Ratty & Algy

Ratty & Algy by George Frink. Frink drew a popular feature called Circus Solly which became Slim Jim. Slim Jim was drawn by Frink at first and then passed on to Raymond Crawford Ewers, a talented California cartoonist. Slim Jim was copyrighted by C. J. Hirt and in 1904 the feature was taken over by World Color Printing. Top 1905/02/06 Bottom 1905/03/05.

Frederick Gilbert (1827-1902)

Frederick Gilbert was the brother of Sir John Gilbert, R.A. He seems to have been a reclusive sort of man, very little is known about his life. In Notes & Queries for 3 Nov 1900, Ralph Thomas, wrote that “Frederick Gilbert was a brother of Sir John Gilbert, in whose house at Blackheath, he lived. Though a skilful draughtsman, he left off practicing his profession many years before he died. I believe it was difficult to distinguish his work from that of his brother’s. His death occurred on March 26, 1902, in his 75th year, and he is buried in the family vault in Lewisham Cemetery, Ladywell.”

All of Frederick Gilbert’s work was done for the publisher John Dicks in his various publications. He illustrated the serials of Malcolm J. Errym (James Malcolm Rymer), and Edward Ellis (C. H. Ross & Ernest Warren) for Reynolds’s Miscellany as well as many serials for John Dicks’ Bow Bells, Every Week and The Boy’s Herald.

He illustrated a number of novels by G. W. M. Reynolds and contributed to many of Dicks’ English Library of Standard Works which included titles by Ainsworth, Lord Lytton, G. P. R. James and Sir Walter Scott.

The illustration at top is from “Owen Redgrave,” written by Edward Ellis and published in the Boy’s Herald, July 1877, a reprint of “The Buccaneers; or, The Hidden Treasure,” from Reynolds’s Miscellany, Volume 34, No. 877. April 1, 1865. I have already posted a number of Gilbert illustrations in my posts on Boy’s Herald HERE.

The Dragon and the Dazzle

The Dragon and the Dazzle: Models, Strategies, and Identities of Japanese Imagination a European Perspective, by Marco Pellitteri, Tunué International, 2010.

This English edition of an Italian book, The Dragon and the Dazzle, by cultural sociologist Marco Pellitteri, is a deep and involving look at the transcultural diffusion and impact of Japanese manga, anime, and video games in the European countries of Italy and France. While the author’s aim was to write a book accessible to an academic and popular audience, the book is a little challenging in parts, from the point of view of the common reader. Even so I doubt if a more erudite and penetrating book has ever been written about the global diffusion of Japanese popular culture, during two periods (the Dragon and Dazzle of the title) which had a profound influence on western producers of comics, graphic novels, and animation. The Scott Pilgrim series, produced and printed in Canada is a perfect example; little books that have the look and feel of manga as filtered through the eyes of a Caucasian cartoonist.

Pellitteri follows Japanese culture’s arrival in Europe in two historical periods he calls the Dragon phase (1975-1995) and the Dazzle phase (1996-present day). Pellitteri was born at just the right time to experience the cultural changes wrought in Italy during both phases of arrival and his analysis is both scholarly and enthusiastically personal. He illuminates the roots of Japanese popular culture using examples from anthropology, folklore, robotics, and language, then focuses on a close study of the penetration of anime and manga into Italy and France. Goldrake, Sonic, and Pokemon were initially regarded by many parents and religious authorities as an alien or satanic conspiracy to “Japanize” the children of the west through television and comic books.

The Dragon and the Dazzle is a compelling cultural history and an excellent textbook for students, researchers, and teachers. It should stimulate further explorations of the influence of anime and manga in other countries like Britain, Canada, and the United States. Marco Pellitteri has recently started what promises to be a fascinating column on Italian fumetti and fumetto for The Comics Journal blog HERE. His thoughts on comics and criticism can be found in the comments section HERE. Finally some amusing comments by Pokemon and anime fans who stumbled onto a cover scan of The Dragon and the Dazzle HERE.

Sir John Gilbert as Illustrator

Sir John Gilbert was born at Blackheath on 21 July 1811, the son of Felix Gilbert, land and estate agent, of Blackheath Lane. Gilbert was employed as a clerk in the office of Dickson and Bell, estate agents, from 1833 to 1835. In 1836 he was introduced to the public as a painter at the gallery of the Society of British Artists in 1836. In 1838 he began commercial work as a black and white illustrator for Dean & Munday of Threadneedle street. He was a regular illustrator for The Illustrated London News beginning in the first number. The Magazine of Art estimated that he had done 30,000 cuts for that periodical alone.

