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Thursday, December 24, 2015

Original Production Animation Cel of Pablo The Penguin On A Courvoisier Background from "The Cold-Blooded Penguin" Segment of "The Three Caballeros," 1944


Original hand painted and hand inked production cel of Pablo The Penguin on a hand painted Courvoisier background from "The Cold-Blooded Penguin" segment of "The Three Caballeros," 1944; Size - Pablo: 5 3/4 x 6 1/4", Image 7 1/2 x 9 3/4"; Unframed.

To purchase this cel or to visit the Art Gallery, CLICK HERE

"The Three Caballeros," 1944 is an animated musical film produced by Walt Disney Productions which premiered in Mexico City on December 21, 1944, in the United States on February 3, 1945, and in the United Kingdom in March. The film focuses on a fantastic adventure which occurs through  Latin America and is combination of both live-action and animation.

The film stars Donald Duck, who is joined by his old friend José Carioca, the cigar-smoking parrot from "Saludos Amigos," 1942 (representing Brazil); and later becomes friends with the pistol-packing rooster, Panchito Pistoles (representing Mexico). The film is laid out as a series of individual segments that are connected by Donald Duck opening birthday gifts from his Latin American friends. Several Latin American stars appear in the film including; singers Aurora Miranda (sister of Carmen Miranda) and Dora Luz, and the singer and dancer Carmen Molina.

"The Cold-Blooded Penguin" segment of "The Three Caballeros" stars a penguin named Pablo and it was narrated by the great Sterling Holloway (the original voice of Winnie The Pooh and many other Disney characters). Pablo lives in Antarctica but he is always cold and stays close to his old trusty stove, "Smokey Joe." Pablo becomes fed up with the freezing conditions of the South Pole and decides to leave home and sets out for warmer climates. He makes several attempts to get out of Antarctica; and eventually he puts together a boat utilizing his stove and a bathtub and sails north, and finally settles on a warm island.

This is a fantastic original production cel of Pablo the Cold-Blooded Penguin! He is full figure, eyes open, and he has his stove "Smokey Joe" attached to his back as he sets out on skies for warmer weather. He is wearing his blue coat, red hat, and his yellow scarf. This is an original Courvoisier cel setup complete with the original airbrushed background.

Wednesday, December 23, 2015

Original Production Animation Cel of Lady Tremaine (Wicked Stepmother) From "Cinderella," 1950


Original hand inked and hand painted production cel of Lady Tremaine (Wicked Stepmother) set on a lithographic background from "Cinderella," 1950; Numbered 25 in ink bottom right; Size - Stepmother: 10 1/4 x 4 1/4", Cel 12 1/2 x 15 1/4"; Unframed.

To purchase this cel or to visit the Art Gallery, CLICK HERE

"Often, patrons would be horrified or dismayed by the behavior of a villain, but more people actually hated the Stepmother more than any other villain we ever created." - Ollie Johnson and Frank Thomas from "The Disney Villain," 1993

Eleanor Audley (TV and film actress as well as familiar radio and animation voice talent) was filmed while she was dressed and speaking as the Stepmother; and as she performed scenes outlined in the film. Those film reels were used by animator Frank Thomas to convey even more realism to the character. Although the framed images were not directly copied by the animator, they were used as reference for lifelike movements. Eleanor Audley also voiced the Stepmother and her articulation conveyed the fire and raw power of the character. She could be sharp and curt in telling Cinderella what chores to do while lying in bed and slowly stirring her cup of tea, or her voice could be calm are cruel while watching as her daughters viciously destroyed Cinderella's dress.


Close up of the Lady Tremaine original production cel.

Frank Thomas did a phenomenal job of controlling the Stepmother's actions to make sure that they were were not wild and out of control; but rather calculated, cold, and precise. The story of Cinderella presented a situation where a villain lived and interacted with her victim day after day under the same roof. The actions of the Stepmother seemed even more cruel because not only were both she and Cinderella animated in a very realistic fashion, but because of the close proximity the cruelness of the villain could be seen as even more intense by the reactions on Cinderella's face. If all this were not enough, the Stepmother's arsenal of evil was compounded by her two ill mannered daughters Anastasia and Drizella; as well as Lucifer the cat, who delighted in trying to kill Cinderella's mouse friends.

