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§ Ernest Howard Shepard (1879-1976) 'Swaggering Down the Steps' - an original illustration from The Wind in the Willows, first published in this form in 1951 signed 'E.H.Shepard' (lower left); inscribed with title and printing instructions along the bottom and 'original drawing/ the property of Ernest H Shepard/ Long Meadow/ Longdown/ Guildford, Surrey' (to the reverse) pen and ink with pencil on cardstock 24 x 20cm Provenance: With Walker's Galleries by 1953; Thence to an Essex country house private collection Exhibited: London, Walker's Galleries, An Exhibition of Water Colours and Drawings by Ernest Shepard, 1953, no.26 Literature: Kenneth Grahame, The Wind in the Willows, London: Methuen, 1951, 101st edition, p.132 Since its first publication in 1908, Kenneth Grahame’s The Wind in the Willows has appeared in various editions and reprints illustrated by nearly fifty artists, which has helped to crystallise the imagery of Ratty, Mole, Badger and Toad into the minds of millions across the world. Arguably, the most memorable and influential of these artists who helped the public visualise Grahame’s story was Ernest Shepard. He provided drawings for the first illustrated edition of 1931 and further full-page illustrations for the 101st edition of 1951, of which the present drawing is a fine example. These full-page drawings were later reissued in full colour for a special printing in 1959 that marked the book’s golden anniversary. Born in St John’s Wood, London, Ernest Shepard reportedly began to draw as soon as he gained the ability to hold a pencil. His father, an architect, instantly saw potential in his son and enrolled him at the Heatherley School of Fine Art, Chelsea, in 1897. After a year, at the age of 18, Shepard attended the Royal Academy Schools and in 1899 he won the Landseer scholarship followed by a British Institute prize in 1900. In the years that followed, Shepard began working as an illustrator on publications of works such as Tom Brown’s Schooldays by Thomas Hughes, David Copperfield by Charles Dickens, Henry Esmond by W.M. Thackeray, Aesop’s Fables, and Smouldering Fires by Evelyn Everett-Green. Also, to his delight, he had two satirical cartoons featured in an issue of Punch in 1907. However, the outbreak of WWI interrupted Shepard’s career, and he enlisted in the Royal Artillery where he was assigned to an intelligence section that sketched the combat area from their battery positions. Shepard’s service was notable and while a Second Lieutenant, acting as Captain, he was awarded the Military Cross for bravery at the Battle of Passchendaele. His citation read: ‘For conspicuous gallantry and devotion to duty. As forward Observation Officer he continued to observe and send back valuable information, in spite of heavy shell and machine gun fire. His courage and coolness were conspicuous.’ On returning to London, the then editor of Punch, Sir Owen Seaman, offered Shepard a full-time position and he was invited to join the ‘Punch table’ in 1921. While working at Punch, a conversation with another Punch table member E.V. Lucas and A.A. Milne led Shepard to illustrate some children’s verses of Milne’s that Punch was publishing. These illustrations became the nucleus for When We Were Very Young (1924), Now We Are Six (1927), Winnie-the-Pooh (1926) and House at Pooh Corner (1928). Arguably, these illustrations led to the Winnie-the-Pooh books’ popularity and made Shepard one of the most sought-after children’s illustrators of his day. Following his success, Shepard was asked by Kenneth Grahame to illustrate the 1931 edition of the hugely popular The Wind in The Willows. Shepard remembered his first meeting with Grahame at Church Cottage, Pangbourne, Berkshire fondly. He reportedly said of his characters to Shepard, ‘I love these little people, be kind to them’ (see Carolyn Hares-Stryker, The Illustrations of the Wind in the Willows 1908-2008, 2009, p. 14) and described the local meadows, rivers, and woods where he had drawn inspiration for his story. Shepard set off to sketch the places Grahame had described and these formed the basis of Shepard’s vision of Grahame’s text. Shepard recalled his final meeting with Grahame before his death in 1932, ‘I went to his home and was able to show him some of the results of my work, though critical, he seemed pleased and, chuckling, said, ‘I’m glad you’ve made them real’ (ibid, p. 14). Shepard gained considerable recognition as an illustrator during his lifetime and witnessed the rapid escalation in prices for his work. In spite of this, Shepard was said to be very modest and towards the end of his life donated a considerable number of his drawings to the V&A so that they could be enjoyed by future generations. 39 X 34.5cm framed
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