Bray Productions
| Company type | Private |
|---|---|
| Industry | Animation |
| Founded | before 1912 |
| Founder | John Randolph Bray |
| Headquarters | New York City , United States |
| Products | Animated cartoons, educational films, training films |
Bray Productions was an innovative American animation studio established prior to 1912 by John Randolph Bray and headquartered in New York City. The studio focused on serialized animation, creating widely recognized cartoons during and following World War I, and served as a foundational platform for influential animators like the Fleischer brothers, Walter Lantz, and Paul Terry.
History
The initial series produced by Bray Productions was Bray's own Colonel Heeza Liar. Among the early significant contributors were director Carl Anderson, Earl Hurd—who later became Bray’s business partner—and Paul Terry, who directed Farmer Al Falfa. The Fleischer brothers joined the team in 1916, broadening the studio’s creative roster. When rival company International Film Service ceased operations in 1918, Bray acquired its series and personnel, including director Gregory La Cava, strengthening its competitive standing.
Bray’s operational strategy involved four production units, each tasked with producing one cartoon per week for "screen magazines," which were short films screened before feature presentations. Distribution channels shifted from Pathé to Paramount in 1916, and later to Goldwyn Pictures in 1919. These units developed series such as Colonel Heeza Liar, Bobby Bumps, and Farmer Al Falfa, with creative leadership frequently changing as animators like Paul Terry and Max Fleischer departed along with their properties.
During World War I, the studio expanded into educational and training films, creating content for the U.S. Army that paved the way for substantial government and corporate contracts after the war. Bray increasingly concentrated on educational media, launching a Chicago–Detroit branch managed by Jamison "Jam" Handy that targeted the automotive sector, its largest private client.
In 1919, Bray Pictures Corporation was re-established, producing over three reels of screen magazines weekly alongside educational films. Among its notable releases was The Debut of Thomas Cat (1920), one of the earliest color animations. Nevertheless, escalating production expenses caused financial difficulties.
In January 1920, Samuel Goldwyn gained controlling interest in the company and initiated a significant restructuring, appointing Max Fleischer and J. D. Leventhal to oversee entertainment and technical departments respectively. The increased production demands led to the departure of key figures such as Fleischer and Hurd, which resulted in a decline in quality and prompted Goldwyn to withdraw his backing.
Following this period, Vernon Stallings and later Walter Lantz assumed leadership of entertainment production; by 1924, Lantz effectively managed the cartoon division. The studio benefited from contributions by prominent animators including Wallace Carlson, Grim Natwick, and Shamus Culhane. Despite attempts to rival studios like Hal Roach through series such as "The McDougall Alley Kids," Bray Productions exited mainstream animation by 1928.
The educational division, Brayco, continued producing filmstrips until 1963. The Jam Handy Organization—originally a subsidiary focused on industrial films for automotive clients—operated independently from 1928 until 1983. Max Fleischer later collaborated with Handy and Brayco during the 1940s and 1950s.
Bray Productions’ approach combined serialized animation with educational content, utilizing government and corporate contracts to diversify income sources. Its enduring impact includes nurturing industry pioneers and establishing early animation business frameworks within the developing motion picture sector.
Series created by Bray Productions
- Colonel Heeza Liar (1913–1917, 1922–1924): helmed by J. R. Bray and Vernon Stallings
- The Police Dog (1914–1916, 1918): directed by C. T. Anderson
- The Trick Kids (1916): overseen by Alexander Leggett
- Plastiques (1916): directed by Ashley Miller
- Bobby Bumps (1916–1922): under the direction of Earl Hurd
- Farmer Al Falfa (1916–1917): directed by Paul Terry
- Silhouette Fantasies (1916): directed by C. Allen Gilbert
- Miss Nanny Goat (1916–1917): directed by Clarence Rigby
- Quacky Doodles (1917): directed by F.M. Follett
- Picto Puzzles (1917): created by Sam Lloyd
- Otto Luck (1917): directed by Wallace A. Carlson
- Goodrich Dirt (1917–1919): direction by Wallace A. Carlson
- Out of the Inkwell (1918–1921): directed by Max and Dave Fleischer
- Hardrock Dome (1919): under Pat Sullivan's direction
- Us Fellers (1919–1920): directed by Wallace A. Carlson
- Jerry on the Job (1919–1922): led by Gregory La Cava and Vernon Stallings (originating from International Film Service)
- Lampoons (1920): directed by Burt Gillett
- Ginger Snaps (1920): helmed by Milt Gross
- Shenanigan Kids (1920): direction by Gregory La Cava, Burt Gillett, Grim Natwick (from International Film Service)
- Krazy Kat (1920–1921): directed by Vernon Stallings (from International Film Service)
- Happy Hooligan (1920–1921): led by Gregory La Cava and Bill Nolan (from International Film Service)
- Judge Rummy (1920–21): directed by Gregory La Cava, Burt Gillett, Grim Natwick, Jack King (from International Film Service)
- Technical Romances (1922–1923): overseen by J.A. Norling, Ashley Miller, F. Lyle Goldman
- Ink Ravings (1922–1923): directed by Milt Gross
- Bray Magazine (1922–1923): led by Milt Gross
- Dinky Doodle (1924–1926): direction by Walter Lantz
- Un-Natural History (1925–1927): co-directed by Walter Lantz and Clyde Geronimi
- Hot Dog Cartoons (1926–1927): directed jointly by Walter Lantz and Clyde Geronimi
- A McDougall Alley Comedy (1926–1928): directors included Joe Rock, Stan DeLay, Robert Wilcox