Original Production Animation Drawing of The Aardvark from "The New Pink Panther Show," 1971-1974

Original production animation drawing of the Aardvark in graphite and blue pencils from "The New Pink Panther Show," 1971-1974, Depatie-Freleng Enterprises; Production numbers lower sheet edge; Size - Aardvark: 6 x 6 3/4", Sheet 10 1/2 x 12 1/2"; Unframed.

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

DePatie-Freleng Enterprises, (1963-1981) was an American animation company that was based in Burbank, California. It produced theatrical cartoons, animated series, commercials, film title design sequences, and television specials; but was most known for The Pink Panther film titles and cartoon shorts, as well as the Dr. Seuss cartoon adaptations made for CBS and ABC. The company was founded by two former Warner Bros. Cartoons employees, director/composer/producer Friz Freleng and executive David H. DePatie. Although Freleng and DePatie were no longer working for Warner Bros., they were able to lease the former Warner cartoons studio, complete with equipment and supplies, for only a few dollars each year.

Close up of the original production animation drawing of The Aardvark.

Director Blake Edwards contacted DePatie-Freleng and asked them to design a panther character for Edwards's new film, The Pink Panther; and they would also produce the animated titles for the film. The opening titles were hugely popular and soon DePatie-Freleng contracted with United Artists to produce a series of cartoon shorts featuring the Pink Panther. The first entry in the Pink Panther series, The Pink Phink, was directed by Freleng; and won the studio its only Academy Award in 1964. In 1967, DePatie-Freleng would receive another Academy Award nomination for The Pink Blueprint. The studio created over 100 Pink Panther shorts for both theatrical release and television through 1980.

Henry Mancini composed "The Pink Panther Theme" for the live action films, which was also used in the cartoon series. Doug Goodwin composed the show's opening title music, while William Lava and Walter Greene composed music scores heard throughout the cartoons; many of which were derivations of Mancini's composition.

Close up of the production numbers.

The Pink Panther theatrical series of cartoons became the basis of a Saturday morning television series, The Pink Panther Show. The series (1969-1980) also included cartoons of The Inspector; and eventually The Ant and the Aardvark, Tijuana Toads (a.k.a. Texas Toads), Hoot Kloot, Misterjaw, Roland and Rattfink, The Dogfather, and two Tijuana Toads spinoffs: The Blue Racer and Crazylegs Crane. It was produced by Mirisch Films and DePatie-Freleng Enterprises, and was broadcast on two American television networks: from September 6, 1969 to September 2, 1978, on NBC; and from September 9, 1978 to September 1, 1980, on ABC (as The All New Pink Panther Show). After nine years on NBC, the Pink Panther moved to ABC in 1978 and was titled The All New Pink Panther Show, where it lasted one season before leaving the network realm entirely. The ABC version of the series featured sixteen episodes with 32 new Pink Panther cartoons, and 16 featuring Crazylegs Crane.

Over its 11 years on various television networks, The Pink Panther Show had a variety of names:
The Pink Panther Show (1969–1970)
The Pink Panther Meets the Ant and the Aardvark (1970–1971)
The New Pink Panther Show (1971–1974)
The Pink Panther and Friends (1974–1976)
It's the All New Pink Panther Laugh-and-a-Half Hour-and-a-Half Show Introducing Misterjaw (1976–1977)
Think Pink Panther (1977–1978)
The All New Pink Panther Show (1978–1980)

The Ant and The Aardvark cartoon shorts center on a blue aardvark (voiced by John Byner who was impersonating the comedian Jackie Mason) trying to catch and eat a red ant named Charlie (also voiced by John Byner but impersonating Dean Martin). The Aardvark's trunk sucking was the sound of a vacuum cleaner. The series was enormously popular, but only 17 shorts were every produced. Unique techniques were employed for the series, including making the Aardvark and his clothing (shorts and t-shirt) all one color blue; and the Ant was painted all red. This allowed for the two characters to clearly stand out on the brightly colored backgrounds. Another production element was the jazzy musical score that was directed by Doug Goodwin. He assembled a group jazz session musicians to perform the opening/closing credits and the musical cues; and for the first time in animated cartoon history all six of the musicians received on screen credit.

