing skill. By the 1890s her scientific interests centred on. First drawn to fungi because of their colours and evanescence in nature and her delight in painting them, her interest deepened after meeting Charles McIntosh, a revered naturalist and amateur mycologist, during a summer holiday in Dunkeld in in 1892.

He helped improve the accuracy of her illustrations, taught her, and supplied her with live specimens to paint during the winter. Curious as to how fungi reproduced, Potter began microscopic drawings of fungus spores (the ) and in 1895 developed a theory of their. Through the connections of her uncle, a chemist and of the, she consulted with botanists at, convincing of her ability to germinate spores and her theory of. She did not believe in the theory of proposed by, the German mycologist, as previously thought; rather she proposed a more independent process of reproduction. Rebuffed by, the Director at Kew, because of her gender and her amateur status, Beatrix wrote up her conclusions and submitted a paper, On the Germination of the Spores of the Agaricineae, to the in 1897. It was introduced by Massee because, as a female, Potter could not attend proceedings or read her paper. She subsequently withdrew it, realising that some of her samples were contaminated, but continued her microscopic studies for several more years.

Her paper has only recently been rediscovered, along with the rich, artistic illustrations and drawings that accompanied it. Her work is only now being properly evaluated. Potter later gave her other mycological and scientific drawings to the in Ambleside, where mycologists still refer to them to identify fungi. There is also a collection of her fungus paintings at the in Perth, Scotland, donated by Charles McIntosh. In 1967, the mycologist included many of Potter's beautifully accurate fungus drawings in his Wayside & Woodland Fungi, thereby fulfilling her desire to one day have her fungus drawings published in a book. In 1997, the Linnean Society issued a posthumous apology to Potter for the sexism displayed in its handling of her research.

Artistic and literary career. First edition, 1902 Potter's artistic and literary interests were deeply influenced by fairies, fairy tales and fantasy. She was a student of the classic fairy tales of Western Europe. As well as stories from the, 's and 's, she grew up with, the fairy tales of the and, 's, the folk tales and, the, and the romances of.

As a young child, before the age of eight, 's Book of Nonsense, including the much loved, and 's had made their impression, although she later said of Alice that she was more interested in 's illustrations than what they were about. The stories of had been family favourites, and she later studied his stories and illustrated them. She studied book illustration from a young age and developed her own tastes, but the work of the picture book triumvirate, and, the last an illustrator whose work was later collected by her father, was a great influence. When she started to illustrate, she chose first the traditional rhymes and stories, ', ', ', ', and '.

But most often her illustrations were fantasies featuring her own pets: mice, rabbits, kittens, and guinea pigs. In her teenage years, Potter was a regular visitor to the art galleries of London, particularly enjoying the summer and winter exhibitions at the in London. Her Journal reveals her growing sophistication as a critic as well as the influence of her father's friend, the artist, who recognised Beatrix's talent of observation. Although Potter was aware of art and artistic trends, her drawing and her prose style were uniquely her own. As a way to earn money in the 1890s, Beatrix and her brother began to print Christmas cards of their own design, as well as cards for special occasions. Mice and rabbits were the most frequent subject of her fantasy paintings. In 1890, the firm of Hildesheimer and Faulkner bought several of her drawings of her rabbit to illustrate verses by titled A Happy Pair.

In 1893, the same printer bought several more drawings for Weatherly's Our Dear Relations, another book of rhymes, and the following year Potter sold a series of frog illustrations and verses for Changing Pictures, a popular annual offered by the art publisher Ernest Nister. Potter was pleased by this success and determined to publish her own illustrated stories. Whenever Potter went on holiday to the or, she sent letters to young friends, illustrating them with quick sketches. Many of these letters were written to the children of her former governess Annie Carter Moore, particularly to Moore's eldest son Noel who was often ill.

In September 1893, Potter was on holiday at Eastwood in, Perthshire. She had run out of things to say to Noel and so she told him a story about 'four little rabbits whose names were Flopsy, Mopsy, Cottontail and Peter'.

It became one of the most famous children's letters ever written and the basis of Potter's future career as a writer-artist-storyteller. In 1900, Potter revised her tale about the four little rabbits, and fashioned a dummy book of it – it has been suggested, in imitation of 's 1899 bestseller. Unable to find a buyer for the work, she published it for family and friends at her own expense in December 1901.

