In an interview Peyo (alias Pierre Culliford) gave in 1982 for Les Cahiers de la Bande Dessinée, Thierry Groensteen asked him whether the creation of Peewit helped much to enrich the series. “Definitely,” said Peyo. “My friends tell me that he’s the character most like me, and I really think that’s right. Without quite realising it, I gave him my own major character traits, in the same way that Franquin projected himself into Gaston, and Roba did the same with Billy’s father, and so on and so forth.”And Peewit is certainly the focal point of this cover, executed in 1959 for the publication of the seventh Johan et Peewit album. Peyo wanted to create a particularly elaborate composition, with an unusually detailed background worthy of a Bayeux tapestry! Unfortunately, however, his publisher suggested that he think up something else, focusing on the tournament, and altogether sim-pler. This rare cover for La Flèche noire (The Black Arrow) was not published therefore for almost half a century, until the publisher (Dupuis) decided to use it to illustrate an album in this series. And so in 2008 it was used for the second volume in the com-plete series published under the title Sortilèges et Enchantements (Witchcraft and Enchantments).Meanwhile, in 1991, Peyo used the illustration for a silk-screen ver-sion in 250 copies, all of them signed. In the words of his former assistant, Derib, “Peyo was Journal Spirou’s Hergé, but a more lively, a more humorous Hergé.” Hughes Dayez, Peyo l’enchanteur, Niffle, 2003, p. 55Full-colour silk-screen print, 250 signed copies, 1991Cover of the Golden Creek portfolio for the 44 pages in their original format.