This is a wonderful original production animation drawing of The Aardvark carrying a box with the words "INSTANT SHOWER HEAD." He is full figure and eyes open. A very rare and beautiful piece of animation artwork, perfect for any collection!

#PinkPanther #ThePinkPanther #Storyboard #DepatieFrelengEnterprises #Depatie-Freleng #TheInspector #TheAntandtheAardvark #TijuanaToads #TexasToads #HootKloot #Misterjaw #RolandandRattfink #TheDogfather #TheBlueRacer #CrazylegsCrane #ThePinkPantherShow #FrizFreleng #untitledartgallery #cel #animation #animationcel #animationdrawing #productioncel #productiondrawing #productionbackground #cartoon #DavidHDePatie #DavidDePatie #BlakeEdwards #HenryMancini

Original Production Animation Drawing of The Aardvark from "The New Pink Panther Show," 1971-1974

Original production animation drawing of the Aardvark in graphite and blue pencils from "The New Pink Panther Show," 1971-1974, Depatie-Freleng Enterprises; Production numbers lower sheet edge; Size - Aardvark: 5 3/4 x 6 3/4", Sheet 10 1/2 x 12 1/2"; Unframed.

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

DePatie-Freleng Enterprises, (1963-1981) was an American animation company that was based in Burbank, California. It produced theatrical cartoons, animated series, commercials, film title design sequences, and television specials; but was most known for The Pink Panther film titles and cartoon shorts, as well as the Dr. Seuss cartoon adaptations made for CBS and ABC. The company was founded by two former Warner Bros. Cartoons employees, director/composer/producer Friz Freleng and executive David H. DePatie. Although Freleng and DePatie were no longer working for Warner Bros., they were able to lease the former Warner cartoons studio, complete with equipment and supplies, for only a few dollars each year.

Close up of the original production animation drawing of The Aardvark.

Director Blake Edwards contacted DePatie-Freleng and asked them to design a panther character for Edwards's new film, The Pink Panther; and they would also produce the animated titles for the film. The opening titles were hugely popular and soon DePatie-Freleng contracted with United Artists to produce a series of cartoon shorts featuring the Pink Panther. The first entry in the Pink Panther series, The Pink Phink, was directed by Freleng; and won the studio its only Academy Award in 1964. In 1967, DePatie-Freleng would receive another Academy Award nomination for The Pink Blueprint. The studio created over 100 Pink Panther shorts for both theatrical release and television through 1980.

Henry Mancini composed "The Pink Panther Theme" for the live action films, which was also used in the cartoon series. Doug Goodwin composed the show's opening title music, while William Lava and Walter Greene composed music scores heard throughout the cartoons; many of which were derivations of Mancini's composition.

Close up of the production numbers.

The Pink Panther theatrical series of cartoons became the basis of a Saturday morning television series, The Pink Panther Show. The series (1969-1980) also included cartoons of The Inspector; and eventually The Ant and the Aardvark, Tijuana Toads (a.k.a. Texas Toads), Hoot Kloot, Misterjaw, Roland and Rattfink, The Dogfather, and two Tijuana Toads spinoffs: The Blue Racer and Crazylegs Crane. It was produced by Mirisch Films and DePatie-Freleng Enterprises, and was broadcast on two American television networks: from September 6, 1969 to September 2, 1978, on NBC; and from September 9, 1978 to September 1, 1980, on ABC (as The All New Pink Panther Show). After nine years on NBC, the Pink Panther moved to ABC in 1978 and was titled The All New Pink Panther Show, where it lasted one season before leaving the network realm entirely. The ABC version of the series featured sixteen episodes with 32 new Pink Panther cartoons, and 16 featuring Crazylegs Crane.

Over its 11 years on various television networks, The Pink Panther Show had a variety of names:
The Pink Panther Show (1969–1970)
The Pink Panther Meets the Ant and the Aardvark (1970–1971)
The New Pink Panther Show (1971–1974)
The Pink Panther and Friends (1974–1976)
It's the All New Pink Panther Laugh-and-a-Half Hour-and-a-Half Show Introducing Misterjaw (1976–1977)
Think Pink Panther (1977–1978)
The All New Pink Panther Show (1978–1980)

The Ant and The Aardvark cartoon shorts center on a blue aardvark (voiced by John Byner who was impersonating the comedian Jackie Mason) trying to catch and eat a red ant named Charlie (also voiced by John Byner but impersonating Dean Martin). The Aardvark's trunk sucking was the sound of a vacuum cleaner. The series was enormously popular, but only 17 shorts were every produced. Unique techniques were employed for the series, including making the Aardvark and his clothing (shorts and t-shirt) all one color blue; and the Ant was painted all red. This allowed for the two characters to clearly stand out on the brightly colored backgrounds. Another production element was the jazzy musical score that was directed by Doug Goodwin. He assembled a group jazz session musicians to perform the opening/closing credits and the musical cues; and for the first time in animated cartoon history all six of the musicians received on screen credit.

