Dedication For Arabee Ernest Shepard and his great-granddaughter, Arabella Hunt in 1963. © The Shepard Trust Contents Cover Title Page Dedication Foreword Preface Chapter 1: Shepard and Milne: The Early Years Chapter 2: The Punch Table Chapter 3: When We Were Very Young Chapter 4: Winnie-the-Pooh Chapter 5: Now We Are Six Chapter 6: The House at Pooh Corner Chapter 7: Expanding the Image Chapter 8: The Twilight Years Chapter 9: Shepard’s Legacy Acknowledgments Index About the Author Copyright About the Publisher Foreword By Minette Hunt (née Shepard) I was delighted by the positive reaction to the collection of my grandfather E. H. Shepard’s work undertaken during the First World War—Shepard’s War—and this encouraged us to look again at the extensive archives left by E. H. Shepard to see if these could tell a further story about his most famous drawings: those for Winnie-the-Pooh and the other animals of the Hundred Acre Wood. Although the drawings for Winnie-the-Pooh are so well known across the world, perhaps less well known is how these actually came about, and the way in which my grandfather worked collaboratively and increasingly closely with A. A. Milne to create these now iconic illustrations. The sketches, drawings, and illustrations in this book throw new light on the creative processes which brought about these much-loved depictions of the imaginary toys and animals belonging to Christopher Robin. The Winnie-the-Pooh books were, unusually for that time, very much a joint venture between Milne and my grandfather. At that time it was usual practice for a publisher to commission an illustrator once a book was written, and the illustrations would be inserted in sections through the book, not necessarily adjacent to relevant text. However, after the great success of When We Were Very Young, both Alan Milne and my grandfather realized that they could achieve much more by working closely together to create a seamless experience for the reader. Establishing a joint creative process, they would meet regularly, often weekly, and discuss their respective contributions, making suggestions, proposing alterations and amendments, and often considering the look of the layouts on the printed page, which was extremely unusual. Therefore these books were amongst the first where the illustrations were not an afterthought and distributed randomly through the text, but were an integral part of the story. Minette Shepard, c. 1943. © The Shepard Trust Throughout this period my grandfather brought to all of his work a great sense of humility and humanity, I suspect partly at least as a result of his experiences in the First World War, and the recollection of his own happy family life when his own children were small probably conjured up something of the childhood innocence of Winnie-the-Pooh. He retained an essential humor, honesty, and truthfulness in his artistic work that characterized his approach to life as well as to work. I feel a special and personal connection to my grandfather when I look back over these wonderful drawings which have meant so much to so many childhoods around the world. I had the enormous privilege (not that I realized it at the time) to have had Growler, the model for the drawings of Winnie-the-Pooh, for the very early part of my childhood. I very much hope you will enjoy looking at these illustrations, drawings, and photographs, and reading about how they came about, as much as I have done in rediscovering them. Minette Hunt (née Shepard) Sussex 2017 Minette Hunt (née Shepard) Sussex 2017 Preface Winnie-the-Pooh, or just Pooh Bear—these words have a unique resonance in our cultural heritage. Across the world, from Tokyo to Los Angeles and from Melbourne to Copenhagen, a picture of Pooh will bring instant recognition, and often a smile. E. H. Shepard is one of a small and select group of illustrators to remain a household name—even forty years after his death, and more than ninety years after the publication of some of the most famous books of all time. When asked to close one’s eyes and conjure up an image of Pooh, what do we see? Inevitably, our personal favorite of E. H. Shepard’s evocative and iconic drawings. While the four books—When We Were Very Young, Winnie-the-Pooh, Now We Are Six, and The House at Pooh Corner, known collectively as the Winnie-the-Pooh books—have never been out of print, and have been through countless editions, the story of how the illustrations of this funny old bear and his friends came about has been relatively little told. This book tells that story, setting out how between them A. A. Milne and E. H. Shepard created a marriage of stories and pictures that lies at the heart of the timeless attraction of Winnie-the-Pooh. Featuring many previously unseen drawings, sketches, and unused illustrations, principally held in archives at the University of Surrey, the Shepard family archive, and private collections, this book shows how the images of Pooh and other well-known characters evolved and developed. E. H. Shepard is principally remembered for his iconic children’s illustrations (or “decorations” as they are always described in the Winnie-the- Pooh books) for the four Pooh books and for The Wind in the Willows—all of which were completed within a ten-year period from the early 1920s. Yet Shepard was much more than just an illustrator of children’s books. A prolific artist as well as an illustrator, his first works date from his childhood in the 1880s, and he was still drawing in the 1970s—an amazing ten decades of active work across a wide range of subjects and genres. Many feel that Shepard brought much personal experience to the “decorations” for the Pooh stories, not only in the use of his own son’s teddy bear, Growler, as the model for Winnie- the-Pooh, but also in the images of charm, innocence, and even whimsy that deliberately harked back to an idealized Edwardian heyday, when Shepard’s own children were the age of Christopher Robin. Unusually for that time, he was a very hands-on father, playing make-believe and delving into the dressing-up box to join in their games. An early sketch of an anxious looking Winnie-the-Pooh struggling into his duffle coat. © The Shepard Trust. Reproduced with permission from Curtis Brown. The trauma of the First World War, experienced at first hand by both Milne and Shepard, and the peacetime challenges that immediately followed—the epidemic of Spanish flu, widespread unemployment, and other social issues— may have seemed at times overwhelming, and so the Winnie-the-Pooh stories and the way in which they were presented struck a strong chord with families, adults, and children alike, desperate for an escape into a comforting fantasy. And while the stories and poems, largely set in London and in the Ashdown Forest in Sussex, are quintessentially “English,” from the very start they broke