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Thursday, April 23, 2020

Original Production Animation Cel of Pongo and Perdita from "One Hundred and One Dalmatians," 196



Original hand painted production animation cel of Pongo and Perdita from "One Hundred and One Dalmatians," 1961, Walt Disney Studios; Set on a lithographic background; With original Art Corner Certificate sticker; Size - Pongo & Perdita: 5 1/4 x 9", Image: 9 x 11 1/2"; Unframed.

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

"Wilt thou love her, comfort her, honor and keep her in sickness and in health; and forsaking all others, keep thee unto her so long as ye both shall live?" - Priest

"One Hundred and One Dalmatians" ("101 Dalmatians"), is a 1961 full length animated feature film by Walt Disney Productions. It was adapted from Dodie Smith's 1956 novel of the same name. It stars Rod Taylor as the voice of Pongo and Cate Bauer as the voice of Perdita; with Betty Lou Gerson as the voice of the evil and villainous Cruella de Vil. The animation of all the characters from the film was quite extraordinary.

The film "Sleeping Beauty," 1959 was very expensive to make and it took a huge financial loss at the box-office; as a result, the Disney animation studio was considering closing. During the production of "Sleeping Beauty," Walt Disney told animator Eric Larson: "I don't think we can continue, it's too expensive." Because Disney's entire company was based on animation, he was looking for a way to continue with animation, and at the same time significantly reduce costs.

The animator Ub Iwerks had been experimenting with Xerox photography to aid in animation process. By 1959 he had modified a Xerox camera to transfer the drawings by the animators, directly onto animation cels. The process would preserve the spontaneity of the penciled drawings but eliminate the inking process, thus saving time and money. However, the limitation was that the camera was unable to deviate from a black scratchy outline, and the resulting cels lacked the fine lavish quality of hand inking.

One of the enormous benefits of the Xerox was that it was a tremendous help towards animating the spotted Dalmatian dogs. According to famed animator Chuck Jones, Disney was able to complete the film for about half of what it would have cost if they had had to animate all the dogs and spots. To achieve the spotted Dalmatians, the Disney animators envision the spot pattern as a star constellation. Once they had an "anchor spot," the next spot was placed into the pattern, and so on until the fully spotted Dalmatian was achieved. All totaled, the film featured 6,469,952 spots, with Pongo having 72 spots, Perdita 68, and each puppy 32.

Pongo was animated by Ollie Johnston and voiced by Rod Taylor, who was an Australian TV an movie actor who appeared in over 50 films. Perdita was also animated by Ollie Johnston, and she was voiced by Lisa Davis and Cate Bauer. Lisa Davis (who also voiced Anita) recorded about a third of the film as Perdita, but got married and moved to New York. So for the balance of the film, Perdita was voiced by Cate Bauer. It is unknown which actress recorded which lines.

This is a fantastic original production animation cel of Pongo and Perdita from the famous double wedding ceremony scene. Pongo's plan to get Roger to meet Anita at the outdoor park works, and soon they are standing before a Priest (seen through a stained glass window) inside of church. Pongo and Perdita are standing outside of the same church window, and both couples are wed in unison. It really doesn't get any better than this! A large and perfect image of the pair, with both dogs looking into each others eyes, sporting their blue and red collars, and paw in paw as they are read their wedding vows. A fantastic piece of original production artwork that is perfect for any serious animation art collection!

Original Production Animation Cels of Snow White and Dopey from "Snow White and the Seven Dwarfs," 1937


Original hand painted and hand inked production animation cels of Snow White and Dopey from "Snow White and the Seven Dwarfs," 1937, Walt Disney Studios; Set on a hand-painted background; Size - Snow White & Dopey: 7 x 5", Image 8 x 6 1/2"; Unframed.


“Lips red as the rose. Hair black as ebony. Skin white as snow.”
―The Magic Mirror describing Snow White

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!

A large number of actresses auditioned for the voice of Snow White. Walt Disney listened to each audition in his office while the actress performed in another room, without any knowledge of the actress' appearance or reputation. This would insure that he would only judge based on the sound of the voice. According to later accounts, most of the voices Disney felt, did not sound young enough. Eventually, in September of 1935, Adriana Caselotti was chosen for the voice of Snow White. Caselotti was eighteen at the time and made her coloraturo soprano sound younger, knowing that the character was intended to be 14 years old. In recording sessions Caselotti found difficulty in the line, "Grumpy, I didn't know you cared"; instead of "didn't", Caselotti was only able to say "din". After rehearsing the line many times, Walt Disney eventually said "Oh, the heck with..." and "din'" remained in the final film.

