INVESTIGATION – In thirty years, the Briton who manages the heritage of Hergé has made the hero with the powder puff the “rolls-royce” of the comic strip. Not without disconnecting him from the young audience and discouraging some of his fans.
Thousand portholes! Tintin has never been as well as during confinement. On the web and social networks, he has been the object of countless hijackings of stickers, false covers and all-out pastiches. Album sales have also rebounded, attesting that many readers have found refuge in reading – or rereading – of his adventures.
At the end of the year, three new books continue to explore the work of Georges Remi, alias Hergé (1907-1983): The Castafiore, by Albert Algoud (Seeking noon), A little praise of Tintin, by Jacques Langlois (Éditions François Bourin) and Behind the scenes of Hergé, by Patrick Mérand (Éditions Sépia). Everything turned sour, however, when the auction house Artcurial announced last July the sale of a draft cover of the Blue Lotus piously preserved by the heirs of the Casterman family since 1936. This emblematic design, estimated between 2 and 3 million euros, rekindled the embers of a fire
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