“The Dog Ate My Homework” Rambles— and “The Snowman” (1931/33)
I was especially excited to have a chance to scan the preservation negs that the Library of Congress had made for the Ted Eshbaugh short.
Tag Archives: Ted Eshbaugh
An Archivist’s Dream: Eshbaugh’s Technicolor “The Wizard Of Oz”(1933)
Pondering Ted Eshbaugh’s Technicolor “Wizard of Oz” short, and the interesting history behind its creation.
Eshbaugh’s “Pastrytown Wedding: The Cushman’s Flour version”
The first volume of the Rainbow Parade blu-ray is nearing completion. Let’s take a look at the first release in the series: Pastrytown Wedding – one of my favorites.
“Japanese Lanterns” (1935)
Japanese Lanterns is a wonderful little short from near the beginning of the Rainbow Parade series. I think it’s one of the best of the series – and here is my latest transfer.
Eshbaugh Gets Political: “A Fable of the New Deal” (1936)
As if we all haven’t had enough of politics as of late! First, though, a few Thunderbean updates: Lots still going on; look for stills later this afternoon on the…
Ted Eshbaugh’s “Tea Pot Town” (1936)
I thought it would be fun this week to show “Tea Pot Town” by the Bray Studios for the International Tea Growers Association. Ted Eshbaugh’s studio produced the actual animation for the short.
Scanning Animation You’ve Never Seen or Heard Before
I’ve begun to look forward to new surprises as I scan original title sequences from various 35mm master elements. Here are a few from my recent Rainbow Parade and ComiColor scans.
Ted Eshbaugh’s “Cap’n Cub” (1945) – and ‘Momotaro’s Sea Eagles’ (1943)
A pair of World War II era aviation animation classics – one from the US with a high flying bear cub, the other from Japan with a patriotic monkey pilot.
“Christmas Flickers” pre-order – and “The Sunshine Makers” in HD!
Since the election news has been a pretty exhausting for many this week, I thought a little bit of Sunshine couldn’t possibly be a bad thing.
Early NY Animators Profiles: Jesse “Vet” Anderson
The story of one of the Aesops Fables animators, who fell out of favor when the studio converted to sound production. He was let go in Spring 1930 and then joined Fleischer studios.
