This sale is for an original watercolor painting by renowned walt disney cartoonist animator joe d'igalo this pc of art is signed and dated 1974 is mounted in what appears to be the original frame and as far as i know most of his art work depicts a scene from one of many of his animations starting back from the 1930's some info on mr.
Key people,ProductsAnimated theatricalWarner Bros. Cartoons, Inc. Was the in-house division of during the. One of the most successful studios in media history, it was primarily responsible for the and theatrical cartoon short subjects. The characters featured in these cartoons, including, and, are among the most famous and recognizable characters in the world. Many of the creative staff members at the studio, including directors and animators such as, and, are considered major figures in the art and history of.Warner Bros.
Cartoons was founded in 1933 as Productions, an independent company which produced the popular and animated for release. In 1944, Schlesinger sold the studio to Warner Bros., who continued to operate it as Warner Bros. Cartoons, Inc. Looney Tunes and Merrie Melodies were briefly subcontracted to Freleng's studio from 1964 until 1967. The Warner Bros. Cartoons studio briefly re-opened in 1967 before shutting its doors for good two years later, in 1969.A successor company, was established in 1980. Main article:and originated the and series of animated short subjects in 1930 and 1931, respectively.
Both cartoon series were produced for Leon Schlesinger at the Studio on Hollywood Boulevard in, with releasing the films to theaters. The first Looney Tunes character was the Harman-Ising creation. Despite the fact that Bosko was popular among theater audiences, he could never match the popularity of 's, or even 's. In 1933, Harman and Ising parted company with Schlesinger over financial disputes, and took Bosko with them to. As a result, Schlesinger set up his own studio on the Warner Bros. Lot on Sunset Boulevard in Hollywood. 1933–1944: Leon Schlesinger Productions.
Former Leon Schlesinger-Warner Bros. Cartoons studio, 2003The Schlesinger studio got off to a slow start, continuing their one-shot Merrie Melodies and introducing a Bosko replacement named into the Looney Tunes. Animator was the studio's first senior director, but after the three cartoons he made were deemed to be of unacceptable quality and rejected by the studio, former Harman-Ising animator/musical composer was called in to replace Palmer and rework his cartoons where every cartoon Freleng directed from 1933 to 1963 was created/directed by Freleng's musical compositions and methods. The studio then formed the three-unit structure that it would retain throughout most of its history, with one of the units headed by, and the other by, who was replaced by a year later.In 1935, Freleng helmed the Merrie Melodies cartoon, which introduced the character. Hardaway and King departed, and a new arrival at Schlesinger's, took Freleng's creation and ran with it. Avery directed a string of cartoons starring Porky Pig that established the character as the studio's first bona fide star. Schlesinger also gradually moved the Merrie Melodies cartoons from black and white, to two-strip in 1934, and finally to full three-strip Technicolor in 1936.
The Looney Tunes series would be produced in black-and-white for much longer, until 1943.Because of the limited spacing conditions in the Schlesinger building at 1351 N. Van Ness on the Warner Sunset lot, Avery and his unit – including animators and – were moved into a small building elsewhere on the Sunset lot, which Avery and his team affectionately dubbed 'Termite Terrace.'
Although the Avery unit moved out of the building after a year, 'Termite Terrace' later became a for the classic animation department in general, even for years after the building was abandoned, condemned, and torn down. During this period, four cartoons were outsourced to the studio; however, Iwerks struggled to adapt his style to the type of humor that the Looney Tunes had developed by this time, and so Clampett took over as director (using Iwerks' staff) for the last two of these outsourced cartoons. Schlesinger was so impressed by Clampett's work on these shorts that he opened a fourth unit for Clampett to head, although for tax reasons this was technically a separate studio headed by Schlesinger's brother-in-law, Ray Katz.From 1936 until 1944, and such as Freleng, Avery, Clampett, Jones, and worked at the studio. During this period, these creators introduced several of the most popular cartoon characters to date, including (1937, by Avery), (1940, by Jones), (1940, by Avery), and (1942, by Clampett). Avery left the studio in 1941 following a series of disputes with Schlesinger, who shortly after closed the studio for two weeks due to a minor strike similar to the that occurred at Disney.