This is a large and impressive cel of Lady Tremaine from the scene in the film when Cinderella interrupts Anastasia and Drizella's music lesson, to show her Stepmother the invitation to the Ball. Lady Tremaine stands up from the piano and says, "I've warned you never to interrupt while-." And Cinderella says, "but this just arrived from the palace," and holds out the invitation. This is a wonderful eyes and mouth open image of Lady Tremaine, from a pivotal scene in the film.


Original production animation cel of Lady Tremiane (Wicked Stepmother) without the background.

To see the cel in the film, just click on the short video below:

video

Tuesday, December 22, 2015

Original Animation Production Cel of Dopey Set On A Wood Veneer Courvoisier Background from "Snow White and the Seven Dwarfs," 1937


Original hand painted and hand inked production cel of Dopey set on an airbrushed wood veneer Courvoisier background from "Snow White and the Seven Dwarfs," 1937; Size - Dopey: 4 1/2 x 3 1/2", Image 8 x 8"; Unframed.

To purchase this cel or to visit the Art Gallery, CLICK HERE

Development on Snow White and the Seven Dwarfs began in early 1934, and by June Walt Disney announced to The New York Times the production of his first feature, to be released under Walt Disney Productions.  Before Snow White and the Seven Dwarfs, the Disney studio had been primarily involved in the production of animated short subjects in the Mickey Mouse and Silly Symphonies series.  However, Disney hoped to expand his studio's prestige and revenues by moving into features, and he estimated that Snow White and the Seven Dwarfs could be produced for a budget of $250,000 (this was ten times the budget of an average Silly Symphony).

Snow White and the Seven Dwarfs was to be the first full-length cel animated feature in motion picture history, and as such Walt Disney had to fight to get the film produced. Both his brother and business partner Roy Disney, as well as his wife Lillian attempted to talk him out of it.  The Hollywood movie industry mockingly referred to the film, while is was in production, as "Disney's Folly."  Disney ended up having to mortgage his house to help finance the film's production, which would eventually ran up to a total cost of $1,488,422.74; an absolutely massive sum for a feature film in 1937!

Although the initial concept designing of the dwarfs was relatively easy for the Walt Disney animation department, the actual animating of them proved to be difficult. The animators, already finding human figures difficult to animate, now had to animate dwarfed human figures. The great Disney animator Vladimir Tytla noted that the dwarfs should walk with a swing to their hips, and Fred Moore commented that they had to move a little more quickly in order to keep up with the other human characters. A 3-D armature sculpture of each dwarf was constructed as reference for the animators.

In the pre-production stages of "Snow White and the Seven Dwarfs," Dopey was simply called 'The Seventh'. His personality and role were finalized late in the process, after it was suggested that Dopey should move like burlesque comedian Eddie Collins. Collins began his career in vaudeville and went on to become a successful comedian, actor, and singer. He helped to define the character's personality through his live action filmed sequences, as well as providing the few vocal sounds that Dopey made during the film. He also provided the sounds of a sneezing chipmunk and a squirrel.

Dopey is the youngest of the dwarfs, as proven by his lack of a beard. But perhaps his most notable trait is his lack of speech. In the film Happy states Dopey is simply unaware whether or not he can speak, as he has simply never tried. In spite of this, he can occasionally be heard making various vocal sounds such as whimpers, hiccups, and a one-shot yell. The other dwarfs seem to have no problem understanding Dopey, and Doc was able to easily translate Dopey's blathering into a cohesive sentence. Various Walt Disney artists were involved in the animation of Dopey throughout the film including: Vladimir Tytla, Fred Moore, Frank Thomas, Shamus Culhane, Les Clark, Ollie Johnston, and Art Babbit.

This is an absolutely wonderful original hand painted and hand inked production cel of Dopey set on an airbrushed (used to create the shadow and the dwarf name) wood veneer Courvoisier background. The Courvoisier portrait series from Snow White is highly desired by collectors for their beauty. Courvoisier Galleries, the first to recognize the artistic value to the newly emerging animation art form, in the 1930s and 40s created the series to sell to the public. All the characters from the film were made for the series including The Seven Dwarfs, Snow White, The Huntsman, The Old Hag, and The Evil Queen. The character cels were trimmed and applied to the wood veneer background. This is a beautiful portrait cel of Dopey with both eyes and his mouth open.

Original Animation Production Cel of Sneezy Set On A Wood Veneer Courvoisier Background from "Snow White and the Seven Dwarfs," 1937


Original hand painted and hand inked production cel of Sneezy set on an airbrushed wood veneer Courvoisier background from "Snow White and the Seven Dwarfs," 1937; Size - Sneezy: 4 x 3 1/2", Image 8 x 8"; Unframed.