Snow White's design was supervised by Grim Natwick, an animator who had previously developed and worked on Betty Boop at Fleischer Studios. It is interesting to note that early designs for the Snow White resemble Betty Boop, and some appear to be caricatures of famous actresses of the time. As development continued, Snow White became more and more lifelike. Another animator, Hamilton Luske's first designs for Snow White depicted her as a slightly awkward, gangly teenager. However, Walt Disney had a different idea in mind; he wanted Snow White to be older, and more realistic-looking. This was achieved by the use of live-action references for the animators. Also, in order for Snow White to better relate onscreen to the seven Dwarfs, it was decided that her head be slightly larger than normal. In addition, the women in the animation studio's ink and paint department felt that Snow White's black hair was too unnatural and harsh, so they drybrushed whisps of light grey over the top of each and every cel.

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.

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.

These original production animation cels are from the scene in the film that occurs just before the Dwarfs head off to work in the gemstone mine. They warn Snow White to be careful with Doc saying, "Now, don't forget, my dear. Th-The old Queen's a sly one. Full of witchcraft. So beware of strangers." Snow White assures them that she will be careful. Each Dwarf says goodbye to Snow White and this is an absolutely beautiful cel setup of her with Dopey, standing just outside of the Dwarf forest cottage door. Both are large full figure centered images and the piece would be a highlight for any serious animation art collection!

Wednesday, April 22, 2020

Original Production Animation Drawing of Mickey Mouse from "Steamboat Willie," 1928


Original production animation drawing of Mickey Mouse from "Steamboat Willie," 1928, Walt Disney Studios; Graphite pencil on peg hole paper; Numbered 239 bottom right and 67 center right; Walt Disney Archives stamp number verso; Size - Mickey Mouse: 2 1/2 x 6 1/4", Sheet 9 1/2 x 12"; Unframed.

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

"I only hope that we don't lose sight of one thing - that it was all started by a mouse." - Walt Disney

"Steamboat Willie" (released on November 18, 1928) is a black-and-white animated short film produced by Walt Disney Studios, released by Celebrity Productions, and was directed by Walt Disney and Ub Iwerks. The cartoon is considered the debut of Mickey Mouse and his girlfriend Minnie Mouse; although both characters had appeared several months early in a test screening of "Plane Crazy" and the earlier produced but not released short film "The Gallopin' Gaucho." Although "Steamboat Willie" was the third Mickey short to be produced, it was the first to be distributed because Walt Disney, having seen "The Jazz Singer," was determined to produce the first fully synchronized sound cartoon. With "Steamboat Willie" Disney achieved not only synchronized character sounds, but also a synchronized musical score. Music for the short was arranged by Wilfred Jackson and Bert Lewis and included the songs "Steamboat Bill" and "Turkey In the Straw." Walt Disney performed all of the voices for the film and it would go on to become the most popular cartoon of it's day. In 1994 "Steamboat Willie" was voted to be 13th in "The 50 Greatest Cartoons" of all time, and in 1998 it was selected for preservation in the United States National Film Registry for being deemed "culturally, historically, or aesthetically significant."

The story of "Steamboat Willie" is that Mickey Mouse is piloting a river steamboat. He cheerfully whistles the song "Steamboat Bill" and he sounds the boat's three whistles. Soon the real ship's captain, Pete, shows up and orders Mickey off the bridge. Mickey blows a raspberry at Pete and Pete attempts to kick Mickey, but kicks himself instead. Mickey rushes down the stairs but slips on a bar of soap on the boat's deck, and he lands in a bucket of water. A parrots laughs at him, and in anger Mickey throws the bucket at him. Back on the deck, Pete pilots the steamboat and bites off some chewing tobacco and spits into the wind. The spit flies backward and rings the boat's bell. Pete tries to repeat this but the tobacco hits him in the face, causing him to get angry. The steamboat stops at "Podunk Landing" to pick up a cargo of livestock. Minnie Mouse almost misses boarding the boat, but manages to get on because Mickey is able to grab her by her underwear with the cargo crane, and swing her onto the deck just in the nick of time. Minnie accidentally drops her guitar and the sheet music to the song "Turkey In the Straw," which was then eaten by a goat. Mickey and Minnie use the goat as a phonograph by winding his tail like a crank, and the song begins to to come out of the goat's mouth. Mickey uses various objects and the animals on the boat as percussion accompaniment. The end of the song is played by Mickey using a pair of mallets to hit the teeth of a mouth open cow, emulating a xylophone. Finally Pete is annoyed by all the racket and puts Mickey to work peeling potatoes. In the potato bin, the same parrot as mentioned prior, laughs at him again; and an annoyed Mickey throws a potato at him, knocking him into the river. The short ends with Mickey laughing.