A few months earlier he banished all unionized employees in what became known in retrospect as the 'Looney Tune Lockout'; this time Schlesinger lost nearly all of his employees of the Avery unit. Clampett and several of his key animators took over Avery's former unit, while Clampett's own position as director of the Schlesinger-Katz studio was taken by, a Clampett animator whose cartoons focused in war-related humor; McCabe in turn lasted barely a year before being drafted, and Frank Tashlin returned to the studio to replace him.By 1942, the Schlesinger studio had surpassed Walt Disney Productions as the most successful producer of animated shorts in the United States.
Between 1942 and 1945, the Schelsinger studio produced a number of films for the United States military in support of its efforts in. Under the command of the 's, headed from 1942 to 1944 by Major Theodor Seuss Geisel (better known as ), the studio produced the and (with ) cartoons for the servicemen's entertainment. 1944–1964: Warner Bros. Cartoons. 'No Buddy Atoll', cartoon directed by Chuck Jones in 1945In 1944, Schlesinger sold his studio to Warner Bros., which renamed the company Warner Bros. Cartoons, Inc., and (who by Jones' and Freleng's accounts had no sense of humor or appreciation of cartoons), was appointed by Warner Bros. As the new head of the cartoon studio after Schlesinger retired.
In September 1944 Frank Tashlin left, and in October 1946, Robert Clampett left. Tashlin's unit was initially taken over by who later took over Clampett's unit. The remaining animators of the initial McKimson unit were assigned to. Although inheriting most of their staffs, these units have been the least known among the four, apart from having lower budgets than Jones and Freleng. In 1948, the studio moved to a larger building on the Sunset Boulevard lot. Davis' separate unit was dissolved in 1949, and he became an animator for Freleng.The Jones, Freleng,and McKimson units became noted by their respective styles, mostly influenced by their budgets: Jones' cartoons (who was assigned the largest budgets) featured a more visual and sophisticated style, Freleng (having budgets noticeably smaller than Jones) made extensive use of slapstick, and McKimson (who with Davis had much lower budgets) often relied more on jokes and dialogue in general.Among the Warner Bros.
Cartoon stars who were created after Schlesinger's departure include (1945, by Jones), (1945, by Freleng), (1945, by Freleng), (1946, by McKimson), (1949, by Jones), and (1953, by McKimson). In later years, even more minor Looney Tunes characters such as Freleng's, Jones' and McKimson's have become significantly popular.After the verdict of the case in 1948 ended the practice of ', Warner Bros. Could no longer force theaters into buying their features and shorts together as packages; shorts had to be sold separately. Theater owners were only willing to pay so much for cartoon shorts, and as a result by the late-1950s the budgets at Warner Bros. Cartoons became tighter.
Selzer forced a stringent five-week production schedule on each cartoon (at least one director, Chuck Jones, cheated the system by spending more time on special cartoons such as, less time on simpler productions such as Road Runner entries, and had his crew forge their time cards). With less money for full animation, the Warner Bros. Story men —, and — began to focus more of their cartoons on dialogue. While story artists were assigned to directors at random during the 1930s and 1940s, by the 1950s each story man worked almost exclusively with one director: Maltese with Jones, Foster with Freleng, and Pierce with McKimson.With the advent of the craze in 1953, Warner Bros.
Shut its cartoon studio down in June of that year, fearing that 3-D cartoon production would be too expensive (only one Warner Bros. Cartoon was ever produced in 3-D, Jones' starring Bugs Bunny). The creative staff dispersed (Jones, for example, went to work at Disney on, Maltese went to, and Freleng went into commercial work).
Cartoons re-opened five months after its close, following the end of the 3-D craze. In 1955, the staff moved into a brand new facility on the main Warner Bros.
Lot in Burbank. Television took over the old studio location on Van Ness; the old Warner Sunset Studios is today called.Also in 1955, Warner Bros. Sold its library of black and white Looney Tunes to.