This is a wonderful original production animation drawing of The Aardvark carrying a box with the words "INSTANT SHOWER HEAD." He is full figure and eyes open. A very rare and beautiful piece of animation artwork, perfect for any collection!

#PinkPanther #ThePinkPanther #Storyboard #DepatieFrelengEnterprises #Depatie-Freleng #TheInspector #TheAntandtheAardvark #TijuanaToads #TexasToads #HootKloot #Misterjaw #RolandandRattfink #TheDogfather #TheBlueRacer #CrazylegsCrane #ThePinkPantherShow #FrizFreleng #untitledartgallery #cel #animation #animationcel #animationdrawing #productioncel #productiondrawing #productionbackground #cartoon #DavidHDePatie #DavidDePatie #BlakeEdwards #HenryMancini

Original Production Animation Cels of The Ant and The Aardvark from "The Ant and The Aardvark," 1970-71

Original hand painted production animation cels of The Ant and The Aardvark from "The Ant and The Aardvark," 1970-71, Depatie-Freleng Enterprises; Set on a lithographic background; Size - Aardvark: 6 1/2 x 3 1/2", Ant: 1 x 1", Image 9 1/4 x 12 1/2"; Unframed.

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

DePatie-Freleng Enterprises, (1963-1981) was an American animation company that was based in Burbank, California. It produced theatrical cartoons, animated series, commercials, film title design sequences, and television specials; but was most known for The Pink Panther film titles and cartoon shorts, as well as the Dr. Seuss cartoon adaptations made for CBS and ABC. The company was founded by two former Warner Bros. Cartoons employees, director/composer/producer Friz Freleng and executive David H. DePatie. Although Freleng and DePatie were no longer working for Warner Bros., they were able to lease the former Warner cartoons studio, complete with equipment and supplies, for only a few dollars each year.

Original production animation cel of The Aardvark.

Close up of the original production animation cel of The Aardvark.

Director Blake Edwards contacted DePatie-Freleng and asked them to design a panther character for Edwards's new film, The Pink Panther; and they would also produce the animated titles for the film. The opening titles were hugely popular and soon DePatie-Freleng contracted with United Artists to produce a series of cartoon shorts featuring the Pink Panther. The first entry in the Pink Panther series, The Pink Phink, was directed by Freleng; and won the studio its only Academy Award in 1964. In 1967, DePatie-Freleng would receive another Academy Award nomination for The Pink Blueprint. The studio created over 100 Pink Panther shorts for both theatrical release and television through 1980.

Henry Mancini composed "The Pink Panther Theme" for the live action films, which was also used in the cartoon series. Doug Goodwin composed the show's opening title music, while William Lava and Walter Greene composed music scores heard throughout the cartoons; many of which were derivations of Mancini's composition.

Original production animation cel of The Ant.

Close up of the original production animation cel of The Ant.

The Pink Panther theatrical series of cartoons became the basis of a Saturday morning television series, The Pink Panther Show. The series (1969-1980) also included cartoons of The Inspector; and eventually The Ant and the Aardvark, Tijuana Toads (a.k.a. Texas Toads), Hoot Kloot, Misterjaw, Roland and Rattfink, The Dogfather, and two Tijuana Toads spinoffs: The Blue Racer and Crazylegs Crane. It was produced by Mirisch Films and DePatie-Freleng Enterprises, and was broadcast on two American television networks: from September 6, 1969 to September 2, 1978, on NBC; and from September 9, 1978 to September 1, 1980, on ABC (as The All New Pink Panther Show). After nine years on NBC, the Pink Panther moved to ABC in 1978 and was titled The All New Pink Panther Show, where it lasted one season before leaving the network realm entirely. The ABC version of the series featured sixteen episodes with 32 new Pink Panther cartoons, and 16 featuring Crazylegs Crane.