The following two paragraphs are from a publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p.137.

"Disney's Steamboat Willie is a landmark in the history of animation. It was the first Mickey Mouse film released and the first cartoon with synchronized sound. It threw silent animation into obsolescence, and launched an empire. Previously, there had been little to distinguish Disney's cartoons from those of his competitors. He was facing bankruptcy when Alan Crosland's The Jazz Singer, with long sequences of song and dialogue, took America by storm in 1927. Sensing that sound movies meant big business, Disney decided to stake all on his talking mouse. The movie opened at the Colony Theater in New York on November 18, 1928, a date that would become known as Mickey's birthday.

Audiences were stunned by the vitality of the film's characters. Unhampered by the difficulties of using new equipment with live actors, Disney was able to fuse technology with hand craftsmanship, naturalism with abstraction, an ability that, over time, proved him to be a great artist. So strong was the audience demand for Steamboat Willie that two weeks after its premiere Disney re-released it at the largest theater in the world, the Roxy in New York City. Critics came to see in Mickey Mouse a blend of Charlie Chaplin in his championing of the underdog, Douglas Fairbanks in his rascally adventurous spirit, and Fred Astaire in his grace and freedom from gravity's laws."

This is a spectacular drawing by Ub Iwerks of Mickey Mouse from the film that started it all, "Steamboat Willie," 1928. Mickey is eyes open and has a huge smile; while using a pair of mallets to play the teeth of cow like a xylophone, to the song "Turkey In the Straw." Walt Disney performed all of the voices for the film, and so no Disney animation art collection would be complete without an original piece of art from the first released Mickey Mouse cartoon "Steamboat Willie!"

Saturday, April 18, 2020

Original Production Animation Drawing of Stromboli from "Pinocchio," 1940


Original production animation drawing in red, blue, green, and graphite pencils of Stromboli from "Pinocchio," 1940, Walt Disney Studios; Numbered C72 in pencil and production numbers stamp lower right; Size - Stromboli: 3 3/4 x 6 3/4", Sheet: 10 x 12"; Unframed.

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

"Pinocchio," 1940 was the second animated feature film produced by Disney, and followed on the success of "Snow White and the Seven Dwarfs." 1937. It was released to theaters by RKO Radio Pictures on February 23, 1940 and was based on the Italian children's novel "The Adventures of Pinocchio" by Carlo Collodi. The general plot of the film involves an old wood-carver named Geppetto, who carves a wooden puppet that he names Pinocchio. One night the puppet is brought to life by the Blue Fairy, who informs him that he can become a real boy if he proves himself to be "brave, truthful, and unselfish". Pinocchio's journey to become a real boy is challenged by his encounters with an array of scrupulous characters.

"Pinocchio" became the first animated feature to win an Academy Award; it won for both Best Music - Original Score and for Best Music - Original Song for "When You Wish Upon A Star." Most critics and audiences agree that "Pinocchio" is among the finest Disney features ever made, and one of the greatest animated films of all time. In 1994, it was added to the United States National Film Registry as being "culturally, historically, or aesthetically significant."


Close up of the original production animation drawing of Stromboli.

Although Pinocchio encounters a wide range of antagonists, two of the cruelest are the Coachman and Stromboli; the evil puppeteer, showman, and gypsy whose only goal was to make money. Both the Coachman and Stromboli were voiced by Charles Judes who added a heavy Italian accent. Stomboli is also the only Disney Villain who cursed, however it was obscured by being done in Italian.

Hamilton Luske directed the live-action footage of most of the actors posing as characters for Pinocchio. Luske admitted to the fact that the character, acted by story man T. Hee dressed in full gypsy garb, was a bit understated but that he did not want Stromboli's animator Vladimir Tytla doing "too many things." Tyla was a tall and imposing personality and he had a physical build that was similar to that of Stromboli, which may account for him being given the character to animate. It is known that while Tytla was working out sequences for Stromobli in his room, that he would perform the story aloud and that Eric Larson stated that he "thought the walls would fall in." Obviously the performance worked because the villainous Stromboli is one of Walt Disney's greatest memorable villains!

