{"id":18428,"date":"2023-11-17T16:31:59","date_gmt":"2023-11-17T14:31:59","guid":{"rendered":"https:\/\/beile.fr\/?p=18428"},"modified":"2025-10-06T19:34:00","modified_gmt":"2025-10-06T17:34:00","slug":"quick-and-flupke-a-weeding-design-for-a-title-page","status":"publish","type":"post","link":"https:\/\/beile.fr\/en\/quick-and-flupke-a-weeding-design-for-a-title-page\/","title":{"rendered":"Quick and Flupke: a drawing by Herg\u00e9 for a title page"},"content":{"rendered":"
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Quick and Flupke: a superb drawing by Herg\u00e9 (1950) for a title page\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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This November 2023, beile.fr is offering the original of a superb illustration that Herg\u00e9 produced in 1950. This is an opportunity to look back at the colour reissue of The Exploits of Quick and Flupke<\/i> after the war, and particularly on the fourth volume of this collection.<\/b><\/p>

It was at the beginning of 1930 that Quick, a kid from Brussels, made his first mischievous appearances in Le Petit Vingti\u00e8me<\/i>. He was soon joined by Flupke. Five black and white albums were published between 1930 and 1940, the first two by \u00c9ditions du Petit Vingti\u00e8me, the others by Casterman.<\/p>

In October 1946, Louis-Robert Casterman decided that the time had come to reissue the Quick and Flupke stories in colour. In the months that followed, he and Herg\u00e9 thought about what the collection would look like. The size of the albums (smaller than a Tintin<\/i>) and the number of pages were discussed at length. In autumn 1947, Casterman finally opted for 36 pages, or 16 or 17 gags per volume.<\/p>

Herg\u00e9 had redrawn some episodes of Quick and Flupke<\/i> at the beginning of the war for the Flemish newspaper Het Algemeen Nieuws\u00a0<\/i>other old gags have recently been brought to life in colour for the weekly magazine Tintin<\/i>. This material will be used for the forthcoming collection, but these and other plates still need to be reworked. For retouching and colouring, Herg\u00e9 was helped by Guy Dessicy, whom he had recently hired. He was joined at the beginning of 1948 by \u00c9dith Laudy and Frans Jageneau. Marcel Dehaye, the artist's private secretary, wrote the dialogue. Lastly, Herg\u00e9 designed the covers and the decorative capitals illustrating the title pages.<\/p>

The first two volumes of The Exploits of Quick and Flupke<\/i> were released in 1949. The 3<\/i>th<\/sup><\/i> series<\/i> was published in 1950. The small team had their work cut out for them. Prisoners of the Sun<\/i> and In the land of black gold<\/i> are now available in bookshops, and the format of Popol and Virginie<\/i> and Stratonef H. 22<\/i> is underway. We are also working on the fourth volume of Quick and Flupke<\/i>which Casterman published in the spring of 1951. The next six volumes appeared regularly until 1961, and after many years of waiting, an eleventh volume closed the collection in 1969.<\/p>

But before returning to the 4<\/i>th<\/sup><\/i> series<\/i> from The Exploits of Quick and Flupke<\/i> - that's the one we're interested in here - let's take a diversion and look at Tintin<\/i>. As effective as film posters, the covers of the adventures of the reporter with the quiff often present a moment chosen by Herg\u00e9 from the story in question, but this is not always the case. For example, on the first cover of Cigars of the Pharaoh<\/i> in colour (1955), Tintin and Snowy stumble across three vitolas as they walk along a row of sarcophagi. In the story, the reporter actually finds the cigars in crates stored in another room. Herg\u00e9 has thus synthesised various elements of a long sequence into a single image. The cover of the Blue Lotus<\/i> evokes China, but not the opium den where Tintin is supposed to be when he hides in a vase, and so on.<\/p>

Street corners<\/b><\/p>

Herg\u00e9 did the same with Quick and Flupke<\/i>. The cover of the 4<\/i>th<\/sup><\/i> series<\/i> is an almost faithful reminiscence of one of the gags in the album, \"Mauvaise rencontre\". The two boys are sledging on a snow-covered pavement when they knock down a bearded man. In his fall, the bearded man takes the place of the blond boy, who runs behind without being able to catch up with his accomplice. On the cover, Herg\u00e9 has reversed the scene for the sake of legibility, as it has been decontextualised. Agent 15 now moves from left to right. The artist has also cropped the scene and added a little wink: only the lower part of Flupke's body is visible, but he is easily recognisable by the green colour of his jacket.<\/p>

