1. Please tell us a little about yourself.
Since my early childhood I have read bandes dessinées (the French word for comics books). I am 55 years old, have been married for 30 years, and have three grown children.
My professional career was in Public Services, in the city social services. I quit the Paris suburbs, and with my lovely wife, we have chosen to live in the south of France, near a little village. Nowadays I am a worker in vineyards and olives culture.
I have been always been a collector of many different things. But collecting BD (bandes dessinées) quickly became the main collection.
In the mid-70s, I was lucky to go a Paris convention (at LA MUTUALITÉ) and met artists for the first time. Such kind and generous people. Coming from France or Belgium and offering each kid free sketches, mostly quickly done, was always a nice gift. That’s how collecting comic sketches began for me.
A couple years later, I was honored to be invited to spend one afternoon at Philippe Druillet's home. It was my first “friendly” moment with an artist. Visiting his atelier, watching at work in progress and discussing a variety of subjects was a source of unbelievable pleasure. Over time and more festivals visited, I was lucky enough to meet many more artists, and later, visit them at home.
I will be forever grateful to Philippe Sternis (he draw the birth card for our first born son), and many other artists such as Julio Ribera, Victor de la Fuente, Raymond Poïvet, Alec Severin, Philippe Caza, Claude Marin and René Follet. Thanks to Franck Margerin, in the mid-80s, I met numerous artists at a weekly soccer session played by artists such as Bilal, Druillet, Eberoni, Cabanes, Juilliard, Mézières... I never liked soccer but played with happiness in such circumstances. Later this team was named “Mickson Football Club” and was famous enough to make the regular show during the annual French festival of Angoulême.
2. Which piece in your gallery is your favorite?
My choice is the illustration done by David Lloyd for V for Vendetta. It’s not in the original comics but done for the trade edition. I was fond of the Alan Moore story. The David Lloyd art is full of humanity and sensibility. I have much admiration for this masterwork and I'm forever honored to be the “keeper” of this illustration.
I am also very fond of a page by Philippe Caza drawn the day he stayed at home. It was published in METAL HURLANT (famous anthology magazine known as Heavy Metal in English). A lovely woman is giving birth, in a very odd way, to a strange fruit or celestial object. Oddity, peaceful moment of grace, fulfillment... this wonderful gift is so nice!
3. How long have you been collecting comic art and what prompted you to start?
Collecting original art came with a trip in Great Britain, at Birmingham Comic Convention (August 1979). I have seen wonderful double pages done by Neal Adams (Deadman) and Franck Brunner (Conan) but had no money to spend. The desire was there... and I bought my first convention sketch to a guy named Steve Leialoha. I met and discussed with Jim Steranko, Chris Claremont, Joe Staton, Franck Brunner and Steve Leialoha. A few days later, with these two last guys, we visit the Louvre museum in Paris. Steve and I had a pen pal relationship which lasted a few years and eventually I received from him two pages of his first Marvel published art.
In August 1982 I spent two weeks in NYC and was lucky to meet so many artists. I paid a visit to Neal Adams’ studio, both the Marvel and DC offices, Mike Kaluta’s studio (he wasn’t there but Charles Vess opened the door!). I found Steve Ditko's address in a phone book and paid him a visit too. The man was really kind to me... With Trina Robbins and Steve we paid a visit to Upstart Studio, and Walt Simonson opened the door. Howard Chaykin and Frank Miller were there too. After Frank showed us his first Ronin pages in pencils, we eventually shared a burger in the fast food restaurant at the corner.
The comic convention had Jack Kirby back in New York since he had re- located to California a few years previous. Greg Teakston (biographer and editor) most generously offered me my first Jack Kirby page (a Kamandi). Shaking the King's hand was... unique.
Years later I was really happy to have a pen relationship with Mile Mignola. His generosity was huge and I was happy to send him French BDs... and receive packages with art from time to time.
4. How do you display/store your collection at home?
We live in a tiny home that there are no framed original on the walls. Everything is in boxes.
5. What are your top five most wanted original pages or commissions?
I have no quest for any specific page. I intend to meet wonderful people. Sometimes I buy nice and cheap pages. I have no money left to realize a dream.
Though, I greatly appreciate all the current work done by Stuart Immonen since his ShockRockets run. With the magical inks done by Wade Von Grawbadger, their work, each page of it, make me feel glad. I am not satiated of their art and could buy some pages from time to time.
To be frank, I could be delighted to catch any Gil Kane pages on Black Panther, Inhumans, Captain Marvel, Captain Action, or Warlock.
A Warlock page by Jim Starlin, inked by Steve Leialoha.
A Hellboy page or illustration done by Mike Mignola.
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