This is a large, waist up image of the evil puppet master Stromboli! The drawing is accomplished in red, blue, green, and graphite pencils. Stromboli is eyes and mouth open, with a wicked smile. A great pose and expression of this famous vintage Disney villain, and he would be a wonderful addition to any animation art collection!

Original Production Animation Drawing of Pinocchio from "Pinocchio," 1940


Original production animation drawing in red and graphite pencils of Pinocchio from "Pinocchio," 1940, Walt Disney Studios; Numbered 8A in pencil lower right; Production numbers stamp lower left; Size - Pinocchio with Rock: 5 1/2 x 2 1/2", Sheet: 10 x 12"; Unframed.


"Pinocchio," 1940 was the second animated feature film produced by Disney, and followed on the success of "Snow White and the Seven Dwarfs." 1937. It was released to theaters by RKO Radio Pictures on February 23, 1940 and was based on the Italian children's novel "The Adventures of Pinocchio" by Carlo Collodi. The general plot of the film involves an old wood-carver named Geppetto, who carves a wooden puppet that he names Pinocchio. One night the puppet is brought to life by the Blue Fairy, who informs him that he can become a real boy if he proves himself to be "brave, truthful, and unselfish". Pinocchio's journey to become a real boy is challenged by his encounters with an array of scrupulous characters.

"Pinocchio" became the first animated feature to win an Academy Award; it won for both Best Music - Original Score and for Best Music - Original Song for "When You Wish Upon A Star." Most critics and audiences agree that "Pinocchio" is among the finest Disney features ever made, and one of the greatest animated films of all time. In 1994, it was added to the United States National Film Registry as being "culturally, historically, or aesthetically significant."


Close up of the Pinocchio original production animation drawing.

Due to the huge success of "Snow White," Walt Disney wanted more famous voice actors for "Pinocchio." He cast popular singer Cliff Edwards (who had made the first record selling over a million copies) as Jiminy Cricket. Disney also wanted the character of Pinocchio to be voiced by a real child. The role ended up going to twelve year old actor Dickie Jones, who had previously been in Frank Capra's enormous Hollywood hit, "Mr. Smith Goes to Washington."

Animation began in September 1938 and just as in "Snow White," live-action footage was shot for "Pinocchio" with the actors playing the scenes; which was supervised by Hamilton Luske. The animators then used the footage as a guide for their animation drawings by studying the human movement and then incorporating many of those poses and scenes. The title character was animated by Milt Kahl (initial design), Frank Thomas, and Ollie Johnston. "When I was doing Pinocchio," Johnston said, "I thought of the character being real, a living person, not a drawing."

"Pinocchio," was groundbreaking in the area of effects animation. The animators gave realistic movement to vehicles, machinery, and natural elements; such as rain, lightning, snow, smoke, shadows, and water. In contrast to the character animators, effects animators create everything that moves around the characters. Sandy Strother, one of the Disney effects animators from "Pinocchio," kept a diary about his year long animation of the water effects; which included splashes, ripples, bubbles, waves, and the illusion of being underwater. All of this attention to detail contributed to "Pinocchio" being one of the first animated films to have highly realistic effects animation. Ollie Johnston remarked "I think that's one of the finest things the studio's ever done" and Frank Thomas stated, "The water looks so real a person can drown in it, and they do."

This is a wonderful full figure drawing of Pinocchio underwater. His eyes and mouth are open, he has his donkey ears and tail from his encounter at Pleasure Island, and he is surrounded by bubbles. In order to to weight him down, he has a rock tied to his donkey tail. This is large image of Pinocchio as he goes about searching for his father Geppetto, who was swallowed by the whale Monstro. A great vintage Walt Disney production drawing, perfect for any collection!

Thursday, April 9, 2020

Original Production Animation Cel of Snow White from "Snow White and the Seven Dwarfs," 1937


Original hand painted and hand inked production animation cel of Snow White from "Snow White and the Seven Dwarfs," 1937, Walt Disney Studios; Numbered 61 in ink lower right; Set on a lithographic background; Size - Snow White: 5 1/2 x 3 1/2", Image 8 x 11 1/2"; Unframed.


“Lips red as the rose. Hair black as ebony. Skin white as snow.”
―The Magic Mirror describing Snow White

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!


Original production animation cel of Snow White without the background.

