Today I present you a rather rare item which I found in the archives of the family De Moor.
The undated drawing is very unlike Bob De Moor as you can see. The realistically drawn scene represents a war scene with a US soldier observing an enemy camp somewhere in a tropical country. Tropical because the plants shown in the image look tropical.
The scene makes me believe that this scene is about the war against the Japanese troops in Asia during World War 2. Now, where exactly this scene is situated is not really easy without the context surrounding the drawing of course but during World War 2 Japan occupied the following territories, so take your pick as far as the country that harboured this scene:
Several regions in mainland China – 1938 – 1945
French Indochina (Vietnam, Cambodia and Laos) – July 15, 1940 – August 29, 1945
Hong Kong (UK) – December 12, 1940 – August 15, 1945
Thailand – as an ‘allied’ state although induced – December 8, 1941 – August 15, 1945
British New Guinea – December 27, 1941 – September 15, 1945
Philippines (USA) – May 8, 1942 – July 5, 1945
Guam (USA) – January 6, 1942 – October 24, 1945
Dutch East Indies – January 18, 1942 – October 21, 1945
Portuguese Timor – February 19, 1942 – September 2, 1945
Malaya (UK)- March 27, 1942 – September 6, 1945
Andaman Islands (India) – March 29, 1942 – September 9, 1945
Singapore (Singapore) – March 29, 1942 – September 9, 1945
Kingdom of Sarawak (UK) – March 29, 1942 – September 9, 1945
Brunei (UK) – March 29, 1942 – September 9, 1945
Borneo (UK) – March 29, 1942 – September 9, 1945
Nauru – August 26, 1942 – September 13, 1945
Wake Island (USA) – December 27, 1941 – September 4, 1945
Burma – 1942–1945
Gilbert Islands (UK) – December 1941 – January 22, 1944
Christmas Island (Australia) – March 1942 – October 1945
Attu and Kiska Islands (US) – June 6, 1942 – September 27, 1943
If anyone has an idea for what this picture was used, please let me know at email@example.com .
Between 1949 and 1951 Ons Volkske featured the adventures of Fee & Fonske under the name “De Fratsen van Fee en Fonske” (which would also appear as “De avonturen van Mieleke en Dolf” both in Kuifje Weekblad… and Ons Volkse), see also our article “Mieleke & Dolf / Bouboule & Noiraud make their entry in 1949”. As you can see, the name of the series is not the same as both main characters saw their name changed from Fee & Fonske to Mieleke & Dolf for Kuifje Weekblad., (and apparently Ons Volkske followed in a later stage). Not that Bob De Moor paid much attention to the difference as you can see in today’s example where he mixes the names.
Good to know, the series consists of 100+ strips but was never published in its chronological order, instead you see the numbering going up and down (when he uses the ‘Bi’ signature or no signature at all) and disappearing (when he ads ‘Bob De Moor’ as signature or no signature at all). Also the haircut of the characters changes all the time which makes us believe that De Moor already had this series prepared a bit before they were published.
In the example we offer today you can see that despite the fact that the series is called “De Fratsen van Fee en Fonske”, the names used in the strip are Mieleke en Dolf. It doesn’t really make it easy to correctly complete the chronology of this 66-year old series.
Overtime you can see that the drawing style gets more and more refined hinting at his involvement in the Hergé studios.
This series has unfortunately never been published in book format, except for an extremely limited run (we talk about 50 copies at maximum) via Jean-Pierre Verheylewegen in 2001 (or 2002), but this publication didn’t include all of the strips ever published. At the moment I am collecting all the missing strips and have already been able tracing a lot, including the one you saw today.
During the Christmas period following Bob De Moor‘s death in 1992, his wife Jeanne De Belder sent out a Christmas Card with a drawing De Moor had made in the late 50ies / early 60ies. It’s was Luc De Meulenaere who tipped me off on this particular card. While cruising through the archives of the family De Moor one drawing caught my attention, it was the original of the card!
Something that is quite visible when you compare the print version and the final version is the greys used in the original drawing which disappeared in the printed card version, a pity because it gives the original an extra dimension, especially the night sky.
On the right of the drawing you can see a penciled message reading “Ki n° 47 page 26” and under that “<- 9 cm ->”. It could be that “Ki” (or is it a badly written “Kj”?), stands for ‘Kuifje’. Since we don’t have all the Flemish Tintin issues we can’t check if that drawing is indeed in one of the number 47s made between 1954 and let’s say 1965. If anyone has these issues, feel free to let us know!
The drawings depicts a scene which could have come straight from one of those lovely Robert & Bertrand albums by Willy Vandersteen (although that series only started in 1973). You see an older man (with a beard) reading a book whilst sitting in the entrance of his house.