Development on Snow White and the Seven Dwarfs began in early 1934, and by June Walt Disney announced to The New York Times the production of his first feature, to be released under Walt Disney Productions.  Before Snow White and the Seven Dwarfs, the Disney studio had been primarily involved in the production of animated short subjects in the Mickey Mouse and Silly Symphonies series.  However, Disney hoped to expand his studio's prestige and revenues by moving into features, and he estimated that Snow White and the Seven Dwarfs could be produced for a budget of $250,000 (this was ten times the budget of an average Silly Symphony).

Snow White and the Seven Dwarfs was to be the first full-length cel animated feature in motion picture history, and as such Walt Disney had to fight to get the film produced. Both his brother and business partner Roy Disney, as well as his wife Lillian attempted to talk him out of it.  The Hollywood movie industry mockingly referred to the film, while is was in production, as "Disney's Folly."  Disney ended up having to mortgage his house to help finance the film's production, which would eventually ran up to a total cost of $1,488,422.74; an absolutely massive sum for a feature film in 1937!

Although the initial concept designing of the dwarfs was relatively easy for the Walt Disney animation department, the actual animating of them proved to be difficult. The animators, already finding human figures difficult to animate, now had to animate dwarfed human figures. The great Disney animator Vladimir Tytla noted that the dwarfs should walk with a swing to their hips, and Fred Moore commented that they had to move a little more quickly in order to keep up with the other human characters.

Due to Sneezy's severe hayfever, he sneezes very often throughout the film and this often prevents him from speaking. His sneezes can be gale force and will blow away anything and anyone in their path. As a result, the other dwarfs are quick to hold his nose whenever they feel he may have a sneeze approaching. The memorable scene in which the dwarfs tie a knot in Sneezy's beard was inspired by an early sketch by Albert Hurter, a concept and inspirational sketch artist at Walt Disney Studios. Various Disney artists were involved in the animation of Sneezy throughout the film including: Ward Kimball, Vladimir Tytl, Fred Moore, Shamus Culhane, and Les Clark. Billy Gilbert, an American comedian and actor known for his comic sneeze routines, provided the voice of Sneezy.

This is an absolutely wonderful original hand painted and hand inked production cel of Sneezy set on an airbrushed (used to create the shadow and the dwarf name) wood veneer Courvoisier background. The Courvoisier portrait series from Snow White is highly desired by collectors for their beauty. Courvoisier Galleries, the first to recognize the artistic value to the newly emerging animation art form, in the 1930s and 40s created the series to sell to the public. All the characters from the film were made for the series including The Seven Dwarfs, Snow White, The Huntsman, The Old Hag, and The Evil Queen. The character cels were trimmed and applied to the wood veneer background. This is a wonderful eyes open portrait cel of Sneezy, as he holds his finger under his nose to prevent a looming sneeze.

Monday, December 21, 2015

Original Animation Production Cel of Happy Set On A Wood Veneer Courvoisier Background from "Snow White and the Seven Dwarfs," 1937


Original hand painted and hand inked production cel of Happy set on an airbrushed wood veneer Courvoisier background from "Snow White and the Seven Dwarfs," 1937; Size - Happy: 3 1/2 x 4 1/2", Image 8 x 8"; Unframed.


Development on Snow White and the Seven Dwarfs began in early 1934, and by June Walt Disney announced to The New York Times the production of his first feature, to be released under Walt Disney Productions.  Before Snow White and the Seven Dwarfs, the Disney studio had been primarily involved in the production of animated short subjects in the Mickey Mouse and Silly Symphonies series.  However, Disney hoped to expand his studio's prestige and revenues by moving into features, and he estimated that Snow White and the Seven Dwarfs could be produced for a budget of $250,000 (this was ten times the budget of an average Silly Symphony).

Snow White and the Seven Dwarfs was to be the first full-length cel animated feature in motion picture history, and as such Walt Disney had to fight to get the film produced. Both his brother and business partner Roy Disney, as well as his wife Lillian attempted to talk him out of it.  The Hollywood movie industry mockingly referred to the film, while is was in production, as "Disney's Folly."  Disney ended up having to mortgage his house to help finance the film's production, which would eventually ran up to a total cost of $1,488,422.74; an absolutely massive sum for a feature film in 1937!

Although the initial concept designing of the dwarfs was relatively easy for the Walt Disney animation department, the actual animating of them proved to be difficult. The animators, already finding human figures difficult to animate, now had to animate dwarfed human figures. The great Disney animator Vladimir Tytla noted that the dwarfs should walk with a swing to their hips, and Fred Moore commented that they had to move a little more quickly in order to keep up with the other human characters.

Happy is bubbly, bright, very friendly, and the most cheerful of all the dwarfs. His gleeful attitude prompts him to laugh often, and he is a singer, yodeler, and musician. Happy is plump and although six of the dwarfs have eyebrows that were modeled after Walt Disney’s; Happy has eyebrows that are white and bushy. Various Walt Disney artists were involved in the animation of Happy throughout the film including: Vladimir Tytl, Fred Moore, Shamus Culhane, and Les Clark. The former vaudevillian comedic actor Otis Harlan provided the voice of Happy.

This is an absolutely wonderful original hand painted and hand inked production cel of Happy set on an airbrushed (used to create the shadow and the dwarf name) wood veneer Courvoisier background. The Courvoisier portrait series from Snow White is highly desired by collectors for their beauty. Courvoisier Galleries, the first to recognize the artistic value to the newly emerging animation art form, in the 1930s and 40s created the series to sell to the public. All the characters from the film were made for the series including The Seven Dwarfs, Snow White, The Huntsman, The Old Hag, and The Evil Queen. The character cels were trimmed and applied to the wood veneer background. This is a large portrait of Happy with both eyes open, and he has a delightful mouth open smile.

Original Animation Production Cel of Doc Set On A Wood Veneer Courvoisier Background from "Snow White and the Seven Dwarfs," 1937


Original hand painted and hand inked production cel of Doc set on an airbrushed wood veneer Courvoisier background from "Snow White and the Seven Dwarfs," 1937; Size - Bashful: 4 x 3 1/2", Image 8 x 8"; Unframed.


Development on Snow White and the Seven Dwarfs began in early 1934, and by June Walt Disney announced to The New York Times the production of his first feature, to be released under Walt Disney Productions.  Before Snow White and the Seven Dwarfs, the Disney studio had been primarily involved in the production of animated short subjects in the Mickey Mouse and Silly Symphonies series.  However, Disney hoped to expand his studio's prestige and revenues by moving into features, and he estimated that Snow White and the Seven Dwarfs could be produced for a budget of $250,000 (this was ten times the budget of an average Silly Symphony).

Snow White and the Seven Dwarfs was to be the first full-length cel animated feature in motion picture history, and as such Walt Disney had to fight to get the film produced. Both his brother and business partner Roy Disney, as well as his wife Lillian attempted to talk him out of it.  The Hollywood movie industry mockingly referred to the film, while is was in production, as "Disney's Folly."  Disney ended up having to mortgage his house to help finance the film's production, which would eventually ran up to a total cost of $1,488,422.74; an absolutely massive sum for a feature film in 1937!

Although the initial concept designing of the dwarfs was relatively easy for the Walt Disney animation department, the actual animating of them proved to be difficult. The animators, already finding human figures difficult to animate, now had to animate dwarfed human figures. The great Disney animator Vladimir Tytla noted that the dwarfs should walk with a swing to their hips, and Fred Moore commented that they had to move a little more quickly in order to keep up with the other human characters.

Doc was not present in the original November 1935 story outline of the film as referenced by Robert D. Field in "The Art of Walt Disney." However, several months later his role in the film and his relationship with Grumpy was well established. Walt Disney commented that Doc's flustered personality should be such that he never knew quite where he is without one of his fellow dwarfs reminding him. Radio comedian Roy Atwell, who used stammering and mixed-up language in his act, was chosen to be the voice of Doc. Various Walt Disney artists were involved in the animation of Doc throughout the film including: Vladimir Tytl, Fred Moore, Shamus Culhane, Les Clark, and Ward Kimball.

This is an absolutely wonderful original hand painted and hand inked production cel of Doc set on an airbrushed (used to create the shadow and the dwarf name) wood veneer Courvoisier background. The Courvoisier portrait series from Snow White is highly desired by collectors for their beauty. Courvoisier Galleries, the first to recognize the artistic value to the newly emerging animation art form, in the 1930s and 40s created the series to sell to the public. All the characters from the film were made for the series including The Seven Dwarfs, Snow White, The Huntsman, The Old Hag, and The Evil Queen. The character cels were trimmed and applied to the wood veneer background. This is a very nice portrait of Doc with both eyes open, wearing his glasses, and his hands folded in front of him.