A large number of actresses auditioned for the voice of Snow White. Walt Disney listened to each audition in his office while the actress performed in another room, without any knowledge of the actress' appearance or reputation. This would insure that he would only judge based on the sound of the voice. According to later accounts, most of the voices Disney felt, did not sound young enough. Eventually, in September of 1935, Adriana Caselotti was chosen for the voice of Snow White. Caselotti was eighteen at the time and made her coloraturo soprano sound younger, knowing that the character was intended to be 14 years old. In recording sessions Caselotti found difficulty in the line, "Grumpy, I didn't know you cared"; instead of "didn't", Caselotti was only able to say "din". After rehearsing the line many times, Walt Disney eventually said "Oh, the heck with..." and "din'" remained in the final film.

Snow White's design was supervised by Grim Natwick, an animator who had previously developed and worked on Betty Boop at Fleischer Studios. It is interesting to note that early designs for the Snow White resemble Betty Boop, and some appear to be caricatures of famous actresses of the time. As development continued, Snow White became more and more lifelike. Another animator, Hamilton Luske's first designs for Snow White depicted her as a slightly awkward, gangly teenager. However, Walt Disney had a different idea in mind; he wanted Snow White to be older, and more realistic-looking. This was achieved by the use of live-action references for the animators. Also, in order for Snow White to better relate onscreen to the seven Dwarfs, it was decided that her head be slightly larger than normal. In addition, the women in the animation studio's ink and paint department felt that Snow White's black hair was too unnatural and harsh, so they drybrushed whisps of light grey over the top of each and every cel.

This cel is from one of the most memorable scenes in the film, when Snow White has prepared dinner for the Dwarfs and insists that they wash up before they eat. She says, "Goodness me, this will never do. March straight outside and wash, or you'll not get a bite to eat." This is an absolutely beautiful eyes and mouth open image of Snow White, and would be a highlight for any animation art collection!

Monday, April 6, 2020

Original Production Animation Drawing of Pumbaa from "The Lion King," 1994


Original production animation drawing of Pumbaa in blue pencil from "The Lion King," 1994, Walt Disney Studios; Numbered 3 in blue pencil lower right; Animation ladder right edge; Size - Pumbaa: 6 x 4", Sheet 12 1/2 x 17"; Unframed.

"The Lion King," 1994 is an animated musical film produced by Walt Disney Feature Animation and released by Walt Disney Pictures. The story centers on an African kingdom of lions, and was derived from William Shakespeare's famous play "Hamlet." The film was directed by Roger Allers and Rob Minkoff, produced by Don Hahn, with the screenplay written by Irene Mecchi, Jonathan Roberts, and Linda Woolverton. Original songs were by Elton John and Tim Rice, and the original score was written by Hans Zimmer. The film features an ensemble voice cast including: Matthew Broderick, James Earl Jones, Jeremy Irons, Jonathan Taylor Thomas, Moira Kelly, Nathan Lane, Ernie Sabella, Rowan Atkinson, Robert Guillaume, Madge Sinclair, Whoopi Goldberg, Cheech Marin, and Jim Cummings.


Close up of the original production animation drawing of Pumbaa.

Pumbaa, who's lead animator was Tony Bancroft, is a gluttonous warthog and best friends with Timon the meerkat. Most of the animals are wary and dismissive of Pumbaa because of his pungent odor, but he remains a happy-go-lucky guy because of his Hakuna Matata philosophy.

Hakuna-matata is a Swahili language phrase from East Africa, meaning "no trouble" or "no worries" and the phrase was adopted for "The Lion King." The music for the song "Hakuna Matata" was composed by Elton John, lyrics by Tim Rice, and sung by Timon (voiced by Nathan Lane), Pumbaa (voiced by Ernie Sabella), Young Simba (voiced by Jason Weaver), and Adult Simba (voiced by Joseph Williams). The song occurs in the film after the death of Simba father, and is about moving on from troubled pasts and forgetting worries. The song also tells the backstory of Pumbaa, explaining how he was ostracized from the other animals because of his flatulence problem; and serves as a vehicle to show Simba growing from lion cub into an adult. "Hakuna Matata" has become one of the most celebrated and popular of all Disney songs, and was nominated for Best Song at the 67th Academy Awards. It was also ranked in the AFI's list of the 100 best American movie songs of all time, Disney's seventh on the list.

This is a very nice and rare original production animation drawing of Pumbaa accomplished in blue pencil. He is one of the most memorable characters in the film and this is a large, full figure image. Pumbaa is eyes and mouth open, and you can see his large warthog tusk. A great piece of Walt Disney animation artwork, perfect for any collection!