The original of the caption on the title page was inspired by \"Bien mal acquis...\", another gag in the album. In these two panels, Flupke - who, let's not forget, is a child - is sneaking a smoke on a street corner. But Constable 15 catches him, confiscates his cigar and makes it his own. He relights it, takes a few puffs... and the cigar explodes. Hidden behind the wall, Flupke hadn't missed a thing. He whistled away, satisfied: his objective had been to trap the police officer.<\/p>

A street corner is useful in film or comics to make a character suddenly appear or disappear, to give him the opportunity to spy without being seen, or to provoke a fortuitous and spectacular encounter. Herg\u00e9 used this device on numerous occasions; we have just seen two examples. We also remember Didi watching over Tintin from a distance (The Blue Lotus<\/i>), Huascar's English style on page 20 of the Temple of the Sun<\/i>or the telescoping of Haddock and Alcazar at the beginning of Coke in stock<\/i>.<\/p>

The frontispiece to volume 4 of Quick and Flupke<\/i>Herg\u00e9 retained the scene in which the cigar is smashed in the policeman's face. Here again, he changed the scene slightly: Flupke was no longer alone but accompanied by Quick. Like the cover, this introductory image was intended both to announce one of the volume's gags and to summarise the spirit of the series. Another difference between this image and the one in the album is that Flupke no longer seems to be totally delighted by the good turn Agent 15 has fallen victim to. His slight smile is mingled with astonishment, as if he didn't really have anything to do with it. His companion also looks rather surprised. Perhaps Herg\u00e9 didn't want to give away too much of the punchline? What's more, the two boys aren't exactly hiding: readers should be able to recognise them straight away when they open their books!<\/p>

Herg\u00e9 at the top of his game<\/b><\/p>

The gag \"Bien mal acquis...\" was originally published in Le Petit Vingti\u00e8me<\/i> No 43 of 24 October 1935. The line is vivid, reflecting a certain spontaneity on Herg\u00e9's part. He hardly touched up the two plates when they were republished in the weekly magazine Tintin<\/i> in 1949, nor for the colour album. The 1950 cul-de-lampe was more thoughtfully designed. The Brussels artist was at the peak of his art: the line was precise, more 'cerebral', and the faces of the characters were framed by a perfect curve.<\/p>

This Indian ink illustration by Herg\u00e9 (produced on paper measuring around 17 cm square) has been enhanced with watercolour and gouache colours. We owe them to Guy Dessicy, who worked as a colourist for Herg\u00e9 and other artists at the magazine. Tintin<\/i> until 1953. Surprise and coincidence, the same original drawing was reproduced on the cover of the magazine Friends of Herg\u00e9<\/i> n\u00b0 76, published in autumn 2023!<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The Original drawing is available here.<\/a><\/p>\n


