Coco The Little Congolese – Figurines Tintin La Collection Officielle – 110 – Coco Le Petit Congolais

Author: Hergé & Editions Moulinsart
Price: £200.00
Publisher: Editions Moulinsart
Publication date: 2015
Format: Original pictorial boards with passport and figurine
Condition: In near fine condition
Illustrations: Illustrated throughout

Description:

Original pictorial boards. Includes passport loosely inserted. Text in French. Includes the accompanying figurine. One from the collection of 111 books and figurines. Very slight wear. In very near fine, clean condition overall.

Coco: A Short Biography

Coco is a minor but symbolically important character who appears in Tintin in the Congo (Tintin au Congo, 1931)*, Hergé’s second published Tintin adventure. He is a young Congolese boy who befriends Tintin and assists him during his travels through the Belgian colony of the Congo. Although his role is small, Coco represents one of the earliest examples of Hergé’s use of a local companion character — a narrative device later refined through figures such as Chang (The Blue Lotus) and Zorrino (Prisoners of the Sun). Today, Coco’s appearance is also viewed through the lens of colonial history, offering insight into both Hergé’s early storytelling and the racial attitudes of his time.

Character Overview

Narrative Role in Tintin in the Congo

Coco is introduced early in the story as a Congolese boy who helps Tintin navigate local life and communicate with villagers. He assists Tintin in practical matters such as carrying luggage and delivering messages, and he remains by his side during several encounters with hostile animals and adversaries. Coco’s cheerful nature and devotion to Tintin present him as a faithful companion, though the relationship is written from a distinctly colonial perspective, typical of European adventure fiction of the early 20th century.

Characterisation

Coco is portrayed as gentle, innocent, and eager to please. His speech and gestures are simplified, and he looks to Tintin as both a protector and a teacher. Hergé’s intention was to present Tintin as a benevolent hero spreading European values, and Coco serves as a narrative foil to highlight Tintin’s courage and supposed civilising influence.

Key Traits

• Loyalty: Devoted to Tintin and obedient to his requests.
• Innocence: Portrayed as childlike and impressionable.
• Dependence: Relies entirely on Tintin for guidance and protection.
• Curiosity: Eager to learn and experience new things.

While Hergé’s portrayal of Coco was affectionate, it was shaped by the paternalistic stereotypes common to colonial-era media.

Thematic and Symbolic Reading

Coco’s character must be understood within the historical context of 1930s Belgium, when Tintin in the Congo was originally serialised for a young audience under colonial propaganda. At that time, Belgian publications often depicted Congolese people as childlike and naïve, in need of Western guidance. Coco embodies this worldview, representing the “grateful native” stereotype that mirrored imperial ideology.

Hergé himself later expressed regret for this early portrayal, acknowledging that it reflected a limited worldview shaped by his milieu rather than malice.

Visual and Artistic Depiction

Hergé’s ligne claire style was still developing in 1931, and Coco’s design bears the hallmarks of early cartoon conventions.

• Appearance: Small, barefoot, with simplified facial features and exaggerated expressions typical of early comic art.
• Clothing: Usually shown in minimal dress or simple Western garments provided by Tintin.
• Body Language: Energetic and expressive, highlighting youth and enthusiasm.

In later editions, Hergé made subtle visual adjustments to soften racial caricatures, but the original version remains a product of its time.

Cultural and Ethical Context

Modern readers often view Tintin in the Congo as a controversial work, and Coco’s portrayal is part of the broader debate surrounding Hergé’s early depiction of Africa. While the album was intended as light-hearted adventure, its imagery and dialogue reflect colonial propaganda that presented African people as simple and subordinate. However, it is equally important to note that Hergé was only twenty-three years old and working under editorial guidance that actively promoted imperial ideology. In his later years, Hergé openly recognised his earlier ignorance, remarking that Tintin in the Congo was “a youthful sin” written before he understood the realities of Africa or colonialism.

Legacy and Modern Interpretation

Coco remains a figure of both historical interest and moral discomfort. He is one of Tintin’s first companions, and in narrative terms he represents the prototype for Tintin’s later friendships — loyal, trusting, and morally pure. Yet, he is also emblematic of how Western adventure fiction once simplified non-European cultures for entertainment. Modern editions of Tintin in the Congo often include contextual introductions or disclaimers, acknowledging its outdated views while preserving it as a record of its era. Coco’s role, though small, has become a focal point for discussions about representation, colonial legacy, and artistic responsibility.

Comparative Analysis

Through this progression, Hergé’s moral and artistic growth becomes clear. Coco’s early depiction gave way to more nuanced, human portrayals of non-European characters in his later works.

Summary

Conclusion

Coco, the little Congolese boy, stands as both a product of his time and a milestone in Hergé’s creative journey. While his depiction today evokes justified criticism for its colonial overtones, it also marks the beginning of Hergé’s long process of moral awakening — a journey from paternalism toward empathy and understanding. In Coco’s wide-eyed loyalty, one can glimpse the seed of something that Hergé would later refine with compassion and maturity: the universal bond of friendship that transcends race, culture, and geography, which would come to define Tintin’s greatest adventures.

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Cataloguer: Daniel Hornsey

Daniel Hornsey has specialised in fine and rare books, ephemera, and collectors’ editions for over thirty years. As a long-standing member of the antiquarian book trade, he has advised private collectors, curated catalogues, and sourced works for leading dealers, libraries and institutions across the world.

Hornseys’ exhibit regularly at book and map fairs in London and throughout the UK and are members of the Provincial Booksellers Fairs Association, the PBFA.

His fascination with Hergé’s work — especially ‘The Adventures of Tintin’ — began in childhood. Daniel recalls reading Tintin in original European editions and quickly recognising that these were not merely children’s books, but finely illustrated narratives crafted with artistic depth and wit.

As noted by the Musée Hergé in Louvain-la-Neuve, Hergé’s ‘ligne claire’ style has influenced generations of European comic artists and his original drawings and paintings command very high prices with his painting of ‘The Blue Lotus’ jar fetching £2.8m at auction in 2021.

By presenting these works through Hornseys’, he hopes to contribute to the continued appreciation of one of the 20th century’s most influential illustrators, helping new generations discover the artistry and legacy of Hergé.