QUOTE (mark mayerson @ Jan 10 2006, 03:04 PM)

Any Terry scene identifications from any time period would be most welcome.
Hi, Mark;
I have been fortunate in coming to know the identities of some of these animators by discovering signed pieces of their work or by observations of their peers and of friends of my own. But, for me, it hasn't yet been so with George Gordon, Jack Zander or many others who we know worked there; I know their names, but haven't yet seen anything signed or identified, and I hate to make guesses.
One suspicious and stylish animator yet to be identified did the pig auctioneer in the late 30s THE BARNYARD BOSS; he also drew the lobby card for THE HEALTH FARM, illustrated in OF MICE AND MAGIC. (He also animated the gorilla fight (mentioned by bigshot) in 1937's THE BIG GAME HUNT. That cartoon was co-directed by Mannie Davis and George Gordon. I'm sure the work isn't Davis'. Could it be Gordon's...?
It should be kept in mind that John Foster had stayed with the Aesop Fables studio when Van Bueren and Terry broke their partnership in 1930 and didn't actually work on a TerryToon until 1933 or '34. I have yet to confirm this, but the animation of the eccentric dogcatcher in THE DOG SHOW (1934) may be his work.
Also between 1933 and '34, Mannie Davis was fired from Fables and came back to Terry. Probably because of Davis' input, certain Terrytoons highly resemble Van Beuren cartoons: Terry's THE FIRST SNOW (1935) reminds one of several early 'beasts-on-skates' Fables, SNOWTIME among them. Likewise, layouts in the 1935 Terry OPERA NIGHT are not very different from some in the first Cubby Bear, OPENING NIGHT, which had been directed by Davis. (And a similar swordfight setup would be used in Davis' 1944 TerryToon, GANDY'S DREAM GIRL.)
(Yes, they liked to repeat themselves at Terry's. They seemed devoted to making "prison break", "pirate kidnap" and "black sheep makes good" entries annual events during the 30s.) Other animators I've been able to spot, more or less:
Connie Rasinski animated the last portion of CATS IN THE BAG (1936), from where Puddy the Pup carries the rescued infant home. Disney unsuccessfully tried to hire Rasinski away more than once (as reported by Bakshi), and these cute, well-posed scenes give hints as to why. Also check out the scene in which the sailor swims after the mermaid and bumps his head in THE SAILOR'S HOME from the same year. (This cartoon is particularly charming.) For a good contrast between his work and Frank Moser's, compare two shots from ROLLING STONES (1936): the scene with the two puppies riding on the rails & singing is by Rasinski, while a subsequent one of the same pair continuing their song while walking along the track is Moser's.
Jim Tyer's work pops up impishly in scenes from two early 1935 releases, THE FIRST SNOW (puppy looks thru window at skating bird, puppies pile up in stack as they are bumped from their toboggans) and WHAT A NIGHT (Farmer Al throws his radio out of the window). Tyer scenes become scarce afterwards, then stop appearing altogether. One may gather that it was at that point that he moved west to work for the big "D".
The opening scene of Puddy and his master playing ball in SUNKEN TREASURE is by Isidore Klein.
After the closing of Van Beuren's studio in 1936, the Terry cartoons hired several of its staffers, and the character delineations occasionally bore a passing resemblance to the RAINBOW PARADES. Dan Gordon's character design of Molly Moo Cow appeared in FARMER AL FALFA's 20th ANNIVERSARY, among others. Carlo Vinci became a dynamic asset to the studio at this time. (He animated the sequence in the same year's KIKO AND THE HONEY BEARS in which the hunting dogs spot and chase the bears, who escape on a turtle.) Larry Silverman's work started appearing around the same period, but I'd have to watch some films again to remind myself where.
...And there are others I'm still working on positively identifying (such as the animation of Babbitt, Davis and Eddie Donnelly).
Best Wishes,
Milt
The World of Knight
http://www.miltonknight.net