Herge Anna Ralphs -

Back in 1998, Anna Ralphs—then an 86-year-old widow living in Dorset—received a letter from the young designer who had found her signature. The letter asked a simple question: “Were you the second hand of Hergé?”

Art historians re-examined The Broken Ear (1937) and The Black Island (1938). In dozens of panels—the feathers of a parrot, the ripples of a lake, the texture of a stone wall—they found Anna’s touch. Her contribution was not large, but it was distinct. She had taught Hergé that a clean line could still carry emotion. herge anna ralphs

What followed was a quiet revolution in Tintin scholarship. Anna produced a small portfolio of personal sketches from 1936–37, including a full-page ink of “Tintin in a Forest” that had never been published. The trees, she pointed out, were drawn with a stippling technique Hergé never used—but that matched English textile patterns of the era. Back in 1998, Anna Ralphs—then an 86-year-old widow