Frank Jay related that “John Gilbert began his connection with THE LONDON JOURNAL in 1846, and it lasted -- with the exception of a few months interval first in 1850 and again in 1859 -- till the spring of 1863, when he abruptly, in the middle of a long serial story, announced his decision to retire finally from the practice of woodcut illustration.” His most famous illustrations to LJ were to the serials of John Frederick Smith, the author of the celebrated “Minnigrey,” but he also illuminated the melodramatic serials of Pierce Egan, Percy B. St. John, Watts Phillips, Mrs. Gordon Smythies, and Mrs. E.D.E.N. Southworth. J. F. Smith’s “Minnigrey” and “Stanfield Hall” were later issued in penny numbers by John Dicks, with wood-cut illustrations by the prolific artist. In 1849 he illustrated Ainsworth’s “Rookwood, a Romance,” for Routledge.

The sculptor Thomas Fowke told Ralph Thomas, a collector of Gilbert’s LJ woodcuts, that “a boy was sent down to Gilbert’s at Blackheath with the portion of the story for the next number of The London Journal, and that Gilbert read it, drew his illustration straight on the woodblock, and gave it to the boy to take back to him!”

Gilbert designed the fourth cover for Punch in 1843 and, for the same periodical, contributed the opening illustration to a spoof of LJ serials, Mokeanna; or, the White Witness, by Francis Cowley Burnand, for 21 February 1863. Gilbert worked with the Dalziel brothers on various classics of English Literature including Shakespeare, Malory, Bunyan, Scott and Dickens. Gilbert never married. He died at Ivy House, Blackheath, on October 5, 1897, and was buried in Lewisham Cemetery, in the family vault.

See photo of Sir John Gilbert HERE as well.

Gilbert illustrations to J. F. Smith's Minnigrey HERE.

José Luis and Alberto Salinas

José Luis Salinas was born in Buenos Aires, Argentina, on 11 Feb 1908. His grandfather was an emigrant in Montevideo during the time of the Rosas. In 1929 he was employed by the Exitus agency as an advertising artist. Although he stayed until 1939 Salinas began experimenting with comics, concentrating on the romantic style of Hal Foster, Burne Hogarth, and Alex Raymond.

In December 1936 he made his name when a thrilling pirate serial, Hernan el Corsario, began publishing in Patoruzú, a magazine named after Dante Quinterno’s famous comic Indian. In 1937 he began illustrating comic adaptations of the classics for El Hogar. Titles included The Last of the Mohicans, The Scarlet Pimpernel, and The Three Musketeers.

In 1949 José Luis moved to the United States where he assisted various cartoonists (including Frank Robbins) before he was contracted by King Features to draw The Cisco Kid western comic strip, with scripts by Rod Reed. The strip began on 15 Jan 1951 and came to an end on 10 Aug 1968. He contributed to the British weekly Tell Me Why in 1969 and drew a King Features comic strip, Gunner, written by Alfredo Grassi, from 1971 to 1972. He died 10 Jan 1985.

José Luis’ son Alberto César Salinas, born in Buenos Aires 1 Nov 1932, followed in his father’s footsteps, and became a popular cartoonist in Argentina and abroad. He too, began in advertising; for Pueyrredón Propaganda. His initial comic work began in 1950 with the series Capiango in Superhombres magazine. In 1961 he drew Spartacus for the Italian Eurostudio. In 1968 Alberto ghosted The Cisco Kid comic strip while José Luis was in Europe. José Luis, who generally worked without assistants, had problems with his eyesight and was operated on for cataracts. The strip continued with the help of his son.

Alberto Salinas returned to Argentina where he worked as an illustrator and drew comics for Editorial Atlántida, Editorial Columba and Editorial García Ferré. Dago, with scripts by Paraguayan writer Robin Wood, was first published by Columba in Argentina then in Italy for Eura Editoriale from 1983-1986. He drew a Dracula comic with scenario by the same author. He contributed many illustrations to Look and Learn in London and taught workshops in his specialty in Britain, Spain, France and Sweden. He was the recipient of the prestigious Yellow Kid Award in Italy. His paintings of horses were exhibited at the Exhibition Rural de Palermo.