It was drawn in black and white with a coloured frontispiece. Family friend had great faith in Potter's tale, recast it in didactic verse, and made the rounds of the London publishing houses. Had previously rejected the tale but, eager to compete in the booming small format children's book market, reconsidered and accepted the 'bunny book' (as the firm called it) following the recommendation of their prominent children's book artist. The firm declined Rawnsley's verse in favour of Potter's original prose, and Potter agreed to colour her pen and ink illustrations, choosing the then new to reproduce her watercolours. Potter used many real locations for her book illustrations. The Tower Bank Arms, Near Sawrey appears in The Tale of Jemima Puddle-Duck.

On 2 October 1902, was published, and was an immediate success. It was followed the next year by and, which had also first been written as picture letters to the Moore children. Working with as her editor, Potter published two or three little books each year: 23 books in all.

The last book in this format was in 1922, a collection of favourite rhymes. Although was not published until 1930, it had been written much earlier. Potter continued creating her little books until after the, when her energies were increasingly directed toward her farming, sheep-breeding and land conservation. The immense popularity of Potter's books was based on the lively quality of her illustrations, the non-didactic nature of her stories, the depiction of the rural countryside, and the imaginative qualities she lent to her animal characters. Potter was also a canny businesswoman.

As early as 1903, she made and patented a doll. It was followed by other 'spin-off' merchandise over the years, including painting books, board games, wall-paper, figurines, baby blankets and china tea-sets. All were licensed by and earned Potter an independent income, as well as immense profits for her publisher. In 1905, Potter and became unofficially engaged.

Potter's parents objected to the match because Warne was 'in trade' and thus not socially suitable. The engagement lasted only one month until Warne died of at age 37. That same year, Potter used some of her income and a small inheritance from an aunt to buy in in the English near Windermere. Potter and Warne may have hoped that Hill Top Farm would be their holiday home, but after Warne's death, Potter went ahead with its purchase as she had always wanted to own that farm, and live in 'that charming village'. Country life.

Hill Top, Near Sawrey – Potter's former home, now owned by the National Trust and preserved as it was when she lived and wrote her stories there. The tenant farmer John Cannon and his family agreed to stay on to manage the farm for her while she made physical improvements and learned the techniques of and of raising livestock, including pigs, cows and chickens; the following year she added sheep. Realising she needed to protect her boundaries, she sought advice from W.H. Heelis & Son, a local firm of solicitors with offices in nearby.

With William Heelis acting for her she bought contiguous pasture, and in 1909 the 20 acres (8.1 ha) Castle Farm across the road from Hill Top Farm. She visited Hill Top at every opportunity, and her books written during this period (such as, about the local shop in Near Sawrey and, a wood mouse) reflect her increasing participation in village life and her delight in country living.

Owning and managing these working farms required routine collaboration with the widely respected William Heelis. By the summer of 1912 Heelis had proposed marriage and Beatrix had accepted; although she did not immediately tell her parents, who once again disapproved because Heelis was only a country solicitor. Potter and Heelis were married on 15 October 1913 in London at in. The couple moved immediately to, residing at Castle Cottage, the renovated farm house on Castle Farm, which was 34 acres large. Hill Top remained a working farm but was now remodelled to allow for the tenant family and Potter's private studio and workshop.

At last her own woman, Potter settled into the partnerships that shaped the rest of her life: her country solicitor husband and his large family, her farms, the Sawrey community and the predictable rounds of country life. And are representative of Hill Top Farm and of her farming life, and reflect her happiness with her country life.

Rupert Potter died in 1914 and, with the outbreak of, Potter, now a wealthy woman, persuaded her mother to move to the Lake District and found a property for her to rent in Sawrey. Finding life in Sawrey dull, Helen Potter soon moved to Lindeth Howe (now a 34 bedroomed country house hotel) a large house the Potters had previously rented for the summer in, on the other side of Lake Windermere, Potter continued to write stories for Frederick Warne & Co and fully participated in country life. She established a Nursing Trust for local villages, and served on various committees and councils responsible for footpaths and other rural issues. Sheep farming Soon after acquiring Hill Top Farm, Potter became keenly interested in the breeding and raising of, the indigenous fell sheep. In 1923 she bought a large sheep farm in the Troutbeck Valley called, formerly a deer park, restoring its land with thousands of Herdwick sheep.