Diving back in history, the house has a big resemblance with the houses you could find in De Kempen, a region in Belgium and the Netherlands, also called Kempenland or Campine in English, in late 1800, early 1900. Another clue is the Scots pine you see on the right which is a typical tree you can find in De Kempen due to the sandy soil.
And that I’m probably not far away from the truth shows this picture on the left, which I coincidentally found in a book by Karel van Isacker (not family of me, though he was a professor of my twin brother – also named Karel Van Isacker). The book “Mijn land in de kering 1830-1980. Deel 1: Een ouderwetse wereld 1830-1914” (2008) gives an idea how people lived between 1830 and 1914. And that very picture dates from 1900 from a family living in De Kempen in Belgium.
If anyone has a clue where the drawing was used for in the end, please send an email to firstname.lastname@example.org .
A few months ago we wrote that the team behind Brabant Strip had been able to find the original newspaper clippings of the 1954 Snoe and Snolleke story “De zwarte draak” (“The black dragon”). We now can confirm that the re-edition – in its complete version including the 4 missing strips from the Standaard Uitgeverij version – will be released as Fenix 110 by the end of 2015. We’ll update asap on what the cover artwork will be based on.
This re-edition is important for many reasons. The original version of this story as published in De Nieuwe Gids (and related newspapers) from 12 October 1953 until 30 January 1954 was in a flemish dutch. That very cosy language got annihilated when the Casterman and Standaard Uitgeverij re-editions replaced it by a dutch which was way too much ‘dutchified’. Both editors (and especially their translator) seemed to have forgotten that Snoe and Snolleke were Flemish and not Dutch to start with.
Next, no less than 4 strips were missing in the first album edition. Brabant Strip will edit this album in black & white in its Fenix Collection including the 4 missing strips.
The re-furbished “De zwarte draak” was originally supposed to be published by Casterman in 1989, but in the end it was Standaard Uitgeverij which would edit it in 1993.
We can also confirm that the newspaper clippings from the “Het Geheim van Vulcania”, the follow-up album from 1954, have also been retrieved. Also this album will be released in album format via Brabant Strip in 2016.
On October 1948 ‘t Kapoentje published the final page of “Willem De Vrijbuiter” (later renamed “Willem Koelbloed” for the publication in De Volksmacht in 1949) which was one of the more realistic stories Bob De Moor would create in his early career and which together with for instance “De Verklikker” (KZV 1949) would form a test platform for his Flemish Trilogy albums.
In 1984 Brabantia Nostra would release “Willem Koelbloed” for the first (and last?) time in album format, more precisely in a split album format together with the 1949 story “De Verklikker”. Just like the other albums by Brabantia Nostra also this one would only be released in black and white only. Note that also in this case there was no trace of the original drawings since those have since gone lots or have ended up in private collections, unreachable to the bigger public.
Today you can see the original colour version of the last page of this 1948 story just like it was published in ‘t Kapoentje some 67 years ago. The scan we took has been slightly altered in order to bring out the colours a bit more clearly but it remains very close to how it was printed. As you can immediately see, the colouring was not exactly perfect on this page as the blue colour was not correctly implemented (unlike the other colours). However, it surely gives this old story that extra touch. Look for instance at the supporting colour used for the text fragments which separates them way better from the other drawings compared to the black and white version. Note also the different heading of the page which is graphically more interesting than the rather boring version of De Volksmacht.
This is again an example of one of those older Bob De Moor stories which would benefit from a reissue in its original coloured version, if only in a limited collector’s only run.
But there’s actually another (4th) version – which never has been put in album format – and that’s a coloured upgraded version which was published in the Flemish newspaper Gazet van Antwerpen from February 5 1992 until May 16 1992 as a 2 strip comic.
First of all, it’s pretty clear that this coloured version was based on the actual drawings, the print is very clear and not based on newspaper strips. Unlike the reedited albums in colour in the Snoe & Snolleke series, the drawings here have remained like they were without alterations (Geert De Sutter confirmed that he never touched these drawings). That is with the exception of the 4 strips (of which you see 3 on the right) which Bob De Moor had altered for the Bédéscope version and which were not part of the original to begin with. One change ruins the pleasure a bit, namely the texts. Also here all text balloons have modern dutch, but highly sterile and very dutch sounding, including – horror oh horror – the ‘Oom Watje’ instead of Nonkel Zigomar…
There are more albums like this one which saw a coloured publication in Gazet Van Antwerpen with altered texts (but without redrawn parts) and which never were published in album format afterwards. The albums involved include: “De Gele Spion” (there was only a French version of this coloured album published in a Boogaloo edition), “De Blauwe Vinger”, “De Spaa-Motor” and “De with Mau-Mau” which mid-through was published in one strip and not as a double strip as was the case with all other coloured reprisals in the newspaper Gazet van Antwerpen.
