A week ago Alain Demaret passed us a black/white version of the “Le Seigneur de Gonobutz” (“The Lord of Gonobutz”) album as prepublished in Le Soir. We presume this was in 1976 as there was also a prepublication of the story in Journal Tintin of 1976. This black and white publication had quite some hick-ups. Today we’ll discuss one already, namely 2 text balloons which remained empty, until 1983.
The page we discuss is page 26 of the Bob De Moor‘s “Le Seigneur de Gonobutz”, more precisely the 3rd frame of the 3rd strip on that page where you can see a grandma shooting at militaries whilst her two grandchildren are cheering. Cheering we said? In the Le Soir version there is no text in the text balloons.
And there wasn’t one either in the Journal Tintin as far as we know (we don’t have that particular issue in our archives – if someone has that issue, don’t hesitate to let us know).
The text from these text balloons is also missing in both the Rijperman and Bédéscope versions as published in 1980 and would only pop up in 1983 in the very correctly released Barelli compendium as published by Rombaldi. The text font however was different to the one used in the rest of the story.
So for 7 years, nobody knew what those kids were exactly cheering. The missing lines are “Vas-y mémé!” and “E’core pan-pan!” which you could freely translate as “Go ahead grandma!” and “Shoot again!”. The “E’core” was used to stress that the kid is really young and doesn’t yet know how to speak well French in this case, because the correct word should be “Encore”.
Note that the BD Must version as released in 2011 includes the correct text balloons. In later posts we’ll show you that there is more to this Le Soir version which is a bit odd to say the least.
Last week we posted a first article based on a few pictures that were sent to the family De Moor by Swiss Bob De Moor fan Thomas Brügger. We’ll present 4 of these pictures. Today we serve you the second picture which shows Bob De Moor in a rather unusual posture in his home in Ukkel at the Square Coghen. And again some details reveal a bit a more than what you see on first sight.
The picture you see here was also taken on July 20th, 1989. Some readers who also have the book “Bob de Moor. 40 ans de bandes dessinées, 35 ans aux côtés d’Hergé” will without any doubt recognize the model of an English merchant brig from 1850 which was also featured on a photo on page 72 of said book. A brig was a sailing vessel with two square-rigged masts. During the ‘Age of Sail’, brigs were seen as fast and maneuverable and were used as both naval warships and merchant vessels. In the picture we show you here you can also see the front of the sailing vessel which was not visible in the Lombard published Bob De Moor biography.
You can also see Bob De Moor standing in front of the vessel apparently doing a captain Haddock aka pretending to empty a bottle of wine. The bottle of wine looks like the “Chai de Bordes” from 1986 which had a drawing – a ‘vignette’ – featuring Barelli (thanks to Alain Demaret for the scan). You can see an example of the vignette on the left. It shows Barelli with a castle in the background. It’s obviously not the Moulinsart castle. You’ll also notice the bandage around Bob De Moor‘s left arm which was heavily bruised after slipping and consequently falling from an embankment during a holiday at the Belgian coast, in Knokke to be precise.
Although it’s not really easy to see what is in the bookcase, you can differentiate 3 Rombaldi volumes, 2 of which are presumably the Monsieur Tric / Balthazar volume and the Barelli volume. The 3rd volume is probably the Lefranc volume featuring the “Le repaire du loup” album next to “La grande menace”, “L’ouragan de feu” and “Le mystère Borg”. You can also recognize the complete Brabantia Nostra series (6 volumes) on the right. We’ll be talking more about the library from Bob De Moor in later posts.
In front of Bob De Moor on the small table you see a few albums from Cori, Johan et Stephan and Barelli (you know which ones?). All of the albums on the picture are probably in french. They are hardcovers, flemish albums usually had a soft cover (except for a few very limited editions and the Dutch version of the Barelli album “Le Seigneur de Gonobutz”). On the left you see what looks like a reproduction of the pencilled frontcover of the commissioned “Een Afspraak in 2009” album.
Tomorrow we’ll present you a cartoon from the De Moor archives, which many will never have seen before.