In 1979 Hergé made a poster drawing for the “Prix Stéphane Janssen 1979 Royal Waterloo Golf Club”. You’ll notice that Stéphane Janssen is also featured in the drawing, namely below on the right (you can see the drawing in crayon of Janssen’s head right here, and 2 more studies here and here).
A few years later, in 1987, Bob de Moor was contacted by the Royal Latem Golf Club to create a poster for a tournament taking place on Saturday 28 March 1987. There are only so many ways to make fun of people golfing, yet, there is a striking resemblance between the drawing de Moor made 8 years after Hergé’s version for the Royal Waterloo Golf Club. The position and balance in the drawing are quite similar. Note however that where Haddock never succeeded in hitting the bal, in the version from Bob de Moor the ball is hit and goes into real pinball style across the drawing.
Personally we prefer Hergé‘s version for being that bit more styled whereas Bob de Moor went for the ‘brute force’ as we say in Dutch.
You’ll also recognize some people in the drawing Bob de Moor made, namely Barelli‘s (girl)friend Anne Nannah on the lower right (again a resemblance with the position of Janssen in the Hergé version) and who we think is Barelli’s cop friend inspector Moreau fleeing on the upper right. And we guess that there are more people on the poster from the club too, but the club sadly didn’t get back to our request for further info (and a better scan) so we could comment a bit more on this drawing. When we get more info, a new item will be posted.
If you are in possession of the poster and/or better scan, please contact us!
We all know the pastiche pages made by Bob de Moor, you can find some examples here, here, here, here and here (and there are more to come of course), but de Moor also was ‘victim’ of pastiches. A first one we show here is a Barelli pastiche made by Roger Brunel. It was published in the 3rd volume in the “Pastiches” series at Glénat Publishing back in 1984.
Barelli also appears on the front cover of the album next to many others such as Ric Hochet, Lefranc, Quick & Flupke, Natascha, Spike and Suzy, Benoît Brisefer and so on.
In the humoristic/erotic page you see Barelli (here renamed Barille or ‘Keg’ in English) meeting up with a journalist who is actually his (girl)friend Anne Nannah in disguise… with a strap-on. The reason for the strap-on is explained by Anne Nannah (her name actually means pineapple in phonetically French): “I wasn’t sure about your sexual orientation so I made sure I was properly equipped for every situation”. You’ll also note Cori in the painting above Barelli‘s bed. Poor kid.
Roger Brunel (born 12 September 1944 in Valence, France) is a comic artist especially known for his pastiche albums with a humoristic/erotic side. He is also the artistic director at Glénat and also took care of the “Romans de Toujours”-collection which features well-known novels turned into graphic novels.
In 1980 a pair of stickers were sold for UNICEF. The stickers were part of an action that was directed to raise awareness that hunger was still a problem (and it also was against the sale of weapons to countries were this was the case). The anti-weapon vs food subject is present in the drawings by Bob de Moor, Dany, Franquin, Peyo and Roba.
The 8 stickers represented various drawings made for the occasion by Bob de Moor, Peyo, Dany, Tibet, Derib, Franquin, Roba, and one which we can’t seem to identify (the ‘monk’ saying “La faim? J’ai déjà donné”). In the Bob de Moor drawing you see Barelli holding up an empty sac of rice while a military hands out bullets to an undernourished kid. Note that the military has a South American uniform almost the same one as the ones in “Tintin and the Picaros”. The black and white drawing of this Barelli sticker is available in Bob de Moor. 40 ans de bandes dessinées, 35 ans aux côtés d’Hergé but now you can also see the colored version.
Note that Franquin‘s – excellent and to the point – drawing was also used for a poster action. For those that don’t understand French, Gaston Lagaffe is saying “Are you sure we are helping them?” while giving an undernourished kid the milk bottle rocket.
In 1990 “Professor Sató’s 3 Formulae, Volume 2: Mortimer vs. Mortimer” was published, it was the twelfth book in the Blake and Mortimer series and although started by Edgar P. Jacobs, it was Bob de Moor who completed it after the death of Jacobs. Although lots has been written about it since – the general remark has been that given enough time and more freedom, de Moor could have delivered an album superior to what had to be rushed to meet the deadline (and it seems like it that also the last Blake and Mortimer album “The Septimus Wave” suffered the same ordeal as you can see in the huge difference in quality between the first part and the second part of said album).
But… in 1988 already de Moor had created a 4 page story for Blake and Mortimer, called “Mystère à Montreuil” aka “La Marque Verte” (The Green “M”) using a big green “M” which stood for Montreuil of course. The story was clearly a pastiche on the 1956 album “The Yellow “M”” but unlike his previous pastiches this one was in the most popular clear line style of Edgar P. Jacobs. The 4 page story can be considered one of the oldest communication campaigns ever done using the characters Blake and Mortimer. The 4 page brochure was realized by Bob de Moor for the french city of Montreuil and has as sole purpose to promote the cleanness of the city. A comic drawing contest was also organized and all of the 100 who won received “The Yellow “M””… quite strange, you’d expect them to have won the “La Marque Verte” 4 page story instead.
Note that it’s our guess (and we are 100% sure actually) that Johan de Moor also collaborated on this project, especially for the decors. You’ll especially recognize a typical Johan de Moor style of drawing people in cage 4 of the 2nd page. Johan de Moor would in 2009 also make a pastiche of the “The Green “M”” album cover for the cover artwork of the Belgopocket guide using his father’s Balthazar in front of a yellow question mark.
Speaking of Johan de Moor. It didn’t stay just with that Blake and Mortimer adventure and a cover for the son of Bob de Moor. As it seems Johan de Moor was one of many who wanted to take over the Blake and Mortimer series. The proof: on February 7th 2010, a Blake and Mortimer test page in crayon was auctioned at the french Kahn-Dumousset auction house. You can see that page on the left. A rarity which not many people are aware of. We’ll get back on this once we have spoken to Johan de Moor.
In 1981 several Tintin Journal cartoonists were asked to create a page depicting their ideal deserted island for a special issue on the aspect of deserted islands. The cover for that issue was created by Ernst, with other contributors (next to that of Bob De Moor) offering drawings or cartoons inside. You’ll find material by Ploeg, Didier Convard, Christian Gine, Michel Weyland, Jean-Claude Servais, Ferry, Crisse, François Craenhals, Magda, Franz and Bédu.
In the page made by Bob de Moor you see a small isle right after an atomic bomb has exploded (the mushroom sized cloud is still visible in the back of the page). Clearly the isle was also destroyed as all of the characters on the isle are reduced to skeletons. We recognize Julius Henry Marx aka Groucho from the Marx Brothers in the palmtree (or what is left from it), the wig (plus his hat, or is that Cori‘s?) of Harpo ‘Adolph’ Marx, Laurel and Hardy buried in the sand, Charlie Chaplin in the sea, Barelli and Bob de Moor himself (with indeed 2 missing fingers on his left hand as was the case in real life). Add to that a black cat (superstitious beliefs n’est-ce pas?) and 2 dead fish.
But also present are a bunch of artifacts: a Jerome Bosch painting (you would expect de Moor to use the normal dutch writing of Jheronimus Bosch though), a vinyl and the saxophone of jazz musician Coleman Hawkins (Bob de Moor being a jazz fan), a page written by novelist annex MI6 spy Graham Greene, a page by Hugo Pratt, the album “Tintin in the Land of the Soviets” by Hergé (in dutch this time) and a miniature sailing boat (little known, but de Moor built miniature sailing boats for later use in his Cori albums).
The text balloon says “What a blast was that my friends…. even here it’s not safe” indicating that de Moor had assembled his favorite items en persona around him for a quiet stay on a deserted island… with a bottle of champaign.
In 1984 Bob de Moor was asked to provide a drawing for the Boy Scouts calendar 1985. 2 projects were started, one with igloos and another one with huge wipers which made the window washers redundant. In the end the choice was made to go for the igloos instead. As you can see the igloos all have publicity on them, but publicity which has one way or another something to do with snow and/or the cold. You will also notice that the background of the towers is similar to the one Bob de Moor also created for the Citroën catalogue which the Studio Hergé delivered in 1985.
We see the following adverts: The airways companie Pol-Air (reference to Polar), Insurance company Vergla (reference to the french word verglas which stands for black ice), Zwip beverages (referring to the onomatopoeia of gliding in the snow), the Hareng tobacco (see herring in English), Cola On The Rocks, Super Gel Market (gel being frost in French), Lepac enterprises (referring to pack ice), the bar Les Glaçons (glaçon being french for ice cream or ice cubes), cinema Le Frigo (frigo being french for refrigerator) with the film “Le chaud et le froid” (“The warm and the cold”) plus the bar/restaurant Le Moins Soixante (french for ‘the under 60 degrees’).
We also see two boards, the one on the right shows the typical traffic sign for end of the motorway but with 2 skis here, and on the left we see a board announcing the arrival of the ‘high standard’ iglo tower “La partie visible de l’iceberg” (‘The visible part of the iceberg’).
In the front you will notice 2 inuits discussing with one saying that if it continues like that that within a few months his little iglo will be surrounded by those iglo towers. Below the calendar dates itself you see a 2 case gag in the typical de Moor style. The first case sees the guy explaining that he holds a nail which never bends. In the next case you see that the never bending nail did ‘bend’ all of his hammers.
In 1982 the Belgian poppy new wave act The Machines released their debut album “A World Of Machines”. The cover artwork was by none else but Bob de Moor, who was actually replacing the late Guy Peelaert (David Bowie has used his artwork on the “Diamond Dogs” album).
According to the band’s recently deceased frontman Paul Despiegelaere the band wanted to have a cover that stood out. Some magazines mistook the album for a Beatles bootleg though and pointed out that John, Paul, George and Ringo were not recognizable… The artwork of course showed the band members Paul Despiegelaere, Marc Maes, Joris Angenon and Jan De Vos.
The Machines are up until now mostly known for their 1981 single “Don’t Be Cruel” which became their breakthrough single. featuring the hit singles “Yellow Lights” and “(I See) the Lies in Your Eyes”. If interested, the album is on sale now right here.
In 1988 the Canadian Québec based publisher Réal Fillion issued a book “Un printemps à Québec” holding a portfolio of 14 drawings in color by some of the most famous comic artist from that time.
The portfolio we talk about here was published on the occasion of the 1st ‘Festival de la BD francophone de Québec’ (FBDFQ) held in April 1988. Réal Fillion was also the organizer of said festival.
Released on only 390 copies the “Un printemps à Québec” book is a hard to find item which however pops up on eBay every now and then.
Note for the Belgian readers : at the CBBD in Brussels they also have a copy in the library which you can scrutinize. The library is a place that is full of treasures for Bob de Moor fans actually. So you know what to do the next time you are in Brussels.
In the book you’ll find illustrations by the following comic artists: François Craenhals, Bob de Moor, Zoran, Antonio Cossu, Jean Morin, Mario Malouin, Martine Boutin and Johan de Moor. On the left you can see the drawing that Bob de Moor made in Québec on April 11, 1988. You can see Cori asking the direction to Réal Fillion where he has to drop a packet of European comics.
Note that one of the Québec comic artists who have since appeared there was Yves Rodier… does it ring a bell? More on Rodier and his encounter with Bob de Moor in the next days.
In 1956 the album “De schele zilvervos” (dutch for”The squint-eyed silver fox”) by Bob de Moor was released. This 4th album in the ‘Nonkel Zigomar, Snoe en Snolleke‘ series has a peculiar twist in the original cover artwork if you compare it to later editions. In the very first artwork (which you can see on the left) you see a fox next to the gunman. In a later version that fox would be replaced by a real squint-eyed fox – the animal also appeared as such in the album. De Moor completely redrew the cover adding more details to the sleigh and to the equipment of both the gunman and Uncle Zigomar.
Note that the later versions saw the dutch tekst rewritten (with less Antwerp-flemish) too. Luckily enough the adaptation kept the flemish character (with a humor that was quite like the one from Willy Vandersteen) very alive. Next to this the pages also underwent a facelift as de Moor was well aware that the stories were from his hectic period when he was working both at the Hergé Studios and also still delivering strips for the daily ‘Nieuws van de dag’. The biography “De klare lijn en de golven” (order here) learns us that Bob de Moor found an assistent, Geert de Sutter, who reworked the pages re-drawing the text balloons (which in the original versions were quite irregular), he also removed the shadow silhouettes in the foreground and replaced them by line drawings. The albums were then published in color by Casterman and Standaard Uitgeverij.
Also noticeable, in the early days the series was called ‘Nonkel Zigomar, Snoe en Snolleke’ whereas later on it would be renamed as ‘Snoe en Snolleke’ and even later would be completely rebranded as ‘Johan en Stefan’ in 1987 (not coincidently the names of 2 of Bob de Moor sons though they never were asked if they were ok with it so it seems).
This morning we received a scan from the dutch Televisier magazine issue of June 8 1974. The cover shows a still from the film “Tintin and the Lake of Sharks” but for the rest the magazine published the same colored version as the one which appeared the year before in the dutch Pep magazine, which means that both the decors and characters were inked by Bob de Moor instead of just the characters on a celluloid background as was the case for the official album.
Side note:the dutch title is somewhat bizar, it reads “Een strip over de echte KUIFJE” which translated like “A comic about the real TINTIN”. You’d wonder why they just didn’t put “A TINTIN comic” or “A comic with TINTIN” instead.
Televizier is an AVRO run magazine. For the non Dutch speaking, AVRO is a Dutch public broadcasting association operating within the framework of the Nederlandse Publieke Omroep system. Public-service broadcasting in the Netherlands is provided jointly by a number of broadcasting organizations under the tutelage of NPO.
As you could already see in our other article on “Tintin and the Lake of Sharks”, there’s quite a versatility in the covers used to announce this colored version in magazine. The reason why isn’t really known or at least has not been discussed in public. There were however official cover version drafts made for this album which never made it to the end stage. Instead magazines had to invent their own cover artwork by simply picking a case or a still in this example.
As a reminder, “Tintin and the Lake of Sharks” (French: “Tintin et le lac aux requins”) was directed by Raymond Leblanc (1972) holding a scenario, not by Hergé, but by Greg. Bob de Moor supervised the whole.