PIB COPENHAGEN · 100 - PIB Copenhagen A/S

service for vittighedstegninger.
Under et besøg i New York i 1963 blev kontakten til
UFS genoptaget og PIB fik en aftale om at fungere
som underagent for UFS’ skandinaviske agent U.P.I. i
Stockholm.
Dette betød at Radiserne, der i de år var ved at
udvikle sig til en institution, kom til PIB. Radiserne er
en af verdens bedste serier overhovedet, og chancen
for at kunne repræsentere den blev grebet med
kyshånd.
En serie af en helt anden type var langsomt ved at få
fodfæste i Danmark. Det drejede sig om Tintin af
George “Hergé” Rémi. Hjalmar Carlsen var i
slutningen af 40’erne blevet opmærksom på serien og
havde anbefalet den til Per Carlsen.
Den belgiske og franske tegneserietradition var
ukendt i Danmark, og da forlaget i 1960 begyndte at
udsende Tintin-album var det absolut ingen succes.
Serien var entusiastisk oversat af Sonnergaard, og der
blev ikke sparet på salgsindsatsen, men der skulle gå
Tintin
PIB COPENHAGEN · 100
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gag cartoonists who had been at it since the 1930s.
Gettermann’s very precise and detailed drawings fit
perfectly with the times, and his strips about a very
active ten-year-old main character, who was inspired
by his neighbors’ daughter, were widely distributed,
especially in foreign countries. The productive
Gettermann also drew Televits [TV Gags] for many
years, and contributed to PIB’s gag cartoons
subscription service.
PIB’s relationship with UFS was re-established in
1963 during a visit to New York, and the company got
an agreement to act as a sub-agent for UFS’
Scandinavian agent, U.P.I. in Stockholm.
This meant that Peanuts, which in those years was
developing into an institution, came to PIB. Peanuts is
one of the world’s all-time best strips, and the chance
to be an agent for it was jumped on eagerly.
A completely different kind of comic was slowly
starting to establish itself in Denmark — Tintin by
Georges “Hergé” Remi. Hjalmar Carlsen had become
aware of the Tintin album series in the late 1940s, and
had recommended it to Per Carlsen.
The Belgian and French comics tradition was
unknown in Denmark then, and when the publisher
started to issue Tintin albums in 1960, they were
absolutely not a success. The stories were
enthusiastically translated by Sonnergaard, and the
company didn’t skimp on the promotion budget, but
seven years had to pass before the albums started to
make a profit.
It helped somewhat, though, when Politiken started
to serialize Tintin, and thereby gave PIB its first
experience with selling album comics to the
newspapers.
Tintin later became big business for PIB, which also
sold merchandising rights to Scandinavian
companies. Hergé visited Denmark several times, and
when the albums had become a success, Per Carlsen