Over its 11 years on various television networks, The Pink Panther Show had a variety of names:
The Pink Panther Show (1969–1970)
The Pink Panther Meets the Ant and the Aardvark (1970–1971)
The New Pink Panther Show (1971–1974)
The Pink Panther and Friends (1974–1976)
It's the All New Pink Panther Laugh-and-a-Half Hour-and-a-Half Show Introducing Misterjaw (1976–1977)
Think Pink Panther (1977–1978)
The All New Pink Panther Show (1978–1980)

The Ant and The Aardvark cartoon shorts center on a blue aardvark (voiced by John Byner who was impersonating the comedian Jackie Mason) trying to catch and eat a red ant named Charlie (also voiced by John Byner but impersonating Dean Martin). The Aardvark's trunk sucking was the sound of a vacuum cleaner. The series was enormously popular, but only 17 shorts were every produced. Unique techniques were employed for the series, including making the Aardvark and his clothing (shorts and t-shirt) all one color blue; and the Ant was painted all red. This allowed for the two characters to clearly stand out on the brightly colored backgrounds. Another production element was the jazzy musical score that was directed by Doug Goodwin. He assembled a group jazz session musicians to perform the opening/closing credits and the musical cues; and for the first time in animated cartoon history all six of the musicians received on screen credit.

This is a wonderful cel setup of both The Aardvark and The Ant. Both characters are full figure and eyes open. A very rare and beautiful piece of animation artwork, perfect for any collection!

#PinkPanther #ThePinkPanther #Storyboard #DepatieFrelengEnterprises #Depatie-Freleng #TheInspector #TheAntandtheAardvark #TijuanaToads #TexasToads #HootKloot #Misterjaw #RolandandRattfink #TheDogfather #TheBlueRacer #CrazylegsCrane #ThePinkPantherShow #FrizFreleng #untitledartgallery #cel #animation #animationcel #animationdrawing #productioncel #productiondrawing #productionbackground #cartoon #DavidHDePatie #DavidDePatie #BlakeEdwards #HenryMancini

Original Production Animation Drawing of Baloo The Bear Signed by Frank Thomas from "The Jungle Book," 1967

Original production animation drawing of Baloo The Bear in graphite pencil from "The Jungle Book," 1967, Walt Disney Studios; Signed by Frank Thomas in graphite pencil lower center; Numbered 63 lower and center right; Size - Baloo The Bear: 8 3/4 x 8 1/4", Sheet 12 1/2 x 15 1/2"; Unframed.

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

"The Jungle Book," 1967 was the nineteenth animated feature film produced by Walt Disney Productions and inspired by Rudyard Kipling's book of the same name. The film was directed by Wolfgang Reitherman, it was to be the last film that was worked on by Walt Disney, as he passed away during its production. The film follows Mowgli, a feral child raised in the Indian jungle by wolves, as he encounters Bagheera the panther and Baloo the bear; who try and convince him to leave the jungle before the villainous tiger Shere Khan finds him. Voice actors include: Phil Harris, Sebastian Cabot, George Sanders and Louis Prima; as well as Disney regulars such as Sterling Holloway, J. Pat O'Malley, Verna Felton, and the director's son, Bruce Reitherman, as the voice of Mowgli.

Baloo, which means "bear" in Hindi, is one of the most beloved characters in the Disney pantheon. He is an obese blue-gray sloth bear, with large white claws. Aside from King Louie, Baloo is the only animal character to walk on two legs in the film. He also resembles Little John from Disney's "Robin Hood," who were both voiced by Phil Harris. Harris also provided the voice of Thomas O'Malley from Disney's "The Aristocats." Baloo and Little John perform the same dance moves with King Louie in "The Jungle Book" and with Lady Kluck in "Robin Hood." A little know fact is that Walt Disney was used as a reference for the animators for the dance moves seen when Baloo is first introduced in "The Jungle Book."

Close up of the original production animation drawing of Baloo The Bear.

Baloo was animated by Frank Thomas and Ollie Johnston. Ollie Johnston animated the first introduction of Baloo but Frank Thomas soon took over the character and, unlike so many other animators; was known for doing most, if not all of the rough drawings for his entire scene.

