Cards | Cotsen Children’s Library

A Family of Artists: Beatrix, Rupert, and Bertram Potter

Many people pity Beatrix Potter for her restrictive upbringing with limited contact with other children in the family home at 2 Bolton Gardens, London. For someone with her gifts, there were hidden advantages to her circumstances. Instead of being sent to school, she was educated by governesses, one of whom, Annie Moore, became a life-long friend. Beatrix and her younger brother Walter Bertram sound as if they were allowed to do pretty much what they liked in the school room on the top floor, which contained a small menagerie, a lab furnished with space for the dissection of specimens and their examination under the microscope. There was plenty of time for them to record what they saw in detailed sketches. In fact, they both drew constantly.

An unfinished portrait of Beatrix by Bertram in the collection of the V&A.

Their parents Rupert and Helen were artistic themselves and greatly attracted nature; the children’s interests were developed by the opportunities by the family’s wealth to take summer vacations in Scotland and the Lake District. From their teens onward, Beatrix and Walter used their freedom to explore the countryside and draw in their sketch books. They surely found inspiration in the classic story “Eyes and No Eyes,” by John Aikin from Evenings at Home (1792-1796). Many Victorian writers, including John Ruskin, Charles Kingsley, and Mrs. Molesworth, testified that reading it awakened their curiosity and sense of wonder by letting William describe everything he saw on a walk to Broom Heath. Nothing escaped his attention and everything delighted him, from the shy kingfisher, a cluster of sea shells in a marl pit, the remains of a Roman or Danish camp, the water rat who disappeared into his hole in the river bank. I can imagine Beatrix and Walter taking as much satisfaction in their adventures as did William.In 2023 and 2024 the Cotsen Children’s Library was exceptionally fortunate to have acquired two natural history drawings by Beatrix and one by Walter.Attracted by their strange beauty, Beatrix began painting fungi in the late 1880s but it was not until she made the acquaintance of Charles McIntosh, the so-called Perthshire Naturalist, that she began to make a serious study of them. This fine drawing was not signed or dated by Beatrix, but it was for a time owned by Captain Kenneth Duke, one of her executors. Doris Frohnsdorff, the distinguished Potter collector and antiquarian bookseller, purchased it and it was acquired from her estate.Also from the Frohnsdorff estate is this beautiful drawing of a kestrel executed by Bertram in 1886 which displays his considerable talent as a natural history artist. The small bird of prey is standing on one leg, the other one resting against the fluffy feathers on the lower part of the body. Its bright black eyes stare fearlessly at the viewer. Kestrels can be identified by the way they hover while hunting. Since Betram drew this specimen, the species’ population has dropped considerably.Beatrix’s splendid watercolor over pencil drawing of Peter Rabbit’s head from ten different angles dated 1901. It was torn out of a sketch book by Beatrix in 1928 and presented to seventeen-year-old Ernestine t’Hooft. She was the daughter of a curator at the Museum Fodor in Amsterdam, who was visiting with the Lake District with her family. During the visit, Ernestine bought a copy of Jemima Puddle-duck for her collection of Potter little books and the saleswoman told her that her favorite author lived nearby. Her father wrote to Potter (or rather Mrs. Heelis) and asked if they might visit her. The t’Hoofts were invited to tea and spent a very pleasant afternoon at Castle Cottage. Before they left, she presented Ernestine with this marvelous drawing of Peter from ten different angles, inscribed and dated it 1928. Ernestine kept her entire life: after her death, it came on the Dutch market.

Last but not least is another new Potter acquisition that fills a gap in the collection–one of Beatrix’s drawings for Christmas cards published by Hildesheimer and Faulkner.

Type two words—“creativity” and “children”—into the search bar, hit the magnifying glass icon, and watch the results cascade down the screen. The tenor of all these hits to scholarly articles in psychology, curriculum on public television for carers, websites devoted to child development, Ideas.Ted.com, etc. is unlocking every child’s imaginative potential is crucial to their intellectual and emotional progress.

Art instruction emphasizing creative self-expression through craft projects is believed to be among the best ways of opening up children’s minds to this process. The idea that children should be inspired to discover within the seeds of creativity and to release their individuality through art for its own sake rather than to prepare for careers dates back to early twentieth-century Vienna. Franz Cizek (1765-1943), the most celebrated professor of art education of his generation, promoted a method which encouraged pupils to teach themselves, discarding the traditional formal study of technique for the exploration of a wide variety of media.

Cizek’s course inaugurated in 1903 at the School of Applied Arts, with its strong ties to the Viennese Sezession, was not the only place in Austria where boys and girls were taught according to this philosophy. Emmy Zweybrück-Prochaska (1890-1956) opened a school just for girls in 1915. nfluenced by Cizek’s progressive, “permissive” methods, she brought deep interests in applied design, and the so-called naïve design language of indigenous peoples, and women’s handwork in the textile arts. Zweybruck parted company from Cizek in her practice in bringing out self-expressive potential through achievement of technical proficiency and her dedication to training both amateurs and young women aspiring to careers as artists.

A sample of work by some of Zweybruck’s students has been preserved in the Cotsen collection. Among the most delightful are the hand-drawn postcards. The assignment seems to have been to illustrate the front of a commercially printed card and write a message to their teacher. The illustration shown below is signed “E. C.” and the signature is “your Evelyn.” The back is postmarked “1916.” Lisbeth Haase is one of the most accomplished artists in the archive. Here is her design of a girl watering a cactus for a postcard. The black and white drawing is the right-hand half of a frame for a double-page spread in a book. The third is a clever jumble perhaps of Lisbeth’s favorite things or an assortment of subjects Zweybruck suggested be incorporated into some kind of picture.The largest group reflects the method’s foundational principle of letting children try their hands at different media and includes linocuts, collages, papercuts, and drawings, some signed by the young creators. One of Zweybruck’s techniques was to read aloud detailed descriptions or little stories lasting around 5 minutes and allowed the students “to find their way as best they can and will” in their responses. One day’s project must have been based on the legend of St. George and the dragon and it’s fascinating to notice the differences between these two attempts. Unfortunately they are both anonymous designs.Perhaps this whimsical collage of an elephant by “N. J.” was a design for a toy or figurine. N. J. used silver paper and sequins in addition to different colored papers.The horizontal borders in watercolor or cut papers are unsigned, but the linocut of the fence is credited to Zviki Abramowicz. The unsigned designs for borders range from abstraction to the highly stylized “primitive. It’s also possible to compare two versions of the same image within the archive. This design was executed in black and white and in full color. The black and white version of the Virgin and Christ Child was mounted on the same sheet as a quick sketch of several faces. This ambitious image is also unsigned.In the coming months, all the materials by Zweybruck’s students in the collection will be reorganized so they will be more accessible to researchers. The names of all the students who signed their work will also be recorded. Perhaps someone some day will try to identify the girls who studied with Zweybruck and establish how many went on to be artists.