- 621
SHEPARD, "FOR A LONG TIME THEY LOOKED AT THE RIVER BENEATH THEM...", INK DRAWING, 1928 (FRAMED AND GLAZED)
Estimate
60,000 - 80,000 GBP
Log in to view results
bidding is closed
Description
- Attributed to E.H. Shepard
- "For a long time they looked at the river beneath them..."
- ink drawing on artist's board
180 by 140mm, original ink drawing, signed and dated "EHShepard | 29" lower left, mounted, framed and glazed, minor browning below mount
Provenance
Sold in these rooms, 24 February 1969, lot 199
Condition
Condition is described in the main body of the cataloguing, where appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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."
Catalogue Note
SHEPARD’S CONTEMPORARY RE-DRAWN VERSION OF PROBABLY THE MOST FAMOUS AND EVOCATIVE BOOK ILLUSTRATION OF THE TWENTIETH CENTURY. THIS ILLUSTRATION HAS BEEN IN A PRIVATE COLLECTION OF ALMOST FIVE DECADES. Shepard sold his original drawings for Winnie-the-Pooh and The House at Pooh Corner in exhibitions at The Sporting Gallery, Covent Garden. Such was the demand for key pieces, however, that Shepard is known to have re-drawn a few examples.
Shepard’s working method was to create a preliminary drawing on paper and, once satisfied with the composition, key details were transferred to artist’s board by rubbing a soft pencil on the verso of the preliminary and then tracing significant lines through the paper. As Shepard retained his preliminary drawings, he could re-draw compositions with some consistency.
Shepard’s preliminary pencil drawing was sold in these rooms on 10 December 2013. The original drawing, as used by the publishers was sold in these rooms on 20 April 1971, 10 June 1975 and 9 December 2014. On the last occasion it achieved a world record for the work of a book illustrator. A comparison between the preliminary pencil drawing, the original and the re-drawn version highlights a number of differences.
The first, and most striking, is that although Shepard had originally included some form of metal cladding to the post of the bridge, this was not included in the finished published drawing. For the present piece, having returned to the preliminary drawing, the cladding is finally present. The wooden grain in the bridge post has more detail in the 1929 version and the surrounding hundred acre wood in the background of the drawing also has increased detail.
The familiar image is an illustration for chapter six of The House at Pooh Corner and the "Poohsticks" episode. The chapter concludes with Christopher Robin, Pooh and Piglet left on the famous "Poohsticks" bridge by themselves. The tone suddenly changes from the excitement of a game - and tips about how to win - to a more wistful and contemplative mood. Milne writes that "for a long time they looked at the river beneath them, saying nothing, and the river said nothing too, for it felt very quiet and peaceful on this summer afternoon". Piglet breaks the silence and volunteers his view that "Tigger is all right, really". Pooh goes further and suggests "Everybody is really... But I don't suppose I'm right..." Christopher Robin's final affirmation that Pooh is indeed correct closes the chapter in a spirit of unified friendship and forgiveness. This illustration is therefore central to Milne’s message of community. It is used twice in the published book: within the chapter and also as the frontispiece. As a cultural reference, it has been parodied many, many times (see, for example, Private Eye, 13 November 1987).
The original bridge (Posingford Bridge, at Hartfield Farm, Sussex) had fallen into disrepair by the late 1970s. It was carefully restored and reopened by Christopher Milne in May 1979. At the ceremony it was claimed that the bridge was "as important a bridge as any in the world".
Shepard’s working method was to create a preliminary drawing on paper and, once satisfied with the composition, key details were transferred to artist’s board by rubbing a soft pencil on the verso of the preliminary and then tracing significant lines through the paper. As Shepard retained his preliminary drawings, he could re-draw compositions with some consistency.
Shepard’s preliminary pencil drawing was sold in these rooms on 10 December 2013. The original drawing, as used by the publishers was sold in these rooms on 20 April 1971, 10 June 1975 and 9 December 2014. On the last occasion it achieved a world record for the work of a book illustrator. A comparison between the preliminary pencil drawing, the original and the re-drawn version highlights a number of differences.
The first, and most striking, is that although Shepard had originally included some form of metal cladding to the post of the bridge, this was not included in the finished published drawing. For the present piece, having returned to the preliminary drawing, the cladding is finally present. The wooden grain in the bridge post has more detail in the 1929 version and the surrounding hundred acre wood in the background of the drawing also has increased detail.
The familiar image is an illustration for chapter six of The House at Pooh Corner and the "Poohsticks" episode. The chapter concludes with Christopher Robin, Pooh and Piglet left on the famous "Poohsticks" bridge by themselves. The tone suddenly changes from the excitement of a game - and tips about how to win - to a more wistful and contemplative mood. Milne writes that "for a long time they looked at the river beneath them, saying nothing, and the river said nothing too, for it felt very quiet and peaceful on this summer afternoon". Piglet breaks the silence and volunteers his view that "Tigger is all right, really". Pooh goes further and suggests "Everybody is really... But I don't suppose I'm right..." Christopher Robin's final affirmation that Pooh is indeed correct closes the chapter in a spirit of unified friendship and forgiveness. This illustration is therefore central to Milne’s message of community. It is used twice in the published book: within the chapter and also as the frontispiece. As a cultural reference, it has been parodied many, many times (see, for example, Private Eye, 13 November 1987).
The original bridge (Posingford Bridge, at Hartfield Farm, Sussex) had fallen into disrepair by the late 1970s. It was carefully restored and reopened by Christopher Milne in May 1979. At the ceremony it was claimed that the bridge was "as important a bridge as any in the world".