David A. Bossert - Kem Weber: Mid-Century Furniture Designs for the Disney Studios

Copyright 2018 by David A. Bossert

All rights reserved. Published by The Old Mill Press, an imprint of Madison Beach Productions, LLC.

No part of this book may be reproduced or transmitted, in whole or in part, in any form (beyond that permitted by Section 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press) or by any means, electronic or mechanical, including photocopying, recording, or by any past, present, and/or future information storage, retrieval and/or display system, without written permission from the publisher. For more information contact: The Old Mill Press, 25876 The Old Road, #213, Valencia, CA 91381

Designed by Nancy Levey-Bossert

Copy Edited by Diane Hodges

Set in Mouse Deco by Steve Ferrera,

Minion 3 and Kobenhavn used courtesy of Adobe Typekit,

New Press Eroded by Galdino Otten

Printed at Printing Arts, Chicago, IL, U.S.A.

Bound at Harris Bindery, Downers Grove, IL, U.S.A.

First Edition, November 2018

Library of Congress Control Number: 2018952509

ISBN: 978-1-7326020-0-7

Image Credits, unless otherwise noted:

UCSB Karl Emanuel Martin (Kem) Weber papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.

Dave Bossert Personal photos courtesy of David A. Bossert

Heritage Auctions Courtesy of Heritage Auction, HA.com

MBP Illustrations copyright Madison Beach Productions, LLC

Jacket photo: Kem Weber and Walt Disney inspecting the furniture during manufacture at the Petersen Show Case & Fixture Company, Inc. in Los Angeles; circa 1939. UCSB

Visit www.theoldmillpress.com

Kem Weber, 1889-1960 UCSB

Concept design for The Walt Disney Studios main entrance with casting building on Buena Vista Street, Burbank, 1939; Kem Weber; UCSB

Dedicated to the following for their generous support

Keith Williams

Neil Cantor

Benjamin Breitbart

Ken Duncan

A study of the research library in The Walt Disney Studios Animation Production Building; circa. 1939, Kem Weber. UCSB

Concept design for The Walt Disney Studios main restaurant (commissary), 1939; Kem Weber; UCSB

I decided to write and publish this book for several reasons. Its not only documenting the historic nature of these pieces but is also a love letter to the furniture that I have worked on for more than thirty years. In doing so, the single biggest expense in creating a book is printing. With that in mind, I decided to use the online crowdfunding platform AIM/Hatchfund to cover the cost of printing as well as to gauge interest in the project. To my pleasant surprise, the level of interest was very high for this topic and the funding goal was achieved quickly by a group of individuals that also saw the value in preserving this piece of history.

One of the first people to make a contribution was Keith Williams, who lives in Chicago and is the CEO of the Underwriters Laboratories (UL). Keith is a patron of the arts and immediately responded at a generous support level. Thank you Keith.

Neil Cantor, a friend and the owner of Magical Memories Galleries in the Forum Shops at Caesars Palace, Las Vegas was also supportive of this endeavor. Neil has been a lifelong fan and leading purveyor of animation related art. He came onboard the campaign right away with a top tier contribution as well as making the commitment to carry this book in his gallery. Thank you Neil.

While I was doing a podcast for LaughingPlace.com, interviewer Benjamin Benji Breitbart, made a top tier donation to the project as I was talking about it in the interview. Benji has been a great supporter of everything Disney and has gone out of his way to promote and support authors and their Disney related books. His site is a terrific resource for everything going on in the Disney universe. Thank you Benji.

Ken Duncan is a world-class animator who worked at the Walt Disney Animation Studios before leaving and opening his own studio. He animated on the Weber furniture for many years and didnt hesitate in contributing his support. Aside from being one of the premiere traditional animators in the business, he is knowledgeable on the history of animation and a fan of the Weber animation furniture. Thank you Ken.

I also extend a heartfelt thanks to all the additional contributors, Alison Bossert, Caroline Bossert, Mike Dean, Alex Herrell, John Musella, Donald Kimbal, Sydney Bossert, Rick Ryan, Meghan Davis, Angelo Shake, Lenora Hume, Elizabeth Spatz, Marty Alchin, Elichi Ogawa, Scott Eaton, Ross Anderson, Matthew Feige, Diana Waller, Richard & Michele Golden, Didier Ghez, Mark Gorog, Jeremy Patrich, Paula Sigman-Lowry, Lynn Bodell, Todd Pierce, Giovanna Bourassa, Christopher Hagerty and the Hyperion Historical Alliance. I appreciate their interest and support of this monograph.

I have the very good fortune of being married to a talented graphic designer and ceramicist who is experienced in print production. Nancy Levey-Bossert was a joy to work with on this, our first book collaboration. It was easy since our respective offices are steps apart. She has done a wonderful job designing this book.

Special thanks to Harry Youtt for his edits and Diane Hodges for her copy editing.

Also, I want to thank artist Christy Maltese for her beautiful illustrations of all the Kem Weber designed animation furniture. She is an incredible talent who Ive had the pleasure to work with on and off throughout my career. Christy puts heart into every project regardless of how big or small which is evident by her work in this book.

I would also like to express my gratitude to all the artists and filmmakers I interviewed for this book including Don Hahn, John Musker, James Coleman, Tony Anselmo, Jorgen Klubien, Andreas Deja, Brenda Chapman, Tom Sito, Chris Hibler, and Karen Keller. Also, thanks to Peter Loughrey of Los Angeles Modern Auctions and a repeat appraiser on PBSs Antiques Roadshow, for his invaluable insights and knowledge of the Kem Weber furniture and the Mid-Century Modern design movement. Thank you to Julia Larson, ADC Reference Archivist at the Architecture and Design Collection, Art, Design & Architecture Museum, University of California, Santa Barbara for all her help with the Kem Weber archives. And Mindy Johnson for her help with some rare photos.

It is also important to express my gratitude to the Hyperion Historical Alliance (HHA), which is an independent group dedicated to the research, documentation, and preservation of Disney history. I had this manuscript vetted and received valuable feedback from animation historian Paula Sigman-Lowry and HHA president Didier Ghez. I am proud to be a member of this esteemed group of committed authors and historians.