Shepard, E.H.

242 by 228mm., original ink drawing, signed "EH Shepard" lower right, framed and glazed, with two additional labels laid-down (one below mount) noting the provenance of the drawing

Norah Shepard; Veronica Flint-Shipman; Julian Slade and thence by family descent

Condition is described in the main body of the cataloguing, where appropriate.
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NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

A SIGNIFICANT DRAWING BY E.H. SHEPARD showing Winnie-the-Pooh (consulting a watch) together with Piglet standing at the foot of Owl's house and with Owl standing on a branch.

The drawing was not published in the Winnie-the-Pooh books published by Methuen between 1924 and 1928. It is, however, a contemporary drawing and, as such, a RARE unpublished example of Shepard's work.

THIS PIECE HAS A DISTINGUISHED PROVENANCE. Veronica Flint-Shipman (1931-2014), owner of London’s Phoenix Theatre, commissioned Julian Slade (1930-2006) to write a musical version of Winnie-the-Pooh in 1970. Slade, the composer of Salad Days (the longest running West End musical of the 1950s), used the well-known settings of Milne by Harold Fraser-Simon and added his own songs including, for example, a number entitled 'Poohsticks' ("Poohsticks, Poohsticks, | Let's play Poohsticks, | Both take one stick, | That makes two sticks…")

Flint-Shipman contacted Shepard's widow and asked if she had anything suitable as a first night present for the composer. Mrs Shepard discovered the present piece in a drawer and, with a suitable presentation laid-down it was presented to Julian Slade at the first performance in December 1970.

The musical would enjoy a number of successful revivals (at least three years at the Phoenix Theatre and, later, a touring production). The touring production was an early Cameron Mackintosh presentation and included Christopher Biggins as Pooh. The actor recalled in his autobiography, Just Biggins, that "…playing Pooh… was a surprisingly physical task. The show was adapted, with music, by the lovely Julian Slade. As Pooh my costume was hotter than hell. I had a tight hood, a vast thick suit and, unaccountably, a set of long johns to wear…" (Just Biggins: my story, London, 2008)