Alberto Salinas was a knight of the Order of the Holy Sepulchre. He died about 2 January 2005, apparently victim of a shooting accident. His Wikipedia entry gives the date of death as 27 Nov 2004 but I am relying on the obituary which appeared in La Nacian Cultura for 3 Jan 2005.

Rocambole

Ponson du Terrail’s great criminal mastermind Rocambole was introduced in France in La Patrie in 1859 in a newspaper feuilleton called Les drames de Paris that has remained in print to this day. Rocambole’s adventures were popular all over the continent, in Belgium, Spain, France, Italy and Germany. In England he appeared in 1867 at the Grecian Theatre in a wild melodrama called The Knave of Hearts. The author was William Suter.

Feuilleton is French, from feuille, “a leaf.” The word was also a pun on Octave Feuillet (1821-1890), the originator of the French newspaper serial. Its interesting that “flying sheets” as sold by flying stationers -- street hawkers and ballad singers "on the fly," was a term for English broadsheets, usually printed on one side, sometimes just text -- sometimes caricature like the broadsheet "comicalities" of C. J. Grant, the Cruikshank’s, John Leech, and Phiz. In Germany “Fliegende Blätter” the comic periodical published by Braun & Schneider translates as “flying leaves.”

The creator of Rocambole, Ponson du Terrail, was a favorite with the caricaturists of La Lune and La Petite Press, in one picture stirring his characters into a boiling pot, perhaps this was the origin of the term “pot-boiler.”

The author’s greatest influence was Sue’s Mysteries of Paris, which had in turn been influenced by The Memoirs of Vidoq, the “French Jonathan Wild.” Rocambole was the grandfather of Moriarty, Zigomar, Rouletabille and Fantomas. Ponson du Terrail wrote most of his manuscripts at a small coffee-house on the Boulevard du Temple, in Paris. When he died the café was renamed Café Rocambole in his honor.

Most recently (2009) Rocambole was the subject of a bande dessinée from Delcourt’s Ex-Libris series of classic tales of literature where he keeps good company with Dickens, Poe, Kafka and Voltaire. The scenario was by Frédéric Brrémaud with great art by the Italian cartoonist Federico Bertolucci.

Excerpt from Parisian Notabilities Bentley’s Vol. XVI 1864

“In these pages I have already given some interludes from a very chequered career in Paris, extending over ten years. I now purpose consulting my diary and telling my readers something about various strange characters whom I either met or heard of during the period. I cannot commence my picture gallery with a worthier type of the day than the most popular novelist who has stepped into the popular shoes of Alexander the great, and is becoming more and more adored by the lovers of sensationalism with every romance his prolific pen produces.

The Vicomte Charles Dieudonné de Ponson du Térrail is a gentleman who earns his fifty thousand francs a year, and hence is a highly respected personage, who in the great gold balance, in which everybody is weighed in Paris, stands higher than a councilor of state, who has only twenty-five thousand francs a year. Since the new Empire it has been fashionable to give any man who distinguishes himself in any way the agnomen of Napoleon; and thus Ponson du Térrail is called, and not unfairly so, the Napoleon of the Feuilletons. He has really acquired the first place in the rez de chausée of the daily papers. He rules there as an unbridled autocrat; everything is laid aside when he appears with a “to be continued,” and many thousand readers, male and female, certainly read Ponson’s Feuilleton before they turn to current events.

The great significance of the Parisian feuilletons dates from the time when the two most celebrated romance writers, Dumas and Sue, commenced the publication of their sensational and monstrous works, which day by day, kept the readers in a state of excitement, and spread through Europe in wretched translations. It was stated with amazement that Dumas was paid a hundred thousand francs for his “Monte Christo,” Sue an equal sum for his “Wandering Jew,” and even double for his “Mysteries of Paris.” Such a thing could not be comprehended, and such was the case with the romances themselves, which were nothing but a pot-pourri of impossibilities, absurd crimes, and eccentric scenes of virtue, but which pleased through their very eccentricity and impossibility, and were not merely read, but devoured.

From that period all French romances passed through the feuilleton, though not with the same success, and, only to mention one author, George Sand made her début before the public in this way, and in a few years laid the foundation of her present enormous fortune; though she wrote her first romance in a wretched garret on the Quai des Augustines. Such prospects were so tempting as to produce hundreds of imitators; but as in Paris only novelty draws so long as it is novel, the same was the case with the feuilletonists -- the wares gradually fell in price, the gold mines were exhausted, and the dream of California was unattainable by the majority. After the February revolution politics exclusively occupied heads and pens, until the coup d’etat put an end to liberty of the press and political discussions, and turned the attention of the French once again to more innocent and less dangerous literary pleasures.”

The entire Bentley’s article can be read HERE (pp. 343).

Spirou le journal d’un ingénue

Spirou le journal d’un ingénue, scénario et dessin by Émile Bravo, Dupuis 2008.

This fourth album in Dupuis’ alternate series of Spirou tales is a very impressive work of Hergéan inspired comic art. It preceded Yann and Schwartz bande dessinée Spirou Le Groom Vert-De-Gris by one year. Schwartz and Yann reworked the children’s comic as a violent fast moving adult-oriented adventure, while children’s book illustrator Bravo’s version is a quiet slow moving evocation of childhood, first love and friendship in the tumultuous year 1939. In May of that year the journal Le Vingtième Siècle stopped publication of the Tintin episode then in progress; Tintin in the Land of Black Gold.

Spirou works as a bellhop at the Moustic Hotel but lives quite some distance away in a seedy part of town in a top floor room with plank floors and peeling walls. He sleeps on a lumpy mattress on an iron cot with a chamber pot and a bowl for morning ablutions. He readies himself for work in front of a cracked mirror and has a picture of a Madonna and child on the wall. His shelf contains copies of the Bible, Davy Crockett and Tintin in the Land of the Soviets. Bravo draws with a brush in a naïve style very similar (probably unintended) to that of John Stanley’s 60’s comic Thirteen Going on Eighteen.

The story does involve Nazis but that peg of the plot is peripheral to Bravo’s main concern, the blushing romance between Spirou and a young Jewish girl who also works at the Moustic Hotel in domestic service. There are dazzlingly atmospheric pages involving Spirou’s first meeting with the journalist Fantasio; a cold morning game of football with a neighborhood kid gang; a revival of Spip, the squirrel, from an accidental electrocution; a boat-ride on the lake with his girl; an open air sale of used goods; and Nazi intrigue at the majestic Moustic Hotel. Unusual for these days my fingers keep itching to pull this unforgettable album off the shelf to revisit haunting images that stick to the brain like glue.

A blog devoted to the art of Émile Bravo can be found HERE.

Alberto Giolitti (1923-1993)

Alberto Giolitti art from the pages of Dell's The Cisco Kid no. 38 Jan-Mar 1958.

Tintin et Milou

The first time I laid eyes on the intrepid moon-faced reporter Tintin and his sagacious dog Snowy was in elementary school about 1959 when I delighted in finding a copy of the Methuen book Red Rackham's Treasure in the school library.

Tintin et Milou first appeared in the 11^th issue of Le Petit Vingtiéme, the weekly children’s supplement to the Belgian daily newspaper Le Viengtiéme Siècle on 10 January 1929. In 1951 the strip was serialized in the British comic weekly Eagle, followed by Methuen’s English-language versions of the albums, beginning with The Black Island in 1958. Translation was by Leslie-Lonsdale Cooper and Michael Turner.

Tintin, Milou, and European Humanism was written 3 October 1957 for The Listener, and is a welcome counterpoint to scurrilous attacks on Hergé on the internet. Tintin and Asterix the Gaul were in trouble in England as early as October 1983, when librarians received complaints of racism and sexism in both titles. Tintin was considered the worst offender. This brought forth a letter to the Times which said “Mr. Dunn admits that the children who frequent the library would be sorry to see the books banned: on the available evidence, so would anyone with any sense or sense of humour.”

Comic History

UNITED STATES OF AMERICA

James Parton: Caricature and Other Comic Art, New York: Harper & Brothers, 1878

William Murrell: A History of American Graphic Humor, Volume I (1745-1865), New York: Whitney Museum of American Art, 1933

William Murrell: A History of American Graphic Humor, Volume II (1865-1938), New York: The Macmillan Company, 1938.

Martin Sheridan: Comics and Their Creators, 1944.

Coulton Waugh: The Comics, University Press of Mississippi, 1947.

Lancelot Thomas Hogben: From cave painting to comic strip: a kaleidoscope of human communication, New York : Chanticleer Press, 1949.

Stephen D. Becker: Comic Art in America. Simon & Schuster 1959.

Jules Feiffer: The Great Comic Book Heroes. Dial, 1965.

David Kunzle: The Early Comic Strip, (2 volumes) Berkeley: University of California Press, 1973.

Jerry Robinson: The comics: an illustrated history of comic strip art, New York: Putnam, 1974.

Ron Goulart: The Adventurous Decade: Comic Strips in the 1930’s, Arlington House, 1975.

Bill Blackbeard: The Smithsonian Collection of Newspaper Comics. Smithsonian Institution Press, 1977.

Richard Marschall: The Sunday Funnies. Chelsea House, 1978.

Richard Marschall: Milton Caniff, Rembrandt of the Comic Strip. Flying Buttress, 1981.

John Canemaker: Winsor McCay: His Life and Art. Abbeville Press, 1987.

Richard Marschall: America’s Great Comic Strip Artists: From the Yellow Kid to Peanuts. Abbeville, 1989.

Brian Walker: The Comics Before 1945. Harry N. Abrams, 2002.

Brian Walker: The Comics After 1945. Harry N. Abrams, 2004.

Dan Nadel: Art Out of Time: Unknown Comics Visionaries, 1900-1969. Abrams, 2006.

Peter Maresca: Little Nemo in Slumberland So Many Splendid Sundays. Vol. 1. Sunday Press, 2006

Robert C. Harvey: Meanwhile... a Biography of Milton Caniff. Fantagraphics, 2007.

Peter Maresca: Little Nemo in Slumberland. Vol. 2. Sunday Press, 2009

MEXICO

Juan Manuel Aurrecoechea & Armando Bartra: Puros Cuentos : la Historia de la Historieta en México - Edited by Consejo. Nacional para la Cultura y las Artes, Museo Nacional de Culturas Populares and Editorial Grijalbo, Mexico, D.F. 1988, 1993, 1994. 3 vols.: I. 1884-1934 ; II. 1934-1950 ; III. 1934-1950.

CANADA

Alexander Ross: A Fond Portrait of those Wild Wartime Comics (article). Maclean's Magazine 19 Sept 1964.

Michel Ouelette: La bande dessinée québécoise est bien partie! A brief five page history of French-Canadian bd from the small press underground Mainmise. Mainmise, November 1974.

John Bell: Canuck Comics. Montreal: Matrix Books, 1986.

Carman Cumming: Sketches from a Young Country: the images of Grip magazine. University of Toronto Press, 1997.

John Bell: Invaders from the North. Toronto, Dundurn Press, 2006.

UNITED KINGDOM

Thomas Wright: A History of Caricature & Grotesque in Literature and Art. Virtue Brothers, 1864.

Graham Everitt: English Caricaturists and graphic humorists of the nineteenth century. S. Sonnenschein, 1893.

George Perry/Alan Aldridge: The Penguin Book of Comics. Harmondsworth 1967.

Denis Gifford: Stap me! The British Newspaper Strip. Aylesbury 1971.

Denis Gifford: The British Comic Catalogue 1874-1974. Mansell, 1975.

Denis Gifford: Happy Days: a century of comics. Jupiter Books 1975.

Denis Gifford: Victorian Comics. Allen & Unwin, 1976.

Peter Bailey: Ally Sloper's Half-Holiday: Comic Art in the 1880’s (article). History Workshop, no. 16, Autumn 1983.

Denis Gifford: The International Book of Comics. Hamlyn, 1984.

Alan and Laurel Clark: Comics an Illustrated History, Green Wood, 1991.

Roger Sabin: Comics, Comix & Graphic Novels: A History of Comic Art. Phaidon, 1996.

Paul Gravett/Peter Stanbury: Great British Comics. Aurum, 2006.

PORTUGAL

Leonardo De Sà/Antonio Dias de Deus: Dicionario dos autores de banda desenhada e cartoon em Portugal. Amadora 1999.

Leonardo De Sà: O Sonho Comanda a Arte -- Considerações Oniricas Antes e Depois de Winsor McCay (article). BDAmadora 2005.

Joao Paulo Paiva Boleo/Varlos Bandeiras Pinheiro: Le Portugal en bulles. Lisbon 2000.

SPAIN

Luis Gasca: Los Comics en Espana. Barcelona: Editorial Lumen, 1969

Antonio Martin: Historia del comic español: 1875-1939. Editorial Gustavo Gili, 1978.

Antonio Martin: Los Inventores del Comic Español 1873-1900. Collections Moebius, 2000.

Pedro Porcel: Clásicos en jauja. La historia del tebeo. Valenciana Edicions de Ponent, 2002

Pedro Porcel: Tragados por el abismo, La historieta de aventuras en España. Edicions de Ponent, 2010

TURKEY

Sanat Dünyamiz (Ed.): Çizgi roman: çiszgi, roman. Istanbul 1997.

Levent Cantek: Türkiye'de Çizgi Roman. 2nd Ed. Istanbul 2002.

YUGOSLAWIA

Slavko Dragincic/Zdravko Zupan: Istorija Jugoslawenskog Stripa. Novi Sad 1986.

AUSTRALIA

John Ryan: Panel by Panel. An illustrated history of Australian Comics.

INDONESIA

M. Bonneff: Les bandes dessinées Indonésiennes. Paris 1976.

ARGENTINA

Carlos Trillo/Guillermo Saccomanno: Historia de la Historieta Argentina. Buenos Aires 1980.

Franco Fossati: Il fumetto argentino. Genova ca. 1980.

Judith Gociol/Diego Rosemberg: La historieta argentina. Buenos Aires 2000.

LATIN AMERICA

Div.: Historietas. Milano 1997.

ITALY

Carlo della Corte: I fumetti. Milano 1961.

Leonardo Becciu: Il fumetto in Itala. Firenze 1971.

Alfredo Castelli: Eccoci ancora qui!; 1895-1919; I primi 25 anni del fumetto americano per quotidiani, 2006.

Fabio Gadducci (Ed.): SIGNs - Studies in Graphic Narratives. International Journal for the History of Early Comics and Sequential Art. No. 1, 2007.

FRANCE

Champfleury: Histoire de la caricature antique. Paris, E. Dentu, 1867.

Pierre Couperie and others: A History of the Comic Strip New York: Crown Publishers, 1967.

Pierre Couperie and others: Bande dessinée et figuration narrative. Paris 1967.

Jacques Sternberg: Les Chefs-d'uvre de la bande dessinée, Paris: Éditions Planète. 1967.

Jacques Marny: Le monde étonnant des bandes dessinées. Paris 1968.

Francis Lacassin: Pour un 9e art la bande dessinée. Paris 1971.

Georges Pernin: Un Monde étrange; la bande dessinée, Paris, Éditions Clédor, 1974.

Gérard Blanchard: Histoire de la bande dessinée: une histoire des histoires en images de la préhistoire à nos jours. Verviers: Marabout Université, 1974.

Michel Pierre: La bande dessinée. Larousse, 1976.

GERMANY

Günter Metken: Comics. Frankfurt am Main/Hamburg 1970.

Karl Riha: zok roarr wumm. Zur Geschichte der Comic-Literatur. Steinbach 1970.

Reinhold C. Reitberger/Wolfgang J. Fuchs: Comics. Anatomie eines Massenmediums. München 1971. Published in America as Comics Anatomy of a Mass Medium, Boston: Little Brown 1972.

Ulrich Merkl/Alfredo Castelli/Jeremy Taylor: Dream of the Rarebit Fiend. 2007.

BELGIUM

Pascal Lefèvre and Charles Dierick (eds.): Forging a New Medium: The Comic Strip in the Nineteenth Century. VUB University Press, Brussels, 1998.

Thierry Smolderen: Naissances de la bande dessinée De William Hogarth à Winsor McCay. Les Impressions Nouvelles, 2009

THE NETHERLANDS

Kees Kousemaker/Maria Willems: Strip voor strip. Amsterdam 1970.

H. van Opstal: Essay RG Het fenomeen Hergé. Delange 1994

RUSSIA

Jose Alaniz: Komiks: Comic Art in Russia. University Press of Mississippi, 2010.

There is also a bibliographic catalogue of "Comic Strip Histories" in French covering world comics:

Harry Morgan/Manuel Hirtz: Le Petit critique illustré. Guide des ouvrages

*Compiled with help from Eckart Sackmann, Mario Lucioni, Alfredo Castelli, Ron Evry, and Darrell Coons. Additions welcome. To be continued...