Out of the Inkwell: Max Fleischer and the Animation Revolution

Photo insert Contains Image Plates

One of Max’s early editorial cartoons (1902) for the Brooklyn Daily Eagle. Max Fleischer (left) posed next to his older brother Charlie, late 1880s. Left: Not one of William Fleischer’s stuffed horses, but close. (Max Fleischer illustration, 1900.) Right: Brooklyn Daily Eagle cartoon, 1902, by Max Fleischer. Max on the bike, his brother Charlie on foot, late 1880s. Max Fleischer at the Brooklyn Daily Eagle, 1902. Love letter to Essie from Max, 1901, first page. Love letter to Essie from Max, 1901, second page. Lesson no. 1 in “copology”: Keep your buttons shiny and William Fleischer happy. (Brooklyn Daily Eagle cartoon, 1902, by Max Fleischer.) Max in the Catskill Mountains near New York City, 1902. Another Brooklyn Daily Eagle cartoon, 1902, by Max Fleischer. Pen-and-ink etching by Max Fleischer. Max’s visualization of corruption in Browns-ville. (Brooklyn Daily Eagle editorial cartoon, 1902, by Max Fleischer.) My father demonstrates for me one of his many inventions, the never-wind clock, at the Windermere Hotel, New York City. The Rotoscope. Note the living-room drapes and carpet in the Windermere Hotel. Above: Original tracing of the clown that became known as Ko-Ko. Below: Finished artwork based on the tracing. Ko-Ko the Clown. A portrait of Max with a rare relaxed expression, 1919. Max posing on a light artillery carriage at Fort Sill, Oklahoma, 1918. Max with a bayonet at Fort Sill, Oklahoma , 1918. Front side of a postcard sent to daughter, Ruth, 1918. Back side of a postcard sent to daughter, Ruth, 1918. Standing next to the camera , Max lines up one of the first U.S. Army training films ever made, Fort Sill, Oklahoma, 1918. Max and Ko-Ko play together on-screen. Above: Max Fleischer illustrates the big move from Forty-fifth Street to 1600 Broadway. Below: Max participates in a privative special effect. Max and Ko-Ko. Chas Sheltar, Louis Fleischer, and Max (left to right) prepare a bouncing ball episode. Max directing Ruth in a scene from Carrie of the Chorus, Astoria Studios. The first of the ill-fated Carrie of the Chorus liveaction series shooting in Astoria Studios. Carrie of the Chorus rehearsal, Ruth third from the right. Left: The front of one of the first flyers for Betty Boop merchandise. Below: The inside of one of the first flyers for Betty Boop merchandise. An original drawing of Betty Boop. Mae Questel and Max join up to wish me a happy graduation from Peekskill Military Academy into Brown University . Mae writes: “Dicky darling, with my sincerest wishes for a successful and happy career. You deserve it! Love from Betty Boop, alias Mae Questel.” The inimitable Mae Questel along with Betty Boop, Bimbo, and Max doing their “selling” act. Essie (at the left), me (toddler), Ruth (seated), an unknown companion—and the famous Jackson automobile. Ruth, Max, and I (center) stand next to the Jackson. Above and facing page: Get-well cards made for Max by the Fleischer Studios artists. Picketers strike Fleischer Studios in New York City, 1937. Self-caricature by Max Fleischer: an illustration from one of Max’s letters on how to spend a pleasant day in New York City in the winter. A rarity! Max on the beach, Miami Beach, Florida. Max overlooks the grounds of his new home in Miami Beach, Florida. Max writes: “Ruth & Seymour, This is Miami Beach—the little things in the background are human beings and the big thing defacing the foreground is me. Fooled ya that time—Love Pops. Regards to the Gang.” Portrait of Max Fleischer. Fleischer Studios artists prepare to race their boats in the Florida Everglades. Max’s tummy was expanding , and he enjoyed kidding about it. Max writes: “Your lone big pops, I’m looking in the general direction of my bay window and don’t believe the double chin you see, it’s a fake! Pops.” Gulliver’s Travels promotional advertisement. Betty’s skirt is very short, revealing her garter (animation cel). Above and below: Three sketches showing Betty’s hemline gradually falling below...