Bob De Moor - Part 2

Bob De Moor illustrates Charles Kleinberg’s poetry recital ‘La Lune Violée’

by bernard
Jan 2, 2025
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From 3 to 8 December 1985 the Belgian French speaking poet Charles Kleinberg presented a…

by bernard
Jan 2, 2025
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On October 31st 1983, the Turkish children magazine Milliyet Çocuk, which basically was the Turkish…

by bernard
Jan 2, 2025
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One of my hobbies is going through all of the online and offline auctions that…

by bernard
Jan 2, 2025
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Back in September 2015 (time flies) we published the article “The cover for ‘War In…

by bernard
Jan 2, 2025
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In November 2014 and September 2015 we published 2 articles on the series Fee &…

by bernard
Jan 2, 2025
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While visiting fellow Bob De Moor admirer Jean-Luc Bostyn last week, I noticed the 1985…

by bernard
Jan 2, 2025
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In July 1950 Barelli appeared for the very first time in the Journal Tintin ("L'enigmatique…

by bernard
Jan 2, 2025
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A while ago a drawing of 4 illustrations (completed in watercolor) to be used for…

by bernard
Jan 2, 2025
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A few weeks ago I came across a drawing which depicted a scene on an…

by bernard
Jan 2, 2025
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A few days ago we announced the imminent publication in album format (for the very…

1948 story ‘Dat wondere pimpeltje’ finally sees an album format

by bernard
August 31, 2020
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In 1948 Bob De Moor drew a story, written by Jozef Van Overstraeten (who was the president of the V.A.B. or the Vlaamse Automilistenbond - an association for cardrivers basically) called "Dat wondere pimpeltje" (That wonderful pimple). The comic was published in the Kleine Zondagsvriend of that year. Note that this is one of the few occasions were the stories

In 1989 Casterman and Rijperman released the first color album version of "De Zondebokken" ("Les Bouts Emissaires" in French, and "De Geitenrijders" in the original Flemish version which was also the very first Snow en Snolleke album ever). For that reedition Bob De Moor would prepare a lot of different versions of the cover artwork. Today we present you one already which we found back in the collection of Olivier Marin and which was made for a Rijperman version in mind (the title is also in French and not in Dutch). The drawing was made on drawing stationary from the Hergé Studios as you can see and is rather small, but drawn in a very swift and fluent way. The black and white drawing is quite different from the final version as you can see below. In this early version you see Snow and Snolleke (renamed Johan and Stefan in the dutch version - Johan and Stephan in the French version) together with Uncle Zigomar (ridiculously translated Oom Watje in Dutch) looking at a goat statue placed on a high pedestal. Zigomar is holding a hammer, referring to his role as a sculptor in this album. You will notice that De Moor 'deleted' a sculpture in the background in order to make Zigomar more visible. Zigomar seems terrified of the statue, which is not really all that logical, it's a statue after all. And that might well have been Bob De Moor's reason not to go into this direction. Add to this that compared to the final version this one has a lot less action, you just see the trio watching the statue. In the final version, you find inspector Evaristus who is about to be knocked down whilst watching a sculpture of a goat. Small detail, the scene presented on the cover artwork of the album never happened in the album, in reality Evaristus was watching an empty pedestal. But Bob De Moor wanted to get the goat statue central in the drawing's action.

Bob De Moor made several versions for the reedition of ‘Les Boucs Emissaires’

by bernard
January 14, 2018
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In 1989 Casterman and Rijperman released the first color album version of the Johan and Stefan album "De Zondebokken" ("Les Bouts Emissaires" in French, and "De Geitenrijders" in the original Flemish version which was also the very first Snow en Snolleke album ever). For that reedition Bob De Moor would prepare a lot of different versions of the cover artwork.