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The package consisted of 191 cartoons which began showing on television that year.By 1958, Selzer had retired, and veteran Warner Cartoons production manager took his place. Also lost its trio of staff storymen at this time. Foster and Maltese found work at, while Pierce worked on a freelance basis with writing partner Bill Danch. John Dunn and Dave Detiege, both former Disney men, were hired to replace them.During Burton's tenure, Warner Bros. Cartoons branched out into television. In the fall of 1960, ABC TV premiered, which was a package program featuring three theatrical Warner Bros.
Cartoons, with newly produced wraparounds to introduce each short. The program remained on the air under various names and on all three major networks for four decades from 1960 to 2000. All versions of The Bugs Bunny Show featured Warner Bros. Cartoons released after July 31, 1948, as all of the Technicolor cartoons released before that date were sold to in 1956.became the last executive in charge of the original Warner Bros. Cartoons studio in 1961. The same year, Chuck Jones moonlighted to write the script for a -produced feature titled. When that film was picked up by Warner Bros.
For distribution in 1962, the studio learned that Jones had violated his exclusive contract with Warners and he was terminated in July. Most of Jones' former unit subsequently re-joined him at to work on a new series of cartoons for. Freleng left the studio in November 1962, four months after Jones' termination, to serve as story director for the feature at Hanna-Barbera.In late 1962, at the height of television popularity and decline in moviegoing, DePatie was sent to a board meeting in New York, and he was informed that the cartoon studio was going to be shut down. DePatie completed the task by December 1963.
Although Chuck Jones was fired in mid 1962, he helped DePatie's task by directing four more cartoons with his former unit. The cartoons were,. The final project at the studio was making the animated sequences, directed by McKimson, for the 1964 Warner Bros. With the studio closed, in New York had to be contracted to produce the opening and closing credits for, which debuted on in 1964.
This marked one of the first times that the Looney Tunes characters were animated outside of the Los Angeles area.1964–1967: DePatie–Freleng Enterprises and Format Productions David H. DePatie and Friz Freleng started in 1963, and leased the old Warner Bros. Cartoons studio as their headquarters.
In 1964, Warners contracted DePatie–Freleng to produce more Looney Tunes and Merrie Melodies, an arrangement which lasted until 1967. The vast majority of these paired off Daffy Duck against Speedy Gonzales, and after a few initial cartoons directed by Freleng, Robert McKimson was hired to direct most of the remaining DePatie–Freleng Looney Tunes.In addition to DePatie–Freleng's cartoons, a series of new shorts featuring and was commissioned from an independent animation studio, 's. Veteran Warner animator, who had worked for years under Road Runner creator Chuck Jones, assumed directorial duties for these films, but even with the Jones connection Larriva's Road Runner shorts are considered to be mediocre by critics.
McKimson also directed an additional two Road Runner shorts with the main DePatie–Freleng team, which are more highly regarded than Larriva's efforts.After three years of outsourced cartoons, Warner Bros. Decided to bring production back in-house. DePatie–Freleng had their contract terminated (they subsequently moved to new studios in the ), and Format was commissioned to produce three 'buffer' cartoons with Daffy and Speedy (again, directed by Rudy Larriva) to fill the gap until Warner Bros.' S own studio was up and running again.1967–1969: Warner Bros.-Seven Arts Animation The new cartoon studio was to be headed by studio executive, and after an unsuccessful attempt at luring Bob Clampett out of retirement, former and Hanna-Barbera animator was appointed director at the new studio. He brought his longtime collaborator, to be the new studio's chief animator, and brought in Disney animator Volus Jones and Ed Solomon who also started at Disney as an assistant, which contributed to make cartoons from this era of the studio stylistically quite different from the studio's 'Golden Age'. Lovy also brought in animator Ted Bonnicksen and layout artist Bob Givens, both veterans of the original studio. Shortly after the studio opened, Warner Bros.
Was bought out by Seven Arts Associates, and the studio renamed.Initially, Lovy's new team produced more Daffy and Speedy cartoons, but soon moved to creating new characters such as and, and even occasional experimental works such as (1968), the only cartoon not to be in either series. Lovy's cartoons were not well received, and many enthusiasts regard them (particularly his Daffy and Speedy efforts) as the worst cartoons ever produced by the studio.After a year, Alex Lovy left and returned to Hanna-Barbera, and Robert McKimson was bought back to the studio. He focused on using the characters that Lovy had created (and two of his own creation: ). The studio's classic characters appeared only in advertisements (as for ) and cartoon show bumpers.
