A test artwork version for the 80s version of ‘Barelli à Nusa-Penida (Volume 1)’

In the period 1982-1983 Bob De Moor created an extended version of the Barelli story “Barelli à Nusa-Penida” (volume 1 & 2), which was originally published back in 1951 for the Tintin Journal. The recreated versions were released in album format via Le Lombard with new/reworked pages and other cover artwork. And that’s precisely what we will talk about this time.

While talking with Noël Slangen for this article he mentioned he had a test version of a certain Barelli album cover. Since we know that some of these test versions are real gems, we asked if he could send us a picture. Two days ago we received a photo of said cover and behold, it’s a test version of “Barelli à Nusa-Penida (volume 1)” (version 1981)!

A test artwork version for the 80s version of 'Barelli à Nusa-Penida (Volume 1)'

There are some interesting details regarding this version. The 1st volume is called “1 Les prisonniers de Sambal Oelek” on this test version and not “L’île du Sorcier” like would be the case in the final version as published by Le Lombard.

A test artwork version for the 80s version of 'Barelli à Nusa-Penida (Volume 1)'

The number 21 (see the top left corner) also has vanished in the final version. Interesting to see, De Moor had added ‘collection vedette’ in the bottom left corner, but the album would in the end be released as a normal Le Lombard album (that was about time!) as the cheaper ‘collection vedette’ had ceased to exist as a standalone brand by 1977; the album “La grotte aux esprits” in the Les 3 A series being the final one (n° 50). As a result you see a pencil comment to bar ‘collection vedette’ and instead put the Le Lombard logo (here abbreviated as ‘Lombard’) in the bottom center. The same goes for Bob De Moor’s name which moves to the top middle.

In the final version Bob De Moor would clear some space for the logo (by bending the sorcerer’s body posture, thus making him smaller) which is also demanded in another comment on this test version (‘attention aux measures’) in the bottom right corner.

Note also that this cover artwork is one of several submitted to Le Lombard, the ‘project retenu’ comment indicates this clearly. The cover idea is based on the 1951 version as used in the Tintin Journal nr. 151 as you can see below.

A test artwork version for the 80s version of 'Barelli à Nusa-Penida (Volume 1)'

Lots of thanks to Noël Slangen for revealing this beautiful gem!

Sinterklaas with Bob De Moor in 1960

Famous Flemish comic collector Yves Kerremans contacted us a few weeks ago with a drawing by Bob De Moor he had found back in the daily Het Nieuws van den Dag of 2 November 1960. It depicts Sinterklaas on a roof full of antenna. Since it’s December 6th tomorrow, the day of Sinterklaas we thought it to be the perfect gift to all of our lovely young readers :).

Sinterklaas with Bob De Moor in 1960

For those unknown with the phenomenon of Sinterklaas. He is a mythical figure with legendary, historical and folkloric origins based on Saint Nicholas. Other names for the figure include De Sint (“The Saint”), De Goede Sint (“The Good Saint”), De Goedheiligman (“The Good Holy Man”) in Dutch; Sintekloi in West-Flemish; Saint-Nicolas in French; Sinteklaas in Frisian; and Kleeschen and Zinniklos in Luxembourgish.

Sinterklaas is celebrated annually with the giving of gifts on 5 December, the night before Saint Nicholas Day in the Northern Netherlands and on the morning of 6 December, Saint Nicholas Day itself, in the (Roman Catholic) southern provinces, Belgium, Luxembourg and Northern France (French Flanders, Lorraine and Artois). He is also well known in territories of the former Dutch Empire, including Aruba, Bonaire, Curaçao, and Suriname. What many don’t know is that he is the primary source of the popular Coca Cola Christmas icon of Santa Claus.

But in Belgium we celebrate the original one and so did Bob De Moor in 1960!

The drawing, signed as Bob De Moor, was made for the ‘Help Sinterklaas’ action run by De Standaard Soc. for the charity “Werken voor het Sinterklaasfeest der behoeftige kinderen” which would for years help children in need, focusing a lot on helping out disabled children from 1967 onwards. Many comic artists would contribute in the years to follow including Marc Sleen, Willy Vandersteen, Paul Geerts, Karel Biddeloo and so on.

In this particular drawing you see Sinterklaas struggling to go over the roofs due to the many TV antennas blocking his way. To understand the joke, you need to know that TV had only been introduced in Flanders in the year 1957. By 1960 it had become very popular not in the least thanks to the Worldexpo of 1958 when special antenna’s had been installed across Belgium to improve the broadcast signal. As a result hundred thousands of roofs suddenly had all kind of ugly TV antenna’s placed on it. 1960 was also the year that the BRT (Belgische Radio en Televisie) was born (formerly known as NIR).