Holes instead of socks – Bob De Moor post World War 2

by bernard
December 24, 2017
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In April this year we posted a drawing showcasing the lack of materials the Belgian population was confronted with as the second war continued. During (and especially at the end of) and also after the German occupation of Belgium, people were confronted with a lot of products not being available. The drawing, or rather the cartoon, laughed with the use

‘Oorlog in het Heelal’/’Guerre dans le Cosmos’ cover artwork refurbished for Sony advert

by bernard
July 23, 2017
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In September 2015 this site published the article "The cover for 'War In The Cosmos' which never got used for a French reprint" showing a drawing which appeared to be a never published before front cover for a new french version of “Oorlog In Het Heelal”, the story Bob De Moor created for the weekly magazine Ons Volk in 1949.

2 more 'Help Sinterklaas' cartoons surface

2 more ‘Help Sinterklaas’ cartoons by Bob De Moor surface

by bernard
July 22, 2017
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In December 2016 this site published an article titled "Sinterklaas with Bob De Moor in 1960" showing a cartoon which was published in the daily Het Nieuws van den Dag of 2 November 1960 (and which Yves Kerremans sent to us). The drawing in that article depicts Sinterklaas on a roof full of antenna and was made for the 'Help

‘De Leeuw van Vlaanderen’ in a reworked version by Johan De Moor

by bernard
July 11, 2017
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"De Leeuw van Vlaanderen", probably one of the best known (and appreciated) album ever created by Bob De Moor has seen several reeditions overtime since it's creation almost 70 years ago. Bob De moor always took care of the cover artwork which changed with almost every edition. However, when in 2002 the BCB (Belgisch Centrum van het Beeldverhaal) and the

Ersatz stockings and socks with Bob De Moor

by bernard
April 17, 2017
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During (and especially at the end of) the German occupation of Belgium, people were confronted with a lot of products not being available. By then the use of use of ersatz products was common. For those not familiar with the term 'Ersatz', it is a German word literally meaning substitute or replacement and often refers to things of poorer quality.

Info wanted on these 2 Bob De Moor ‘Explorers on the Moon’ advert sketches

by bernard
February 27, 2017
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This morning we received the following scans of 2 drawings (each sized 13,5 x 10 cm), both were sketched by Bob De Moor. Both sketches feature elements from the 7th Tintin album "Explorers on the Moon", the first one showing a drunk Captain Haddock floating in space (taken from page 10 in the album), the second showing Captain Haddock jumping

1947’s King Pi-Po-Pen in 1976

by bernard
February 19, 2017
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2 years ago the ever prolific Brabant Strip team dedicated its 100th album in their Fenix Collection to the 1947 album “Le Mystère du vieux chateau fort”, this time in a Dutch version. This Bob De Moor album was one of the few ones published on a scenario by his brother-in-law John Van Looveren, and it's one of the most beautiful

Bob De Moor portret ludo van looveren 1944 detail

Bob De Moor’s drawing of his baby nephew Ludo Van Looveren

by bernard
February 17, 2017
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On May 7 1944, whilst Antwerp (and the rest of Belgium) were still under German occupation, John Van Looveren became a father of a boy, Ludo. John was Bob De Moor's brother-in-law and married to Bob's sister Alice De Moor. Both John and Bob were very close around that time. Bob had for instance illustrated a story by John a

Bob De Moor illustrates Charles Kleinberg’s poetry recital ‘La Lune Violée’

Bob De Moor’s Barelli interpreted by Ömer Muz for Milliyet Çocuk

A bearded man in a kilt as the auction house says? Not really

‘War In The Cosmos’ gets published in colour with a Bob De Moor cover

Bouboule & Noiraud / Fee & Fonske are back for the very first time in album format – 71 years after their first appearance

Barelli goes eighties for the Stripschapkalender 1985

BD Must celebrates Barelli’s 70th anniversary with a new album

Preparatory drawings for Bécassine on the back of a Tintin chromo

Nesquik, Walibi and Bob De Moor

The birth of a cover for Bob De Moor’s ‘Dat wondere Pimpeltje’ by Johan De Moor