The Disney animator Andreas Deja wrote the following:

"This is actually not that unusual, since Frank usually contributed most or all of the drawings for any of his scenes. Other animators would often use a moving hold for calm moments, which involved only two key drawings with lots of in-betweens provided by the assistant. But Frank seems to always have something going on, even in the most subtle acting patterns. Something is always moving, things don’t come to a stop. As a result of producing so many drawings for a given scene, Frank could not focus on gorgeously designed poses or expressions. So his drawings by themselves might not look too intimidating to an animation student or professional, but watching them in motion is a whole other potato. The characters come to life in such a believable way, they breath, they move with weight, and they have real thoughts. In other words, they have a soul."

Close up of the production number.

This is a wonderful original production animation drawing of Baloo The Bear, drawn by Walt Disney master animator Frank Thomas. Thomas supervised the animation of this scene in which Baloo meets the man cub Mowgli; and they perform their great musical number "The Bare Necessities," under the watchful gaze of Bagheera. Early in the sequence, Baloo gives Mowgli quite a whack while trying to teach him how to defend himself; and Bagheera remarks sarcastically, "Fine teacher you are, old Iron Claws." In this scene Baloo looks up, smiles and responds: "Oh, thanks Bagheera." A fantastic drawing of an eyes open and smiling Baloo, and it is hand signed by Frank Thomas. A great addition to any animation art collection!

#TheJungleBook #JungleBook #Baloo #KingLouie #FrankThomas #OllieJohnston #animation #cel #animationcel #productioncel #Disney #WaltDisney #untitledartgallery #animationart #productioncel #productiondrawing #BalooTheBear #ShereKhan #Kaa #Bagheera #WolfgangReitherman #PhilHarris #SebastianCabot #GeorgeSanders #LouisPrima #SterlingHolloway #JPatOMalley #VernaFelton #BruceReitherman #Mowgli #animationdrawing #ShermanBrothers #TerryGilkyson #TheBareNecessities #BareNecessities #LordTimHudson #ChadStuart #DigbyWolfe

Original Production Animation Drawing of Peter Pan from "Peter Pan," 1953

Original production animation drawing of Peter Pan in red, blue, and graphite pencils from "Peter Pan," 1953, Walt Disney Studios; Numbered 30 in pencil lower right; Size - Peter Pan: 9 1/2 x 7", Sheet 12 1/2 x 15 1/2"; Unframed.

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

“He flies without wings. His shadow leads a merry little life of its own. Face-to-face with the terrible Captain Hook, Peter dispatches that pirate with jaunty ease. Peter is at home with mermaids and understands their language. He is twelve years old forever simply because he refuses to grow up beyond that comfortable age. Most remarkable of all, he knows where Never Land is and how to get there.” ―Walt Disney

The author J. M. Barrie first used Peter Pan as a character in a section of the adult novel "The Little White Bird" in 1902. He returned to that character with his stage play entitled "Peter Pan, or The Boy Who Wouldn't Grow Up," which premiered in London on December 27, 1904. The play ran until 1913, and it was later adapted by Walt Disney for the animated feature film entitled, "Peter Pan," in 1953.

The main character of Peter Pan was animated by Milt Kahl and Eric Larson. Kahl did the majority of the animation sequences with Larson working mainly on the flying to London sequence, as well as some animation work on both Wendy Darling and Captain Hook.

Milt Kahl was not very excited about his assignment for Peter Pan. He had to animate both Peter Pan and Wendy Darling; two characters that had to be handled like real human beings and therefore would be a great challenge. “Peter was interesting in that you had to make him fly but after that was over he became a chore,” said Kahl. "Peter Pan's" supervising animator, Ron Clements, remembered that for years Milt Kahl resented the fact that animator Frank Thomas was assigned the character of Captain Hook instead of him. It is interesting to note that Peter Pan is one of the most interesting male protagonists of the early Walt Disney films because he is very heroic, opinionated, and has a zeal for life. Kahl’s animation of him totally embraces those characteristics as well as his great grace, expert timing, all combined with a very appealing artistic design.

Close up of the original production animation drawing of Peter Pan.

Bobby Driscoll was the first actor Walt Disney ever put under contract, and was cast to play the lead character in the 1946 film "Song of the South." The film would introduce live action into an extensive animation based film. The film was very successful and turned Driscoll, and his co-star Luana Patten, into overnight child stars! The pair were even discussed for a special Academy Award as the best child actors of the year.

Driscoll went on to appear in a large number of specials and to star in some of The Walt Disney Company's most popular live-action pictures of that period, such as "So Dear to My Heart" in 1948, and in the role of Jim Hawkins in "Treasure Island" in 1950. This last role earned him a star on the Hollywood Walk of Fame. In 1953, he served as animation model and provided the voice for the title role in "Peter Pan," Driscoll's last major success. Driscoll was cast opposite Disney's "Little British Lady" Kathryn Beaumont, who was in the role of Wendy Darling. Driscoll was the model for all the close up Peter Pan scenes and the dancer and choreographer Roland Dupree was the model for the character's motion sequences. All the live action model scenes were played out on an almost empty sound stage with only the most essential props, and filmed for use by the animators.

Close up of the production number.

This drawing is from the part in the film when Peter Pan charges Tinker Bell for urging the Lost Boys to shoot down Wendy from the sky; after she, Michael, and John had just arrived in Never Land. Tinker Bell confess her guilt and Peter declares "I hereby banish you forever!" But Wendy suggests leniency and this drawing is from the scene when Peter call out "Well, for a week then." This is the largest drawing that I have ever owned of Peter Pan, and is an outstanding work that is perfect for any animation art collection!

#PeterPan  #TickTock #JimmyMacDonald #FrankChurchill #JohnLounsbery #JackLawrence #Disney #WaltDisney #CaptainHook #MrSmee #Smee #untitledartgallery #animation #cel #animationcel #animationart #animationdrawing #productiondrawing #productioncel #WolfgangReitherman #JMBarrie #Tinkerbell #hansconried #frankthomas #jollyroger #pirate #Neverland #MarcDavis

Original Production Animation Drawing of Briar Rose from "Sleeping Beauty," 1959

Original production animation drawing of Briar Rose in graphite pencil from "Sleeping Beauty," 1959, Walt Disney Studios; Numbered 59 in pencil lower and upper right; Size - Briar Rose: 6 1/2 x 4 3/4", Sheet 12 1/2 x 15 1/2"; Unframed.

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

"Sleeping Beauty," the 1959 Walt Disney full length motion picture, introduced two characters that would become universal favorites; Maleficent and Princess Aurora. Aurora, along with Snow White and Cinderella would be forever immortalized in the public's view as the three greatest Disney Princesses. The original design for Aurora and her peasant disguise Briar Rose was developed by Tom Oreb, who based the character on the famed Hollywood actress Audrey Hepburn; known for her thin frame and a very graceful demeanor. Marc Davis, the head animator, would continue the development process by morphing her general appearance and the clothing of the heroine. The fine tuning of the character continued so that she could be combined with the very angular forms present in the Eyvind Earle hand painted backgrounds.

Close up of the original production animation drawing of Briar Rose.

As with other Disney films, an actress was hired as a live-action model (as a guide for the animators) for Princess Aurora/Briar Rose. Helene Stanley, who was also the model for Cinderella in 1950, became the model for the heroine. It is interesting to note that prior to marrying Marc Davis in 1956, Alice (Davis) designed some of costumes worn by Stanley in her acting role in "Sleeping Beauty."

In 1952, the professional opera singer Mary Costa, after meeting people at a party with her future husband director Frank Tashlin, auditioned for the part of Disney's Princess Aurora/Briar Rose. Walt Disney called her personally within hours of the audition to inform her that the part was hers. The success of the film "Sleeping Beauty," owes a chuck of those accolades to the voice of Mary Costa. Her songs were some of the most beautiful ever sung by a Disney Princess. In November 1999 Mary Costa received the Disney Legends Award, and her hand prints are now a permanent part of the Disney Legends Plaza at the entrance to Walt Disney Studios.

Close up of the production number.

After Maleficent's evil curse that Princess Aurora would (before the sun sets on her sixteenth birthday) prick her finger on the spindle of a spinning wheel and die; the three Good Fairies disguise Aurora as a peasant named Briar Rose and hide her deep in a remote forest cottage. The majority of the movie focuses on Briar Rose, and this is a beautiful original production drawing of her. The drawing is used in the scene when Flora, Fauna, and Merryweather send Rose out on a task to pick a basket full of berries; so that they will be alone to make her a beautiful dress and an extra special birthday cake! The dialog for the scene is below:

Merryweather: "We want you to pick some berries."

Flora: "That's it, berries!"

Briar Rose: "Berries?"

Fauna: "Lots of berries."

Briar Rose: "But, I picked berries yesterday."

Flora: "Oh, w-we need more, dear."

Fauna: "Lots, lots more."

Flora: "Yes! Now don't hurry back, dear."

Merryweather: "But don't go too far."

Flora: "And don't speak to strangers."

Fauna: "Goodbye, dear."

All Three Fairies: "Goodbye! Goodbye! Goodbye!"

#BriarRose #PrincessAurora #Aurora #SleepingBeauty #Disney #WaltDisney #MaryCosta #MarcDavis #AliceDavis #cel #animation #animationart #animationdrawing #productiondrawing #animationcel #productioncel #untitledartgallery #DisneyPrincess #TomOreb #Maleficent #Flora #Fauna #Merryweather #ThreeGoodFairies #PrincePhillip #KingHubert #KingStefan

Original Production Animation Drawing of Briar Rose from "Sleeping Beauty," 1959

Original production animation drawing of Briar Rose in graphite pencil from "Sleeping Beauty," 1959, Walt Disney Studios; Numbered 61 in pencil lower right; Size - Briar Rose: 7 x 4 3/4", Sheet 12 1/2 x 15 1/2"; Unframed.

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

"Sleeping Beauty," the 1959 Walt Disney full length motion picture, introduced two characters that would become universal favorites; Maleficent and Princess Aurora. Aurora, along with Snow White and Cinderella would be forever immortalized in the public's view as the three greatest Disney Princesses. The original design for Aurora and her peasant disguise Briar Rose was developed by Tom Oreb, who based the character on the famed Hollywood actress Audrey Hepburn; known for her thin frame and a very graceful demeanor. Marc Davis, the head animator, would continue the development process by morphing her general appearance and the clothing of the heroine. The fine tuning of the character continued so that she could be combined with the very angular forms present in the Eyvind Earle hand painted backgrounds.

Close up of the original production animation drawing of Briar Rose.

As with other Disney films, an actress was hired as a live-action model (as a guide for the animators) for Princess Aurora/Briar Rose. Helene Stanley, who was also the model for Cinderella in 1950, became the model for the heroine. It is interesting to note that prior to marrying Marc Davis in 1956, Alice (Davis) designed some of costumes worn by Stanley in her acting role in "Sleeping Beauty."

In 1952, the professional opera singer Mary Costa, after meeting people at a party with her future husband director Frank Tashlin, auditioned for the part of Disney's Princess Aurora/Briar Rose. Walt Disney called her personally within hours of the audition to inform her that the part was hers. The success of the film "Sleeping Beauty," owes a chuck of those accolades to the voice of Mary Costa. Her songs were some of the most beautiful ever sung by a Disney Princess. In November 1999 Mary Costa received the Disney Legends Award, and her hand prints are now a permanent part of the Disney Legends Plaza at the entrance to Walt Disney Studios.

Close up of the production number.

After Maleficent's evil curse that Princess Aurora would (before the sun sets on her sixteenth birthday) prick her finger on the spindle of a spinning wheel and die; the three Good Fairies disguise Aurora as a peasant named Briar Rose and hide her deep in a remote forest cottage. The majority of the movie focuses on Briar Rose, and this is a beautiful original production drawing of her. The drawing is used in the scene when Flora, Fauna, and Merryweather send Rose out on a task to pick a basket full of berries; so that they will be alone to make her a beautiful dress and an extra special birthday cake! The dialog for the scene is below:

Merryweather: "We want you to pick some berries."

Flora: "That's it, berries!"

Briar Rose: "Berries?"

Fauna: "Lots of berries."

Briar Rose: "But, I picked berries yesterday."

Flora: "Oh, w-we need more, dear."

Fauna: "Lots, lots more."

Flora: "Yes! Now don't hurry back, dear."

Merryweather: "But don't go too far."

Flora: "And don't speak to strangers."

Fauna: "Goodbye, dear."

All Three Fairies: "Goodbye! Goodbye! Goodbye!"

#BriarRose #PrincessAurora #Aurora #SleepingBeauty #Disney #WaltDisney #MaryCosta #MarcDavis #AliceDavis #cel #animation #animationart #animationdrawing #productiondrawing #animationcel #productioncel #untitledartgallery #DisneyPrincess #TomOreb #Maleficent #Flora #Fauna #Merryweather #ThreeGoodFairies #PrincePhillip #KingHubert #KingStefan

Original Production Animation Cel of Captain Hook and Tick-Tock from "Peter Pan," 1953

Original hand inked and hand painted production animation cel of Captain Hook and Tick-Tock with Water Effects cel from "Peter Pan," 1953; Walt Disney Studios; Set over a hand prepared custom background; Size - Captain Hook & Tick-Tock: 11 1/4 x 5 1/2", Image 12 1/4 x 16"; Unframed.

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

“Aye, but throwing it to that crocodile! That cursed beast liked the taste of me so well he's followed me ever since, licking his chops for the rest of me.” -  Captain Hook

The author J. M. Barrie first used Peter Pan as a character in a section of the adult novel "The Little White Bird" in 1902. He returned to that character with his stage play entitled "Peter Pan, or The Boy Who Wouldn't Grow Up," which premiered in London on December 27, 1904. The play ran until 1913, and it was later adapted by Walt Disney for the animated feature film entitled, "Peter Pan," in 1953.

Captain Hook was initially designed by Milt Kahl animated by legendary Frank Thomas and Wolfgang Reitherman. Hook voiced by Hans Conried who was also the voice of George Darling, which is consistent with the roles of "Peter Pan" for the stage. Conried was a well known actor including roles on "I Love Lucy" where he played an English tutor as well as playing the character Wrongway Feldman on "Gilligan's Island." His voice was so distinctive and so memorable that he was perfect for the role of Captain Hook; as he had a wonderful way of conveying both the rough gruff pirate role as well and the sly calculating villain.

From Disney animator Andreas Deja:

Many of you would agree that Captain Hook is one of Frank Thomas' best creations. To some Frank is the best animator who ever lived. - He used live action reference for a number of his characters. In this case it was character actor Hans Conried who provided the voice and acting reference for Hook. Frank was very critical about the way other animators used live action. To him the acting ideas were all you needed, but you still had to pass judgement on the footage and interpret what the actor gave you. His animation never has that roto, floaty feel to it. For one thing Frank was way too talented and smart to let that happen."

Frank Thomas's first sketches of Captain Hook were much more menacing than the final product. Walt Disney felt the character was going to be too frightening for children and so Thomas toned down his drawings. The result is a wonderful character and certainly one the fan favorite male villains in the Walt Disney film world.

The primary Villain of "Peter Pan" is Captain Hook, and the film is unusual because Captain Hook has a Villain; a crocodile which was named (in later publications) Tick-Tock. The name is derived from the fact that he had swallowed a clock, whose ticking sound was a warning to anyone he approached. Whenever Tick-Tock appeared in the original film, the song "Never Smile at a Crocodile" is played as his theme. "Never Smile at a Crocodile" was a song written by Frank Churchill with lyrics by Jack Lawrence; although only the music is heard in the film.

Close up of the original hand inked and hand painted production animation cel of Captain Hook and Tick-Tock with Water Effects cel.

Tick-Tock seems very set on eating Captain Hook. In a prior fight, Peter Pan cut off Hook's left hand and fed it to the crocodile; and once Tick-Tock had a taste of Captain Hook he wanted more! Tick-Tock's first appearance in the film was animated by John Lounsbery, but most of the crocodile's animation was done by lead Disney animator Wolfgang Reitherman. Reitherman was most known for directing action scenes in the Disney animated features and for later becoming Disney's chief animation director in 1961. Disney sound man Jimmy MacDonald provided Tick-Tock's biting sounds in the film (uncreditied).

This is an absolutely spectacular two cel setup of Captain Hook being pursued by the Crocodile Tick-Tock, and it occurs at the very end of the film "Peter Pan." Tick-Tock is eyes and mouth wide open, as poor Captain Hook is trying to keep the Crocodile's jaws open with his legs. A stunning and large setup from the Walt Disney vintage period for animation art!

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