The reason for these stories to be published like this might be pretty simple. Keep in mind that by then Bob De Moor was already seriously ill and it would have been impossible for him to oversee the preparation for the coloured re-publications since numerous alterations had to be done to the material. Most probably that is the reason why these 5 albums never saw a release in colour via Rijperman, Casterman or Standaard Uitgeverij.
We will update this story as we have requested some details from Johan De Moor.
Whilst cruising through the archives of the family De Moor, I stumbled on a drawing which appeared to be a never published before front cover for a new french version of “Oorlog In Het Heelal”. “Oorlog In Het Heelal” was originally created by Bob De Moor for the weekly magazine Ons Volk in 1949. It got 2 later publications, but only in magazines and never as a standalone album. Both the dutch written Ciso and the french written Comics 130 magazines would publish the story some 20 years later: Ciso in issue 5/6 (1971) and Comics 130 in issue 9 (1974).
The first publication in Ciso issue 5/6 (1971) included 10 pages on Science Fiction in Flemish and Dutch comics by Danny De Laet, the story “Pilot Storm” by J.J. Nieuwstraten preceded by a short introduction (33 pages), an introduction on Bob De Moor (3 pages), an 1974 artwork by Bob De Moor for the album and “Oorlog In Het Heelal” (32 pages). A last page includes a rather good oversight on De Moor’s bibliography until then. The back of the magazine features a cartoon by Bob De Moor which has basically no link with anything featured in the magazine itself. An extra let’s say.
The second publication was in French in Comics 130 magazine in 1974 included the 32 page counting “Guerre Dans Le Cosmos”, alas with a cover which was not by De Moor (although it is being sold as such on eBay and related sites), a special on Bob De Moor (4 pages), “L’ambassadeur” by Semjoa (8 pages), the price Saint-Michel 1974 (2 pages) and a mini-special on Mike Ploog.
Prices for both items are between 29 to 70 Euro depending on the quality. If you haven’t yet added them to your collection now is the time to act, because it has come to our attention that items featured on the Bob De Moor site tend to be searched for a lot once it has hit our pages. Consider that to be a nice side-effect :).
Note that the print quality in both magazines was far from being splendid, but that should probably be attributed to the material that had to be worked with – which looks like cleaned up copies from old magazines.
The drawing we show you today however shows that there were plans to reedit this story somewhere in the late 80s (1987-1989) in France, not via Rijperman as the placement of Bob De Moor’s name would make you believe, but via another partner. The project was however abandoned. Expect more details in the near future… On the bottom of the drawing Bob De Moor also placed the following remark for the publisher: “Tirer bleu + film trait sur Shoeller Merci!”.
We’ll get back on this as Johan De Moor is right now rebooting his internal drive to dig up some more details… :).
On April 11, 1946 the weekly lifestyle magazine Zondagsvriend would published a story called “Een dolle weddenschap” (English for “A foolish bet”) featuring a cowboy who accepts the challenge to jump out of a balloon with a parachute. The drawing there indicated that Bob De Moor was very familiar with drawing cowboys. Not very surprising because one of the earliest conserved drawings from Bob De Moor shows a shooting cowboy. In the archives of the family De Moor more drawings like these can be found and today we’ll show you 1 of these.
The partially inked drawing probably dates from 1941, like many of the other cowboy drawings in the archives. You can see a very cinematographic scene taking place in a bar where a cowboy shoots an opponent who has a knife in his left hand. Two other cowboys can be seen in the background. The way the 1st cowboy is positioned can be found back in other drawings De Moor made around that time, so it’s probably a favourite one but also a very difficult one (the number of not so well succeeded test drawings preceding this drawing indicate so).
It’s our guess that De Moor based the character in this second drawing on film star John Wayne. Not only does the shooting cowboy’s face look like Wayne, but you can also see some similarities with a poster from “Wyoming Outlaw” (a 1939 American ‘Three Mesquiteers’ Western film), and more precisely from the Italian version of the film, “Il grande sperone”. John Wayne‘s character Stony Brooke has exactly the same belt position on this poster, which is a painting based on a frame in the film, and also wears his scarf the same way like De Moor’s character.
It’s far from surprising that John Wayne is being depicted in some of De Moor’s drawings. Before the war De Moor had often been to the cinema watching all kind of films (including of course also pirate and cowboy films). Before World War II Antwerp had more than 40 cinemas that showed all kind of films.
Not surprisingly De Moor was still thinking about those great films when he was 15-16 years old in 1941, because what was shown in the cinemas during the German occupation wasn’t really his cup of tea: films about Wolfgang Amadeus Mozart, Richard Wagner and other Aryan characters featuring such German artists as Zarah Leander, Ilse Werner, Marika Rökk, Heinrich George and Hans Moser. For the young Bob De Moor a film like “Wyoming Outlaw” was way more adventurous. Here’s the trailer for the 1939 film: