Tentacle Tuesday Masters: George Wilson and His Painted Covers for Gold Key

« Savage plants, monster mutations, human vultures… »

George Wilson (1921-1999), prolific cover illustrator for Dell Comics and Gold Key from the 1950s through to the 1970s, is such a ubiquitous figure for anyone interested in comics of that era that it’s almost like he’s taken for granted by comic aficionados. “Oh, yes, another gorgeous George cover”, we say and move on to something else. Let’s not, shall we? We can admire his trademark bright colours, eye-popping attention to detail and impeccable compositions *and* celebrate Tentacle Tuesday. And there’s all kinds of tentacles in these covers – organic or motorized, animal, mineral, or… plant-like. (I refuse to use “vegetable” as an adjective.)

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Mighty Samson no. 11 (August 1967). This might just be the most random menace (and the most ridiculous set-up) I’ve seen in a while.

Mighty Samson was created by writer Otto Binder and artist Frank Thorne, and involved a heroic barbarian-type sword-and-sandaler loitering around a dystopian, post-nuclear disaster world that has reverted to something resembling the Stone Age. One thing that amused me – not only is our dashing hero blond, but so is his love interest (apparently recessive traits help survive radioactivity). The evil temptress-cum-scientist is a dark-haired femme fatale, obviously. You can read each and every issue of Mighty Samson here.

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Panels from “The Swamp Rats“, written by Otto Binder and drawn by Jack Sparling, whose art is for some reason hated by many (the same many who have no trouble with bad art from other, more publicly accepted artists).

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Doctor Solar, created by writer Paul S. Newman and editor Matt Murphy, was fairly humble at first, despite his somewhat ponderous moniker. (« The Man of the Atom »!) Originally clad in a normal lab-coat, he acquired his red costume in issue 5. The source of his super-powers? A nuclear disaster, of course. It’s difficult to be impressed by that when everyone and their auntie is getting exposed to radioactivity. I try to keep in mind that Doctor Solar was one of newly-formed Gold Key’s first publications, and in 1962, a nuclear war seemed imminent whatever side of the continent you were on… but I’m still bored. There’s a list of Atomic Superheroes with 27 items in it here, but it only includes public domain characters.

Of special interest are the first two issues of this series because they boast glorious covers by Richard Powers. Go look at them. That’s an order.

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Doctor Solar, Man of the Atom no. 21 (October 1967).
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Doctor Solar, Man of the Atom no. 24 (July 1968).
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Page from “The Deadly Trio”, written by Dick Wood and drawn by Ernie Colón. That “monstrous master of the sea” is so freaking cute!

All of Gold Key’s Doctor Solar run is available here. How much time do you have on your hands, anyway?

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Fantastic Voyage no. 2 (December 1969).

This two-issues “series” features « adventures based on the cartoon about the Combined Miniature Defense Force (CMDF) with Jonathan Kidd, Erika Lane, Dr. Guru, and Busby Birdwell. » Clearly, nobody cared about the comic. Maybe someone cared about the animated TV series the comic was based on.

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Speaking of boring… I haven’t yet encountered *one* issue of Ripley’s Believe It or Not! that wouldn’t cause me to yawn or start rolling my eyes. However, painted covers are often worth dwelling on, and the inside art is also occasionally quite nice (especially when it’s by Luis Dominguez).

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Ripley’s Believe It or Not! no. 12 (February 1969).

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The Microbots no. 1 (December 1971). The tentacled monster was designed by Jack Sparling, who illustrates This Is the Way the World Ends and Day of the Juggernaut, but the cover art is by George Wilson.

There’s an excellent (and suitably sarky) review of this one issue of Microbots on Gone & Forgotten. Here’s a little taste: « Superstitious, parochial, and frequently eaten alive by mutated elephants, the people of the future world have turned their backs on technology. » Bet you’ve never seen *that* sentence before. Or — « The Microbots are the creation of Dr. Norman Micron (of the Connecticut Microns, I presume), a scientist living in the dire times of a world succumbing to man’s pollution. ‘Mankind had ample warning that he was destroying the world around him’ he muses, standing by a window with a highly-desirable garbage view. »

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The crew of the Starship Enterprise keeps running into tentacles, it seems. (Presumably, they couldn’t do it as convincingly on the TV show, as the visual effects weren’t quite up to snuff.)

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Star Trek no. 24 (May 1974). Gold Key published Star Trek comics between 1967 and 1978, for a total of 61 issues. They weren’t a rehash of the TV series, and featured original characters and stories, although later issues included sequels to a couple of episodes (which is pretty cool, if you ask me).
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Star Trek no. 29 (March 1975).

Gail O’Brien shared this snippet on a forum about Wilson’s art, sadly a fairly typical story: « You might be interested to know that George’s widow (a friend of mine) has had no income from his paintings as they “disappeared” from his estate at his death while they were separated. She is presently living on small retirement from teaching. I’ve tried to influence her to seek legal advice to acquire her share of George’s sales, but she feels it is impossible… hope there is a lawyer who enjoys George’s work, who would want to go on a 50/50 basis to acquire what is rightfully belonging to my friend. » |source|

Look at more (less tentacle-centric) George Wilson art here.

~ ds

Shigeru Mizuki and the World of Yōkai

Shigeru Mizuki, Japanese comics artist and historian, is probably one of the best-known manga authors. A lot of his stuff has been translated into English, so when I started my timid forays into manga, his name instantly popped up. Mizuki’s area of interest (and expertise) was the Yōkai, or Japanese monsters, ghouls, goblins and other assorted bogeymen – right up my street, I thought!

Despite my interest in Japanese monsters, the first Mizuki book I picked up, NonNonBa,  failed to capture my interest. Since then, I’ve tried looking through a few others I’d spot in bookstores… and I’ve resigned myself to the fact that Mizuki is just not my thing, whatever other people may see in his work.

That being said, I still really enjoy some of his illustrations, especially if they’re in colour – and I love the way they give us a peek into the rich (and quite scary) world of Japanese folklore.

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Gods of Pestilence or cute pets? Your choice.
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Hiratsuka-juku is a post station in Tōkaidō. A famous painting by Andō Hiroshige depicts a part of the road that leads to it. Mizuki took the painting as a basis and added a « small » detail: a Gashadokuro, one of my favourite Yōkai (and man, there’s a lot of cool Japanese monsters to vie for that spot). The Gashadokuro, literally « starving skeleton », is a gigantic pile’o’bones held together by sheer malevolence, created from skeletons of people who died of starvation. It starts its rounds after midnight… and is invisible until it bites your head off. If you ever hear bells ringing in your ears, congratulations, you’ve about to be eaten by a Gashadokuro!
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« Umibozu », from Graphic World of Japanese Phantoms, 1985. These ‘sea monks’ seek to destroy ships and won’t rest until the crew is at the bottom of the ocean.
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Is this a Akaname, the filth licker? Readers versed in Yōkai, please let us know!

Futaba Kikaku Co.,Ltd.

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A Suiko, or ‘water tiger’, although this one looks more like a balding dinosaur.

In the 1960s, Shigeru Mizuki released Yōkai Daizukai, an anatomically-oriented guide to traditional monsters from Japanese folklore. I don’t think it’s ever been released in English, but a French version came out in 2018 (and I fully intend to purchase it when I come across it).

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A Kuro-Kamikiri, or hair cutter, which doesn’t sound so terrifying… unless you live in a society where long hair is a status symbol and loss of it means disgrace.
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A Fukuro-sage, a type of Tanuki (or
Japanese raccoon dog),  who has the ability to transform itself into a bottle of sake. «The Fukuro-sage usually wears a large potato leaf or fern leaf on its head and carries a bag made from human skin. The bag contains a bottle of poison sake. Anatomical features include a stomach that turns food into sake, a sac for storing poison that it mixes into drinks, and a pouch that holds sake lees. The Fukuro-sage’s urine has a powerful smell that can disorient humans and render insects and small animals unconscious.»
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The pillow-flipper or Makura-gaeshi move pillows about, occasionally suffocating people with them or even stealing their souls.

For a further assortment of monsters, click visit the Pink Tentacle blog.

And a final morsel – Craig Thompson‘s hommage to Shigeru Mizuki. The little boy depicted is from GeGeGe no Kitarō, Mizuki’s 1960’s series.

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~ ds

Tentacle Tuesday: Cephalopods in Suburbia

There are places and situations where one definitely expects to run into octopuses – in seas and oceans, on other planets, in brothels and harems (much like one can put a box in the middle of the room and a cat will suddenly appear to sit in it, even when one does not own a cat, a nearly-naked woman is almost guaranteed to summon an octopus). But sometimes the presence of tentacles is quite unexpected. Just when you think you’re safe – no, oops, a touch of the cephalopod springs abruptly into your life.

Tentacles at the cinema? No way. What would they be doing there?

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« He turns into a monster at the touch of a pretty girl! » Say, that sounds familiar… This is Gross Point no. 11 (May 1998), cover by Roger Langridge. This nearly-forgotten comic (so forgotten, in fact, that Google will try to correct you if you look its title up) is a delight for those of us who like to bask in a Halloween mood year-round. The plot is not exactly original, yet beautiful art by Roger Langridge makes it a very enjoyable read, especially given the latter’s propensity to add little jokes to the script. Unfortunately, too many issues are sloppily pencilled by Joe Staton, whose art cannot be entirely redeemed, even by Langridge inking it.

Because I’m nice and this January 1st, here’s a link to all the issues of Gross Point, to save you the trouble of hunting them down.

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A page from “Welcome to Gross Point”, pencilled by S.M. Taggart and inked by Roger Langridge.

Or you purchase a box of doughnuts and then…

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Wacky Packages no. 17 (All-new Series 7), 2010. Art by David Gross, I believe.

How would you feel about going back to the office after the holidays and finding a multi-tasking octopus taking over your duties?

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Hogan’s Alley no. 21, February 2017. The hard-working octopus (it must have been hard to find pants that fit him, but octopuses are dedicated workers!) is drawn by Jack Davis, of course.

I’d say the most unexpected tentacles of all would be found in a For Better or For Worse strip. There’s no way that would happen.

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Panel from “Comic Strip Previews for 2007“, a Richard’s Poor Almanack (sic) by Richard Thompson.

~ ds

Tentacle Tuesday: “Foul as Sewer Slime!”

This is the final Tentacle Tuesday of the year (the next one falls on January 1st). As few tentacles venture out into the snow, I had to find something else to celebrate the occasion. I’ve been hoarding some images for sharing at some later date, and I feel the moment has come to return to a topic that’s dear to my heart – for each girl, there must be some tentacles…

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Amethyst, Princess of Gemworld no. 4 (August, 1983). This is a page from the story Dark Journeys!, drawn by Ernie Colón. I can’t vouch for the quality of the writing of this series, but the covers are a lot of fun for those of us who like Colón (I’ll hold my hand up there).
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Cinema Sewer no. 17 (2005), cover by Mike Hoffman. CS, in case  you didn’t know, is a movie magazine (a mix of articles, illustrations and comics), the brainchild of Canadian Robin Bougie. Let’s give a polite round of applause to the strategically placed tentacles!

As long as we’re in the gutter, err, sewer… Sewer slime!

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A page from “Marada the She-Wolf” , written by Chris Claremont and illustrated John Bolton,  from Epic Illustrated no. 23 (April, 1984). I was convinced the octopus was attacking a pregnant girl until I looked closer. Damn deceptive black-and-white!

Next, a window with the world of superheroines… in which zippers magically stop just before full frontal nudity, every woman boasts a F cup size, hair writhes passionately all by itself, and pain looks like lust. “Nothing… beats these tentacles.” Thank you, Beatriz da Costa, for those immortal words.

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Justice League America no. 100 (June, 1995, DC). Opening Up the Game is scripted by Gerard Jones, pencilled by Chuck Wojtkiewicz, inked by Bob Dvorak and Doug Selogy. Wait, how many people had to get involved in this?!

The next one is an obvious – even boring – scene: girl tied up, blah blah, tentacles reaching for her *yawn* nether regions… Bonus points if she’s wearing some terrifically overwrought hair decoration/jewelry/shoes (and nothing else).

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Original art for Warlord of Mars: Dejah Thoris no. 10, variant cover A by Joe Jusko (Feb. 2012, Dynamite).

Here’s to a new year of grabbery and slimy appendages, then!

~ ds

How do you like *your* Christmas?

« Christmas, Christmas, Christmas, Christmas makes me happy
I love Christmas cold and grey, I love it sweet and sappy
Says crazy kissin’ Cousin Flo:
‘Let’s break out the mistletoe’ »

FourColor201, 1948
The heart-warming cover of that Four Color no. 201, 1948. Art by Walt Kelly. Check out the adorable moon-jumpin’ cow in the top left corner!
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This is the back cover of Dell’s Four Color no. 302 (Santa Claus Funnies), 1950. Such warm colours. Art by Canadian Mel Crawford, who worked on various Dell publications in the 1950s (such as Howdy Doody, Mr. Magoo, and Four Color Comics) to later become an accomplished watercolours/acrylics painter.

« Christmas, Christmas, Christmas, Christmas out the waz
Christmas, Christmas, Christmas, Christmas up the schnozz
Come all ye faithful, don’t be slow
It’s Christmas time, you can’t say no »

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Creepy no. 68 (January 1975), cover by Ken Kelly. “House’ and “about” don’t rhyme, but it’s the season to forgive. I like how Santa appears to be bawling in frustration.
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Vault of Horror no. 35 (EC, 1954), cover by Johnny Craig. Maybe open the lid of the coffin first, dumbass?

« Momma wants a kitchen sink
And daddy wants a stiffer drink
Grandma wants us to cut the crap
Grandpa wants a nice long nap »

Richard-Thompson-Christmas
Illustration by Richard Thompson. Who else wants some Festive Dietetic Crackers? I’d definitely sit with the mouse.

« Christmas, Christmas, Christmas, Christmas everywhere
Christmas, Christmas, Christmas, Christmas pullin’ out my hair
Shoppers lined up out the door
Traffic backed up miles and more
It’s Christmas time, so what the heck
Let’s go spend the whole paycheck »

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A Little Lulu cartoon by Marge Buell (Saturday Evening Post, 1944).
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From the pleasantly warped mind of Hilary Barta with a fond tip of the Santa hat to old Uncle Salvador, obviamente. Да да да!

« Deck the halls, it is the season
We don’t need no rhyme or reason
It’s Christmas time, go spread the cheer
Pretty soon gonna be next year »

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Sensation Comics no. 38 (1945), cover by H.G. Peter.
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Original art for a Christmas card of Little Orphan Annie by Harold Gray. Just some 70 years ago, right?

Merry Christmas!

~ ds

Playboy Cartoons for a Festive Mood

With every passing year, I have more and more trouble getting into the spirit of Christmas (especially since all the snow has now melted). An early present of Rodney Crowell’s Christmas Everywhere helped a bit, but to speed things along some more – and before Christmas Eve takes me by surprise – I’d like to titillate everybody’s taste buds with this spread of Playboy Christmas cartoons.

BuckBrownChristmas
Cartoon by Buck Brown (real name Robert Brown), an African-American cartoonist and painter, creator of the naughty (and adorable!) Granny.
SokolChristmas
Cartoon by Austrian Erich Sokol. A little linguistic tidbit: “sokol” means “hawk” in Russian.

And on the topic of bedding Santa Claus…

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Cartoon by Canadian Doug Sneyd.
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Eldon Dedini! (We ran an earlier exposé about him here.) Who needs naked women when you have the (slightly grabby) three magi?
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Cartoon by the ineluctable Jack Cole! Don’t forget to take a peek at my mate’s post, The Unforgettable Jack Cole.
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Cartoon by Phil Interlandi.

And, on a slightly morbid note, three cartoons by Gahan Wilson (who paints what he sees!)

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GahanWilsonChristmasSanta

GahanWilsonChristmas

~ ds

Newsflash: check out this post’s sequel, the imaginatively-titled More Playboy Cartoons for a Festive Mood!

Tentacle Tuesday: Convoluted Critters

Occasionally, I notice a comic book cover with a tentacled monster so peculiar that one starts wondering whether the artist was on drugs or just couldn’t give a shit. That is not a criticism, however: where grabby appendages are concerned, the weirder, the better. Even if some of these guys have a face (muzzle? rictus?) even a mother couldn’t love, or their anatomy defies all laws of biology, we’ll welcome them with open arms!

As usual, in chronological order.

First in our line-up is this little fella in a hat. At least he looks like he’s wearing a cap, although perhaps he just has a square head with a skin flap hanging over the sides. At first glance, his tentacles are hollow, although their flesh is probably just a dull shade of battleship grey. So what’s this “thing that waited”? Soviet soldiers who are actually alien invaders. Duh.

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Adventures Into Weird Worlds no. 3 (March 1952), cover by Joe Maneely.

This next cover is probably a little more standard for pseudo-octopus fare: a lady with huge, ahem, bazooms (Russ Heath liked ’em busty, it seems – seriously, just look at the size of those things!) threatened by some horrific monster who’s dispatching her companion as expediently as possible. Still, the somewhat Wolverton-esque, grave-dwelling aliens with pincers at the end of their tentacles are odd-looking enough to squeeze their way into this post.

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Spellbound no. 20 (March 1954), cover by Russ Heath.

This toupee-clad creature with evil gimlet eyes doesn’t look much like a pet, if you ask me. How are those grabby little arms attached to its head, anyway? Wait, who am I talking about, again? 😉

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House of Mystery no. 87 (June 1959), cover by Bob Brown.

“My Greatest Adventure” was a title that promised much, and it must have been difficult to live up to it every month. Witness the following “fantastic” creature – a furry slug with disturbingly fleshy lips and tentacles. I can’t vouch for my reaction had I been an excitable ten-year old, but to this blasé adult, the poor beast summoned by some psycho witch doctor (the jungles seem to be always overrun with them) is just begging to be put out of its misery.

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My Greatest Adventure no. 51 (January 1961), pencilled by Dick Dillin and inked by Sheldon Moldoff.

Our next exhibit finally features a proper alien, one who looks strange but at least makes sense as a unified, functioning creature. I love his sadly drooped whiskers, his dejected expression that’s strangely at odds with his pontifical speech.

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Tales of the Unexpected no. 66 (October 1961), cover by Bob Brown.

« Make him a werewolf! But in space! And give him tentacles! » Yeah, guys, that went over really well. A Marvel Masterwork, my ass. But wait: Black Destroyer! is an adaptation of A. E. van Vogt’s short story from 1939. And did Cœurl, the black cat-like creature, have tentacles in the story? Why, yes, he did.

« His great forelegs—twice as long as his hindlegs—twitched with a shuddering movement that arched every razor-sharp claw. The thick tentacles that sprouted from his shoulders ceased their weaving undulation, and grew taut with anxious alertness. Utterly appalled, he twisted his great cat head from side to side, while the little hairlike tendrils that formed each ear vibrated frantically, testing every vagrant breeze, every throb in the ether. » (read the full story here.)

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Worlds Unknown no. 5 (February 1974), cover pencilled by Gil Kane and inked by Frank Giacoia. Cœurl looks like he’s floating on top of the corpse – I don’t think the artists spent too much time watching an actual cat at work.

Read the comics version of Black Destroyer! here.

My last offering for today is the cutest, featuring an adorable blue varmint who gets my full sympathy and support. Weird? Sure, a bit – he’s got a tentacle sprouting out of his forehead – but beauty is in the eye of the beholder, right? This cover also proves that monsters are just as interested in tooth-whitening procedures as us humans.

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The Defenders no. 72 (June 1979), pencilled by Herb Trimpe and inked by Al Milgrom.

~ ds

Ectoplasm-Bedeviled Pulchritude: Maurice Whitman’s Ghost Comics

At its best, Maurice Whitman’s art has the power to capture one’s imagination. He has an excellent eye for dynamic layouts, and his ghoulies and creepies are often drawn in a kind of a squiggly, sketchy way that really brings them alive for me. Not to be forgotten are his shapely women, usually in various states of déshabillé. Sometimes his covers are too chaotic, and don’t really hold together, leading the viewer to scratch his (or her!) head in confusion; but when it works, when all the pieces fall into place, his art can be glorious.

Ghost Comics had but 11 issues published between 1951 – 1954, so I could have included all of them in this post… but you can see a gallery of these covers on other websites, and besides, some of them are firmly in the “doesn’t quite work” category. Here are my favourites, then – five out of eleven, not bad!

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Ghost Comics no. 1, 1951. I like the details, such as the lost shoe, the cute little ghost in the bottom right corner, a mysterious dark figure by a lamppost (as if the green demon wasn’t terrifying enough)… and the warping of the scene really works, imho.

The following cover is kind of the raison d’être of this whole post – I adore it. Whitman put so many reach-out-and-touch-it details into it – talk about the juxtaposition between terror and sex-appeal! The woman’s négligé is probably the sheerest it has been my pleasure to encounter in pre-code comics. Her hair is also beautifully drawn, especially that little curl that seems to be reaching for the candle.

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Clearly, I’m not the only one to pay special attention to this cover – it was chosen as the cover of Ghosts and Girls of Fiction House!, another addition to Craig Yoe’s Chilling Archives of Horror Comics.

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Ghost Comics no. 3, 1952. This one has crisper, cleaner lines, but the potent composition calls out to the viewer (and after a few minutes spent in contemplation of the art, you can start wondering what the hell is going on here, and how on earth does it make any sense?)
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Ghost Comics no. 4, Fall 1952. Whitman was clearly fond of a certain type of blonde… not that anyone’s objecting. The two teeny bats on the right have captured my heart.
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Ghost Comics no. 8, 1953. Come on, witch, you could have made a better effort with the doll’s hair! Are these the furies from no. 4?

All issues, should you want to read them, can be found at comicbookplus.

~ ds

Tentacle Tuesday: Have Tentacles, Will Space-travel

« When the blast of a rocket launch slams you against the wall and all the rust is shaken off your body, you will hear the great shout of the universe and the joyful crying of people who have been changed by what they’ve seen… »*

Greetings, dear astronauts! Today’s Tentacle Tuesday concerns itself with that “religious experience”, space travel… with tentacles in tow, of course. Some comics may announce their interplanetary theme by putting SPACE into the title of the series (and making sure it’s big and bold!), while others deploy a little subtlety and coyly refer to the unknown, or the unexpected. Either way, we’re in for a grand old time exploring space along with the brave men and women (err, mostly men) who found themselves exclaiming “ooh, tentacles!” while exploring some mysterious planet.

In chronological order, then…

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Space Squadron no. 5 (February 1952, Atlas). The cover is *probably* by Joe Maneely.
WorldsUnknown4
Worlds Unknown no. 4 (November 1973, Marvel), (bad) cover by Dick Giordano. Some people have the knack for coming up with original and scary monsters, and some don’t. ’nuff said.
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Star Hunters no. 1 (October-November 1977, DC), pencils by Rich Buckler and inks by Bob Layton. The green thingies may be snakes/dragons, not tentacles, but they’re doing a convincing impersonation.
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The Unexpected no. 221 (April 1982, DC), cover by Joe Kubert. Now *there’s* a convincingly moody and frightening cover – no big pyrotechnics, just a strong hint of suffocation by a strangely-shaped cloud of ectoplasm. Shudder.
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Pulp Fiction Library: Mystery in Space (September 1999, DC). Cover by Mitch O’Connell. This 228-page anthology features a bunch of reprinted stories (from the early 50s to the the early 80s) originally published in Real Fact Comics, Mystery in Space, Strange Adventures and Action Comics.
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The Goon no. 11 (March 2005, Dark Horse), cover by Eric Powell.
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Yeah Franky, what the hell are you doing?

Check out part 1 of this interplanetary tentacle exhibit here: Grabby Denizens of the Airless Void.

Incidentally, today I was given a nice gift at work: Buddha’s Hand, or the fingered citron, a type of citrus someone described as a “Monsanto-produced cross between calamari and a lemon”. How very appropriate for Tentacle Tuesday! Here’s a picture of my very own tentacled beauty:

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« I have never listened to anyone who criticized my taste in space travel, sideshows or gorillas. When this occurs, I pack up my dinosaurs and leave the room. »*
~ ds
*All quotes by the great Ray Bradbury

Georges Pichard: Throwing Curves

In 1946, Georges Pichard (not sure who he is? Visit our Pichard’s Distressing Damsels for an overview of his later work), heretofore toiling in a marketing agency, started his career as an illustrator. He worked for various French magazines and newspapers (like Le Rire, Fou-Rire and Les Veillées des Chaumières), providing them with covers, cartoons and pin-ups in black-and-white or gorgeous watercolour until the mid 70s, when he switched gears somewhat and dedicated himself to erotic bandes dessinées.

I left image imperfections (due mostly to yellowing of paper over time) and hand-written captions (when available) as is, as I find they provide pleasant texture and context. The jokes are really lame, but we translated them, anyway.

The following three cartoons were published in Le Rire. This first one saw print on the cover of Le Rire no. 22 (nouvelle série, July 1953).

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This one was featured on the cover of Le Rire no. 66 (nouvelle série, March 1957).

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George-Pichard-sketch3
« I’m the sort of guy who’s kind of like an iceberg, the main part is beneath the surface. » The man in question looks very much like a V.I.P. type.

The following are all from Fou-rire:

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Cover of Fou-rire n°12, mid-50s. « It’s not because I’m playing the bagpipes that you have to take me for a gallant shepherd! »
GeorgePichard- LERIRE76- janvier 1958.
Cartoon from Fou-Rire n° 76, early 60s. « Please be assured, my dear friend, that we are all here quite touched by your wife’s endeavours to set a mood… ».
GeorgePichard=1962
Cartoon from Fou-Rire n° 118, early 60s.  « It would be prudent to seal up your chimney, because when I tell the boss about this… »
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Fou-Rire n° 118, mid 60s. « And to think that I’ve mislaid the key to this chest full of outfits, each more decent than the last… »

Finally, a couple of pretty loose ends:

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Original art from Le Rire magazine, 1960s. « But the funniest part happened before I ran into the police officer! »
GeorgePichard-V60
Early 60s.

~ ds