McKimson's films of the era have more adult-oriented humor than Lovy's. However, in 1969, Warner Bros. Ceased production on all its short subjects and shut the studio down for good when Warner Bros.-Seven Arts was acquired.
The back catalog of Looney Tunes and Merrie Melodies shorts would remain a popular broadcast and syndication package for well into the 2000s, by which time it had reacquired the pre-August 1948 shorts it sold to a.a.p. In 1956.Warner Bros. Cartoons staff, 1933–1969. (1935–1942) (credited as Fred Avery).
Ted Bonnicksen (1963). (1934). (1964). (1937–1946) (credited as Robert Clampett).
(1938–1940). (1946–1949, 1962). (1933―1934). (1934–1938, 1940–1964) (credited (until late 1955) as I. Freleng). (1934–1935, 1938–1940).
(1959). (1938). (1937). (1938–1964) (credited (until late 1955) as Charles M. Jones). (1934–1936).
(1959–1962). (1967–1968). (1940–1943). (1946–1964, 1968–1969). (1963–1964). (1961–1964). (1933).
(1961–1964). (1936–1938, 1943–1946). (1963). (1964)Storyboard artists/writers.
Fred Abranz. Richard Bickenbach. Norm Blackburn. Ted Bonnicksen.
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Bob Bransford. George Cannata. Robert 'Bobe' Cannon.
John Carey. Ken Champin. Herman Cohen.
Keith Darling. Basil Davidovich. Jim Davis. Joe D'Igalo. Russell Dyson. Hugh Fraser.
A.C. Gamer.
John Gibbs. George Grandpre. Lee Halpern. Alex Ignatiev.
Fred Jones. Anatolle Kirsanoff. Art Leonardi. Harry Love (Effects Animator). Vive Risto. Larry Silverman. Ed Solomon.
Frank Tipper. Gil Turner. Sandy Walker.
Elmer Wait. Don WilliamsVoices. Main article:.Warner Bros. Cartoons produced two series of animated shorts for commercial theatrical release, (1930–1969) and (1931–1969). The and shorts featuring were separately to distributors from 1944 on as Bugs Bunny Specials. Cartoons also produced the cartoons for the US Army and the cartoons for the US Navy.Feature-length films Theatrical films.
(1964, animation/live-action)Live-action features with animated segments by Warner Bros. Cartoons. (1948). (1949)TV series.
and various spin-offs (1960–1962, 1962–2000s). – produced as a pilot, not sold (1962). Philbert – produced as a pilot, not sold (1963)See also.Notes. Barrier, Michael (1999). Hollywood Cartoons. New York: Oxford University Press.
164. Barrier, Michael (1999). 323. Barrier, Michael (1999). 324–8.
^ Barrier, Michael (1999). 329–33. (1980, rev. Of Mice and Magic: A History of American Animated Cartoons. Penguin Books. Retrieved June 17, 2007.
Coons, Robbin (February 15, 1944). Prescott Evening Courier. Retrieved July 5, 2011. Sperling, Millner, and Warner (1998), p. 187–8. Nielsen Business Media, Inc (February 19, 1955). Cite journal requires journal=.
^ The Warner Bros. Cartoon in the Associated Artists Productions package with the latest release date was, released on July 24, 1948. ^ Barrier, Michael (1999). Archived from on February 2, 2010. Retrieved June 14, 2009. CS1 maint: archived copy as title.
Mackey, Dave '.References. Maltin, Leonard (1987) 1980. Of Mice and Magic: A History of American Animated Cartoons. New York: Plume. Barrier, Michael (1999). Hollywood Cartoons: American Animation in Its Golden Age.
Oxford: Oxford University Press. Jones, Chuck (1989). Chuck Amuck: The Life and Times of an Animated Cartoonist. New York: Farrar Straus & Giroux.
Beck, Jerry (1989). Looney Tunes and Merrie Melodies: A Complete Illustrated Guide to the Warner Bros. New York: Holt Paperbacks.External links.
on. on.