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Patrice GUERIN<\/span>
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Quick et Flupke\u00a0: un superbe dessin d\u2019Herg\u00e9 (1950) pour une page de titre Ajouter aux favoris En ce mois de novembre 2023, beile.fr propose l\u2019original d\u2019une superbe illustration qu\u2019Herg\u00e9 r\u00e9alisa en 1950. L\u2019occasion de revenir sur la r\u00e9\u00e9dition en couleurs des Exploits de Quick et Flupke apr\u00e8s la guerre, et particuli\u00e8rement sur le quatri\u00e8me volume de cette collection. C\u2019est au d\u00e9but de l\u2019ann\u00e9e 1930 que Quick, gamin de Bruxelles, fait ses premi\u00e8res fac\u00e9ties dans Le Petit Vingti\u00e8me. Il est tr\u00e8s vite rejoint par Flupke. Cinq albums en noir et blanc paraissent entre 1930 et 1940, les deux premiers aux \u00c9ditions du Petit Vingti\u00e8me, les autres chez Casterman. En octobre 1946, Louis-Robert Casterman estime que le temps est venu de r\u00e9\u00e9diter en couleurs les historiettes de Quick et Flupke. Au cours des mois qui suivent, Herg\u00e9 et lui r\u00e9fl\u00e9chissent \u00e0 l\u2019aspect que prendra cette collection. Les dimensions des albums (inf\u00e9rieures \u00e0 celles d\u2019un Tintin) et le nombre de pages sont longuement discut\u00e9s. \u00c0 l\u2019automne 1947, Casterman opte finalement pour une \u00e9paisseur de 36 pages, soit 16 ou 17 gags par volume. Herg\u00e9 avait redessin\u00e9 quelques \u00e9pisodes de Quick et Flupke au d\u00e9but de la guerre pour le journal flamand Het Algemeen Nieuws\u00a0; d\u2019autres anciens gags ont \u00e9t\u00e9 r\u00e9cemment mis en couleurs pour l\u2019hebdomadaire Tintin. Ce mat\u00e9riel servira pour la collection \u00e0 venir, mais il faut encore retravailler ces planches et d\u2019autres. Pour les retouches et le coloriage, Herg\u00e9 est aid\u00e9 de Guy Dessicy, qu\u2019il a r\u00e9cemment engag\u00e9. S\u2019adjoignent \u00e0 ce dernier, d\u00e9but 1948, \u00c9dith Laudy et Frans Jageneau. Marcel Dehaye, secr\u00e9taire particulier du dessinateur, cis\u00e8le les dialogues. Enfin, Herg\u00e9 con\u00e7oit les couvertures et les culs-de-lampe illustrant les pages de titre. Les deux premiers tomes des Exploits de Quick et Flupke sortent en 1949. La 3e s\u00e9rie para\u00eet en 1950. La petite \u00e9quipe a du pain sur la planche. Le Temple du Soleil et Au pays de l\u2019or noir sont \u00e0 pr\u00e9sent en librairie\u00a0; la mise au format de Popol et Virginie et du Stratonef H.\u00a022 est en cours. On s\u2019affaire aussi sur le quatri\u00e8me volume de Quick et Flupke, que Casterman publiera au printemps 1951. Les six tomes suivants para\u00eetront avec r\u00e9gularit\u00e9 jusqu\u2019en 1961, et, apr\u00e8s de longues ann\u00e9es d\u2019attente, un onzi\u00e8me volume fermera la collection en 1969. Mais avant de revenir \u00e0 la 4e s\u00e9rie des Exploits de Quick et Flupke \u2013 c\u2019est celle qui nous int\u00e9resse ici \u2013, faisons un d\u00e9tour du c\u00f4t\u00e9 de Tintin. Aussi efficaces que des affiches cin\u00e9matographiques, les couvertures des aventures du reporter \u00e0 la houppe pr\u00e9sentent souvent un moment choisi par Herg\u00e9 de l\u2019histoire en question, mais ce n\u2019est pas syst\u00e9matique. Ainsi, sur le premier plat des Cigares du Pharaon en couleurs (1955), Tintin et Milou tombent sur trois vitoles en longeant une rang\u00e9e de sarcophages. Dans le r\u00e9cit, le reporter trouve en r\u00e9alit\u00e9 les cigares dans des caisses entrepos\u00e9es dans une autre salle. Herg\u00e9 a donc synth\u00e9tis\u00e9 en une seule image divers \u00e9l\u00e9ments d\u2019une longue s\u00e9quence. La couverture du Lotus bleu \u00e9voque la Chine, mais pas la fumerie d\u2019opium o\u00f9 Tintin est cens\u00e9 se trouver lorsqu\u2019il se cache dans une potiche, etc. Coins de rues Herg\u00e9 