UPA Gallery of Memories
Below are a few items from the collections of artists who worked at UPA and earlier animation studios, and also from collectors of animation memorabilia.
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- Steve Bosustow’s Disney ID card, signed by paymaster A.G. Keener.
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- All the 1941 Disney Strike organizers apparently got one of these pleasant notices.
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- This sketch was in a folder labeled “Associate Cine-Artists”. Other drawings indicate that it was for a film to promote buying WWII war bonds. Our initial feeling is that this was an unfinished project for a brief company started by Steve Bosustow and Cal Howard, which briefly preceded UPA, or Industrial Film and Poster Service, as it was first called. Does anyone have an idea if this is a correct assumption, or not?
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- Here is UPA’s first film, a slide film called “Sparks and Chips Get the Blitz” 1943. Next to it is another slide film made the next year called “Jimmy Rabbit”
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- The Ragtime Bear, chasing a dandelion thinking it’s a delicious golf ball … well, you have to see the short. These are three of the original Art Babbitt rough extremes for “Grizzly Golfer”, with Mr. Magoo, from the collection of Pete Burness
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- The Ragtime Bear, chasing a dandelion thinking it’s a delicious golf ball … well, you have to see the short. These are three of the original Art Babbitt rough extremes for “Grizzly Golfer”, with Mr. Magoo, from the collection of Pete Burness
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- The Ragtime Bear, chasing a dandelion thinking it’s a delicious golf ball … well, you have to see the short. These are three of the original Art Babbitt rough extremes for “Grizzly Golfer”, with Mr. Magoo, from the collection of Pete Burness
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- This is a sample of UPA’s only attempt to get into the recording business. Their first, and we think, their only, record was recorded by one of Bing Crosby’s sons, Phil Crosby. The flip side, “Thanks” didn’t do any better.
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- UPA cufflinks
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- One of the Ernie Pintoff Christmas glasses, or was it Fred Crippen, we think so.
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- This is one of the walls at our 1st documentary production office, which included one of the license plates purchased by UPA’s London studio, a poster for the first screening of a work-in-progress of the documentary, formerly, “UPA: Mavericks, Mutiny & Magoo,” a 1954 award for Tell Tale Heart from the International Film Festival of São Paulo, Brazil, a certificate from Filmex for the 1978 UPA Tribute we produced, and a promotional cel of Mr. Magoo