It’s not De Moor’s most elaborated drawing, but it does have his typical humour. And it won’t take you much effort to imagine Once Zigomar in the role of Sinterklaas. In short, a small drawing, but with quite a lot of history around it.

Thanks a lot to Yves Kerremans for this very rare gem!

Noël Slangen and Bob De Moor, an interview: “Politics are a lot more boring then comics”

In 1982, more precisely from October 8 until November 15, the comic shop Stripgalerij Wonderland (located at the Paardsdemerstraat 19 in Hasselt (Flanders)) had an exposition on Bob De Moor. The expo opened the same day as the comic shop opened its door as it happens. The expo on Bob De Moor was followed by one on the work of the recently deceased Marc Sleen.

noel_slangen_08To our surprise, one of the people behind that exposition turned out to be Noël Slangen (52), best known to the Belgian readers as one of the most (and probably the most) important communication advisors Belgium has ever known. A few years ago he sold his communications companies, and he waved the whole communications sector goodbye. He is now CEO of the internet company Musebooks.world. Musebooks.world is a rather interesting project as the company has developed a new way of reading digital art books. Check out the website to see what it is all about. Next to that he is a columnist for the economics daily De Tijd plus senior advisor for UCARE Change where he coaches executives and entrepreneurs.

noel-slangen-tentoonstelling

But back to that exposition that took place some 34 years ago. For that occasion the young Noël Slangen had prepared a catalogue including a short bio of Bob De Moor plus scans of drawings (see the front cover on the left). Here’s what Slangen remembers from that period.

BDM: How did you roll into that Bob De Moor exhibition project? You were quite young no?

NS: I was 15 or 16 (editor’s note: he was 18) and was totally into comics. When I didn’t have to be at school I worked in a comic shop with the name Wonderland. But apart from that, I was really fascinated by comics and that has never changed. It was an idea of Luk Poelmans, the owner of the shop, to have a Bob De Moor exhibition. But I already was a fan of him because of the reprints that were being made of his work for the real comic lovers. Small editions in black-and-white, but it served his work well because it honoured the beautiful inking and line of Bob de Moor.

BDM: How would you define your affinity with his work? The booklet you published for the occasion was quite extensive considering it was pre-internet.

NS: I had everything of Bob that a sixteen-year-old could buy for a reasonable amount of money. But I knew a lot of collectors thanks to my work in the shop. And they provided me with some really extraordinary work. Even an original plate of an adventure that Bob de Moor started but never finished. I have put it in the catalogue and Bob was astonished to see it.

BDM: You have met Bob De Moor various times, how could you describe the man?

NS: He was impressive and modest at the same time. His professionalism was well known, but he was such an amiable guy. You just felt good if you had talked to him. I can imagine that he would have been a fantastic father for his children.

BDM: De Moor has been largely or even completely forgotten by the generation born after the mid-seventies. A pity, or something that was written in the stars?

NS: Bob De Moor made some work that had international power, like Balthazar. But he was not really the ‘entrepreneur’; he wanted to be part of a bigger story. You can see this in his career path. In his first work for the Tintin-weekly he just filled the holes that they wanted him to fill. If they wanted some work for their Flemish audience, he made it, and when they wanted something else he made fantastic work, but exactly fitting their question. That was also his approach, working for Hergé. I was really surprised to read that he had put his mind upon finishing the last Tintin. That was, in my vision, not the kind of working-relation he had established with Hergé. And you can also see that in the way that he made the second part of Sato after the death of Edgar Pierre Jacobs. Het was too serving in a way.

BDM: I noticed you also talked about the more obscure (often never re-published) work in the catalogue which he created in his early years, his pre-Tintin work for KZV, Kapoentje for instance. Naïve work or do you already see in there the talent he was to be?

NS: His early work is a mix between the swinging drawings that were used in the States in that era, heavily influenced by the animation industry and Disney. And in other work you already see how good he is in using a clear line. Typical for Bob De Moor was that he even changed his line for Barelli because Hergé asked him to do so, to make it more different from Tintin. In the lines he uses, you see his fabulous craftsmanship.

BDM: What’s in your Bob De Moor collection?

NS: I have sold a lot of my books and drawings, because the amount was just too much to keep finding room for. I also am more of a reader than a collector. Except from Marc Sleen, I sold all my antiquarian books. But I have kept a beautiful study in colour for a cover of Barelli from Bob de Moor, in a small format.

BDM: You were active in politics, sometimes I get the impression that politics are even more surreal than the most weird comic scenario?

NS: No, politics are a lot more boring then comics. So I’m glad I’m ready with politics, but I will never be ready with comics.