This established her as one of the major Herdwick sheep farmers in the county. She was admired by her shepherds and farm managers for her willingness to experiment with the latest biological remedies for the common diseases of sheep, and for her employment of the best shepherds, sheep breeders, and farm managers. By the late 1920s Potter and her Hill Top farm manager Tom Storey had made a name for their prize-winning Herdwick flock, which took many prizes at the local agricultural shows, where Potter was often asked to serve as a judge. In 1942 she became President-elect of the Herdwick Sheepbreeders’ Association, the first time a woman had ever been elected, but died before taking office. Lake District conservation Potter had been a disciple of the land conservation and preservation ideals of her long-time friend and mentor, the first secretary and founding member of the. She supported the efforts of the National Trust to preserve not just the places of extraordinary beauty but also those heads of valleys and low grazing lands that would be irreparably ruined by development. She was also an authority on the traditional Lakeland crafts, period furniture and stonework.

She restored and preserved the farms that she bought or managed, making sure that each farm house had in it a piece of antique Lakeland furniture. Potter was interested in preserving not only the, but also the way of life of fell farming. In 1930 the Heelises became partners with the National Trust in buying and managing the fell farms included in the large Monk Coniston Estate. The estate was composed of many farms spread over a wide area of north-western Lancashire, including the.

Potter was the de facto estate manager for the Trust for seven years until the National Trust could afford to buy most of the property back from her. Her stewardship of these farms earned her wide regard, but she was not without her critics, not the least of which were her contemporaries who felt she used her wealth and the position of her husband to acquire properties in advance of their being made public.

She was notable in observing the problems of, preserving the intake grazing lands, and husbanding the quarries and timber on these farms. All her farms were stocked with Herdwick sheep and frequently with. Lake District Later life Potter continued to write stories and to draw, although mostly for her own pleasure. Her books in the late 1920s included the semi-autobiographical, a fanciful tale set in her beloved. It was published only in the US during Potter's lifetime, and not until 1952 in the UK. Sister Anne, Potter's version of the story of, was written especially for her American readers, but illustrated by Katharine Sturges.

A final folktale, Wag by Wall, was published posthumously by in 1944. Potter was a generous patron of the, whose troupes she allowed to make their summer encampments on her land, and whose company she enjoyed as an older woman. Potter and William Heelis enjoyed a happy marriage of thirty years, continuing their farming and preservation efforts throughout the hard days of. Although they were childless, Potter played an important role in William's large family, particularly enjoying her relationship with several nieces whom she helped educate, and giving comfort and aid to her husband's brothers and sisters.

Potter died of complications from and on 22 December 1943 at Castle Cottage, and her remains were cremated. She left nearly all her property to the National Trust, including over 4,000 acres (16 km 2) of land, sixteen farms, cottages and herds of cattle and Herdwick sheep. Hers was the largest gift at that time to the National Trust, and it enabled the preservation of the land now included in the and the continuation of fell farming. The central office of the National Trust in was named 'Heelis' in 2005 in her memory. William Heelis continued his stewardship of their properties and of her literary and artistic work for the eighteen months he survived her. When he died in August 1945 he left the remainder to the National Trust.

Goody and Mrs. Hackee, illustration to The Tale of Timmy Tiptoes, 1911 Potter left almost all the original illustrations for her books to the National Trust. The copyright to her stories and merchandise was then given to her publisher Frederick Warne & Co, now a division of the. On 1 January 2014, the copyright expired in the UK and other countries with a 70-years-after-death limit. Hill Top Farm was opened to the public by the National Trust in 1946; her artwork was displayed there until 1985 when it was moved to William Heelis's former law offices in, also owned by the National Trust as the. Potter gave her folios of mycological drawings to the in before her death.

The Tale of Peter Rabbit is owned by Frederick Warne and Company, The Tailor of Gloucester by the and The Tale of the Flopsy Bunnies by the. The largest public collection of her letters and drawings is the Leslie Linder Bequest and Leslie Linder Collection at the in London. In the United States, the largest public collections are those in the Rare Book Department of the, and the. In 2015 a manuscript for an unpublished book was discovered by Jo Hanks, a publisher at Penguin Random House Children's Books, in the Victoria and Albert Museum archive. The book, with illustrations by, was published 1 September 2016, to mark the 150th anniversary of Potter's birth. In December 2017, the asteroid, discovered by Belgian astronomer in 1992, was named in her memory.

Themes There are many interpretations of Potter's literary work, the sources of her art, and her life and times. These include critical evaluations of her corpus of children's literature, and interpretations of and Katherine Chandler. Judy Taylor, That Naughty Rabbit: Beatrix Potter and Peter Rabbit (rev.

2002) tells the story of the first publication and many editions. Potter’s country life and her farming has also been widely discussed in the work of Susan Denyer and by other authors in the publications of. Potter's work as a scientific illustrator and her work in mycology is highlighted in several chapters in Linda Lear, Beatrix Potter: A Life in Nature, 2007; Beatrix Potter: The Extraordinary Life of a Victorian Genius. Adaptations and fictionalisations In 1971, a ballet film was released, directed by Reginald Mills, set to music by with choreography by, and performed in character costume by members of the and the orchestra.

The ballet of the same name has been performed by other dance companies around the world. In 1982, the produced The Tale of Beatrix Potter. This dramatisation of her life was written by, directed by Bill Hayes, and starred and as the young and adult Beatrix, respectively., a TV series based on her stories, which starred actress as Beatrix Potter, has been released on by and later. In 1992, Potter's famous children's book was featured in the film. In 2006, directed, a biographical film of Potter's life focusing on her early career and romance with her editor. The film stars, and. Potter is also featured in 's series of light mysteries called The Cottage Tales of Beatrix Potter.

The first of the eight-book series is Tale of Hill Top Farm (2004), which deals with Potter's life in the and the village of between 1905 and 1913. In 2017, The Art of Beatrix Potter: Sketches, Paintings, and Illustrations by Emily Zach was published after San Francisco publisher decided to mark the 150th anniversary of Beatrix Potter's birth by showing that she was 'far more than a 19th-century weekend painter.

She was an artist of astonishing range.' More recently, John Patrick is adapting a number of Beatrix Potter's tales into an upcoming live-action/animated musical feature film for his brand-new film studio, called Storybook Studio. The film will be titled Beatrix Potter's The Tales of Peter Rabbit and Friends. English actress Jackie Weiner will play Beatrix Potter herself, with the voices of Sienna Adams as Peter Rabbit, Ronan McCoid as Benjamin Bunny, and Karen Zikas as Jemima Puddle-Duck. Publications The 23 Tales. Lear 2007, pp. 10–14.

^ Walker, Tim (22 July 2014). Daily Telegraph. Retrieved 16 August 2014. Taylor, Judy.

Frederick Warne, 1996. Retrieved 15 January 2014. Evening Mail, NW (21 July 2014). North-West Evening Mail. Archived from on 28 July 2014. Retrieved 16 August 2014. Lear 2007, pp.

Retrieved 19 September 2017. Lear 2007, p. 21. Lear 2007, pp.

35–36. Rupert Potter was a member of the Photographic Society, later from 1869 until 1912. Information from Michael Pritchard, Director-General /, 13 May 2014. Lear 2007, p. Rupert came into his father's estate over the course of several years, 1884, 1891 and 1905.

The Potters were comfortable but they did not live exclusively on inherited wealth; Lane, (1946) The Tale of Beatrix Potter 1946, p. 1. Lear 2007, p. 10. Lear 2007, p. 9. Lear 2007, p.

55. Lear 2007, p. 142; Lane, 1978.The Magic Years of Beatrix Potter. Lane depicts Potter's childhood as much more restricted than either or Potter's two later biographers.

Taylor, Beatrix Potter: Artist Story Teller, Ch 1.; Lear, 2007, pp. 25–48; Beatrix Potter, The Journal of Beatrix Potter: From 1881–1897.

Lear 2007, p. 458nn15. Judy Taylor, Joyce Irene Whalley, Anne Stevenson Hobbs and Elizabeth Battrick, (1987) Beatrix Potter, 1866–1943: The Artist and Her World, pp.9–17, 35–48; Lear, pp. Lear 2007, pp. 26–8, 51. Lear 2007, pp.

51–2. Potter, The Journal, 1885–1897. Lear 2007, pp. 52–3.

Lear 2007, pp.49–51 cf. 463nn1.

Potter, 'The Journal, 1885–1897'. Lear 2007, p. 474nn55.

Taylor, Artist, Storyteller, pp. 59–61; Elizabeth E. Battrick, (1999) Beatrix Potter: The Unknown Years; Lynn Barber, (1980) The Heyday of Natural History, Brian Gardiner, 'Breatrix Potter’s Fossils and Her Interests in Geology', The Linnean, 16/1 (January 2000), 31–47; Lear 2007, pp. 76–103; Potter, Journal, 1891–1897. Lear 2007, p. 98. Brian G.

Gardiner, 'Beatrix Potter's fossils and her interest in Geology,' The Linnean: Newsletter and Proceedings of the Linnean Society of London 16/1 (January 2000), pp. 31–47. Lear 2007, pp.

81–103. Lear 2007, p. Taylor and R.H. (2003) A Fascinating Acquaintance: Charles McIntosh and Beatrix Potter; Taylor, et al. (1987) Artist and Her World, pp.

71–94; Lear 2007, pp. 104–129; Nicholas P. Money, 'Beatrix Potter, Victorian Mycologist', Fungi. 2:4 (Fall 2009); Roy Watling, 'Helen Beatrix Potter: Her interest in fungi', The Linnean: Newsletter and Proceedings of the Linnean Society of London, 16/1 (January 2000), pp. Linnean Society. Retrieved 1 November 2011.

Lear 2007, pp. 104–25.

(January 2000). The Linnean: Newsletter and Proceedings of the Linnean Society of London.

Archived from (PDF) on 13 May 2013. Walter Philip Kennedy Findlay, (1967) Wayside & Woodland Fungi. Lear 2007, p.

125, p.482nn58. Lear 2007, pp. 30–1. Lear 2007, p. She liked to memorise his plays by heart. Lear 2007, p.

Beatrix said she learnt to read 'on' Scott. Lear 2007, p. 34. Lear 2007, p.131. She began eight Uncle Remus drawings in the same year 1893 she began writing the Peter Rabbit picture letters to Noel Moore, completing the last in 1896. Lear 2007, p.

33. Lear 2007, pp. 127–8. Taylor, et al., The Artist and her World, pp.

49–70; Potter, Journal, 1884–1897; Humphrey Carpenter (1985), Secret Gardens: The Golden Age of Children’s Literature. Lear 2007, p. Was the first artist to impress her. Taylor, Artist, Storyteller, pp.

Miss Potter Amazon Prime

70–95; Taylor, ed. 1989, Beatrix Potters Letters. Taylor, et al. 107–148; Katherine Chandler, 'Thoroughly Post-Victorian, Pre-Modern Beatrix.' Children's Literature Quarterly. 32(4): 287–307. Judy Taylor 1992, Letters to Children from Beatrix Potter.

Stevenson, Laura C. 'A Vogue for Small Books': The Tale of Peter Rabbit and its Contemporary Competitors'. Lear 2007, pp. 144–7. Hobbs 1989, p.

15. Taylor 1996, p. 76.

Judy Taylor 2002, That Naughty Rabbit: Beatrix Potter and Peter Rabbit; Lear 2007, pp. 207–247; Anne Stevenson Hobbs, ed. 1989, Beatrix Potter’s Art: Paintings and Drawings. See Judy Taylor 2002, 'That Naughty Rabbit'.

Lear 2007, pp.198- 201. Lear 2007, p. 207. Taylor, ed., (2002) Beatrix Potter's Letters; Hunter Davies, Beatrix Potter's Lakeland; W.R. Mitchell, Potter: Her Life in the Lake District. John Heelis, (1999) The Tale of Mrs William Heelis – Beatrix Potter; Lear, Ch.

McDowell, Marta (2013). Beatrix Potter's Gardening Life: The Plants and Places That Inspired the classic children's tales. Timber Press. Taylor et al. The Artist and Her World, pp. 185–194; Taylor, Artist Storyteller, pp.

William Rollinson, (1981) How They Lived in the Lake District; Susan Denyer, 1993 Herdwick Sheep Farming; Geoff Brown, (2009) Herdwicks: Herdwick Sheep and the English Lake District; Judy Taylor, ed., (1998) Beatrix Potter’s Farming Friendship. Lake District Letters to Joseph Moscrop, 1926–1943. Lear 2007, pp.

381–404. Jane Morse, ed., (1982) Beatrix Potter's Americans: Selected Letters; Susan Denyer, (2000) At Home with Beatrix Potter: The Creator of Peter Rabbit.

Heelis, Mrs. William Heelis; Taylor, ed., Beatrix Potter's Letters. Lear 2007, pp. 405–440; Taylor, ed., Beatrix Potter's Letters; Taylor, et al., The Artist and Her World. Thompson, 'Beatrix Potter's Gift to the Public'. Country Life (3 March 1944), 370–371; Taylor, et al., The Artist Storyteller, Ch.

6; Lear 2007, pp. 26 January 2016. Retrieved 26 January 2016.

Jones, Bryony (26 January 2016). Taylor, et al., (2009) The Artist and Her World. Considers Potter's career and life in chapters arranged thematically; The Pitkin Guide to Beatrix Potter. Retrieved 13 June 2010. Susan Wittig Albert.

Retrieved 13 June 2010. Westfield, NJ Patch. Retrieved 2017-07-30.

Further reading about Beatrix Potter. By Beatrix Potter.

Letters, journals and writing collections. Potter, Beatrix (1982). Jane Crowell Morse, ed. Beatrix Potter's Americans: Selected Letters. The Horn Book, Inc.

Potter, Beatrix (1992). Judy Taylor, ed.

Beatrix Potter's Letters. Potter, Beatrix (1992). Judy Taylor, ed. Letters to Children from Beatrix Potter. Potter, Beatrix (1977). Margaret Crawford Maloney, ed.

Dear Ivy, Dear June: Letters from Beatrix Potter. Toronto Public Library. Potter, Beatrix.

The Journal of Beatrix Potter, 1881–1897, transcribed from her code writings by Leslie Linder. Potter, Beatrix (1987).

Leslie Linder, ed. A History of the Writings of Beatrix Potter. Art studies. Hobbs, Anne Stevenson (1989). Beatrix Potter's Art. Hobbs, Anne Stevenson (1990). Beatrix Potter's Art.

Hobbs, Anne Stevenson (2005). Beatrix Potter: Artist and Illustrator. Jay, Eileen, Mary Noble & Anne Stevenson Hobbs (1992). A Victorian Naturalist: Beatrix Potter's Drawings from the Armitt Collection. Taylor, Judy, Joyce Irene Whalley, Anne Stevenson Hobbs & Elizabeth M. Battrick (1987).

Beatrix Potter, 1866–1943: The Artist and Her World. Biographical studies. Battrick, Elizabeth (1999). Beatrix Potter: The Unknown Years. Armitt Library and Museum and F.Warne & Co.

(23 July 2014). Retrieved 23 July 2014. This year (2014), the works of one of the most successful and universal writers of all time came into the public domain in many countries around the world.

Denyer, Susan (2000). Beatrix Potter: At Home with Beatrix Potter: The Creator of Peter Rabbit. Harry Abrams. Heelis, John (1999). The Tale of Mrs William Heelis – Beatrix Potter. Sutton Publishing. Lane, Margaret (2001).

The Tale of Beatrix Potter: A Biography (Revised Edition). Lane, Margaret (1978). The Magic Years of Beatrix Potter. Lear, Linda (2007). Beatrix Potter: A Life in Nature. Lear, Linda (2008).

Beatrix Potter: The Extraordinary Life of a Victorian Genius. Penguin Books. MacDonald, Ruth K (1986).

Beatrix Potter. Twayne Publishers. Mitchell, W.R.

Beatrix Potter: Her Lakeland Years. Great Northern Books Ltd. Taylor, Judy (1996). Beatrix Potter: Artist, Storyteller and Countrywoman (Revised Edition). Taylor, Judy (2002). That Naughty Rabbit: Beatrix Potter and Peter Rabbit. Taylor, Judy, ed.

'So I Shall Tell You a Story.' : Encounters with Beatrix Potter. F.Warne & Co. Taylor, Judy. Oxford Dictionary of National Biography. Oxford University Press.

Archived from on 13 July 2016. Retrieved 14 January 2007. External links has original works written by or about: Wikiquote has quotations related to: Wikimedia Commons has media related to.

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