a proc\u00e9d\u00e9 de m\u00eame avec Quick et Flupke. La couverture de la 4e s\u00e9rie est une r\u00e9miniscence presque fid\u00e8le de l\u2019un des gags de l\u2019album, \u00ab\u00a0Mauvaise rencontre\u00a0\u00bb. Les deux garnements, qui font de la luge sur un trottoir enneig\u00e9, ont dans leur \u00e9lan renvers\u00e9 un barbu. Dans sa chute, celui-ci a pris la place du blondinet, qui court derri\u00e8re sans pouvoir rattraper son complice. Sur la couverture, Herg\u00e9 a invers\u00e9 le d\u00e9cor de la sc\u00e8ne dans un souci de lisibilit\u00e9, celle-ci \u00e9tant d\u00e9contextualis\u00e9e. L\u2019agent 15 se d\u00e9place \u00e0 pr\u00e9sent de gauche \u00e0 droite. L\u2019artiste a aussi effectu\u00e9 un recadrage, et ajout\u00e9 un petit clin d\u2019\u0153il\u00a0: on n\u2019aper\u00e7oit plus que la partie inf\u00e9rieure du corps de Flupke, mais il est ais\u00e9ment reconnaissable \u00e0 la couleur verte de sa veste. En ce qui concerne le cul-de-lampe de la page de titre, dont nous vous pr\u00e9sentons ici l\u2019original, il s\u2019inspire de \u00ab\u00a0Bien mal acquis\u2026\u00a0\u00bb, un autre gag de l\u2019album. Dans ces deux planches, Flupke \u2013 qui, ne l\u2019oublions pas, est un enfant \u2013 fume en douce au coin d\u2019une rue. Mais l\u2019agent 15 le surprend, confisque son cigare et se l\u2019approprie. Il le rallume, tire des bouff\u00e9es\u2026 et le cigare explose. Cach\u00e9 derri\u00e8re le mur, Flupke n\u2019a rien perdu du spectacle. Il s\u2019\u00e9loigne en sifflotant, satisfait\u00a0: son objectif \u00e9tait bien de pi\u00e9ger l\u2019agent de police. Le coin d\u2019une rue est utile au cin\u00e9ma ou en bande dessin\u00e9e pour faire appara\u00eetre ou dispara\u00eetre soudainement un personnage, pour lui donner la possibilit\u00e9 d\u2019\u00e9pier sans \u00eatre vu, ou pour provoquer une rencontre fortuite et spectaculaire. Herg\u00e9 a us\u00e9 de cet artifice \u00e0 de nombreuses reprises\u00a0; nous venons d\u2019en voir deux exemples. Nous reviennent en m\u00e9moire aussi Didi veillant \u00e0 distance sur Tintin (Le Lotus bleu), Huascar filant \u00e0 l\u2019anglaise \u00e0 la page 20 du Temple du Soleil, ou encore le t\u00e9lescopage de Haddock et Alcazar au d\u00e9but de Coke en stock. En guise de \u00ab\u00a0frontispice\u00a0\u00bb du tome 4 de Quick et Flupke, Herg\u00e9 a retenu la case o\u00f9 le cigare se d\u00e9sint\u00e8gre avec fracas \u00e0 la figure du policier. L\u00e0 encore, il a quelque peu modifi\u00e9 la sc\u00e8ne\u00a0: Flupke n\u2019est plus seul mais accompagn\u00e9 de Quick. Comme la couverture, cette image introductive doit en effet \u00e0 la fois annoncer l\u2019un des gags du volume et \u00eatre une sorte de r\u00e9sum\u00e9 de l\u2019esprit de la s\u00e9rie. Autre diff\u00e9rence avec la vignette dans l\u2019album, Flupke ne semble plus se r\u00e9jouir totalement du bon tour dont l\u2019agent 15 est la victime. Son l\u00e9ger sourire se m\u00eale \u00e0 l\u2019\u00e9tonnement, comme s\u2019il n\u2019y \u00e9tait pas vraiment pour quelque chose. Son comp\u00e8re para\u00eet lui aussi assez surpris. Peut-\u00eatre Herg\u00e9 ne souhaite-t-il pas trop d\u00e9florer la chute du gag\u00a0? De plus, les deux gar\u00e7ons ne se cachent pas tout \u00e0 fait\u00a0: le lecteur doit pouvoir les reconna\u00eetre imm\u00e9diatement en ouvrant son livre\u00a0! Herg\u00e9 au sommet de son art Le<\/p>","protected":false},"author":6,"featured_media":18439,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-18428","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"\nQuick et Flupke\u00a0: un dessin d\u2019Herg\u00e9 pour une page de titre - Beile<\/title>\n<meta name=\"description\" content=\"Dessin Original\u00a0: un superbe dessin d\u2019Herg\u00e9 (1950) pour une page de titre. 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