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Saturday, August 9, 2025

Original Production Animation Cels of Alice and The Caterpillar on A Preliminary Production Background from "Alice In Wonderland," 1951

 

Original hand inked and hand painted production animation cels of Alice and The Caterpillar with Hookah set on a matching preliminary production background from "Alice In Wonderland," 1951, Walt Disney Studios; Production numbers bottom edge of the background; Studio signed "To Gaeto With Best Wishes Walt Disney" (presumably Bob Moore); Size - Alice: 5 3/4 x 3 1/2", Caterpillar: 3 x 6"; Image 11 1/4 x 13"; Unframed.

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

"Who R U?" - Caterpillar

"Alice's Adventures in Wonderland" (commonly shortened to "Alice in Wonderland"), is a 1865 novel written by English author Charles Lutwidge Dodgson who wrote under the pseudonym Lewis Carroll. Disney reworked the story to fit with both a younger audience and a time frame suitable for an animated film (it's run time is only 75 minutes).

Kathryn Beaumont, who was born in London England, was just 10 years old when she was chosen for the voice of Alice. Walt Disney personally cast Beaumont after seeing her in the film "On an Island with You," in which the child actress had a small role. Disney was so impressed by her that she was also chosen to be the model for Alice, and would also go on to provide the voice for Wendy in "Peter Pan," 1953. Beaumont has also reprised her voice acting role as Alice in two episodes of the animated series, Disney's "House of Mouse," and as both Alice and Wendy in the video game "Kingdom Hearts." She did not retire as the voice of Alice and Wendy until 2005, when her role for these two characters was taken over by Hynden Walch.

Initial design for the character of Alice was accomplished by Mary Blair during the storyboard phase and also by Les Clark. Alice was animated by Ollie Johnston, Don Lusk, and Marc Davis who animated her for the tea party scene.
 

 Close up of the Studio signed "To Gaeto With Best Wishes Walt Disney" (presumably Bob Moore) signature.
 
The Caterpillar is known for smoking his hookah and blowing colorful smoke that forms letters, words, and even amazing moving images; as he talks to Alice. The Caterpillar was animated by John Lounsbery and Eric Larson, and voiced by the English comedic actor Richard Haydn.
 
Alice comes across the Caterpillar after being kick out of the Garden of Living Flowers for being a weed. She hears singing and walks towards the sounds to find the singing Caterpillar who is sitting on the top of a mushroom smoking his hookah. After a very odd conversation, an annoyed Alice stomps off; but the Caterpillar tells her to come back because he has something useful to say. When she returns, Alice tells the Caterpillar that she wants to return to her normal size and the Caterpillar asks "Y." Alice says that it is terrible to be only three inches tall, which is an awful height. The Caterpillar loses his temper (as he is three inches tall) and transforms into a butterfly. He then tells Alice that one side of the mushroom will make her grow taller and the other side will make her grow smaller.
 
The Caterpillar appears at the end of the film in his caterpillar form, but with butterfly wings on his back, sitting on a floating mushroom, and smoking his hookah. Alice is trying to escape from many of the inhabitants of Wonderland and also from being beheaded by the Queen of Hearts. The Caterpillar asks "Who R U?" and blows smoke that warps into a surreal smoke tunnel that leads Alice back to the Doorknob.

This is a very rare and wonderful original production animation cel setup of Alice and The Caterpillar. A spectacular scene of Alice looking at The Caterpillar lying on top of a mushroom while smoking his hookah. The cels have been placed on a matching preliminary production background and there is a studio Walt Disney signature card included. This is an absolutely beautiful piece of vintage Walt Disney animation art and a great addition to any animation collection!

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Thursday, August 7, 2025

Original Production Animation Cels of Dopey, Grumpy, Bashful, Doc, Sleepy, Sneezy, and Happy from "Snow White and the Seven Dwarfs," 1937

 

Original hand painted and hand inked production animation cels of all Seven Dwarfs: Dopey, Grumpy, Bashful, Doc, Sleepy, Sneezy, and Happy; Set on wood veneer Courvoisier background from "Snow White and the Seven Dwarfs," 1937, Walt Disney Studios; Partial Courvoisier label verso; Size - Seven Dwarfs: 7 1/4 x 10 3/4", Image 10 1/4 x 14 1/4"; 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.

Bashful is very shy and coy, and he has a crush on the beautiful Snow White. His shyness prompts him to blush and he then covers his reddened face behind his hands and beard; which is often accompanied by giggles. Various Walt Disney artists were involved with Bashful's concept and animation throughout the film including: Vladimir Tytl, Fred Moore, Shamus Culhane, and Les Clark. The film and television actor Scotty Mattraw provided the voice for Bashful.
 
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.
 
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.
 
Grumpy was animated by Vladimir "Bill" Tytla, who also animated Doc. Tytla's Grumpy is the second most popular of the seven dwarfs, just behind Dopey.

From Disney animator Andreas Deja:
"Tytla animated 'from the inside out.' For every scene he did, he lived inside of that character. He drew absolutely beautifully, but bringing out  emotion and personality came first. Even if that lead to an off model drawing here and there. Walt had Fred Moore take a look at a few of Tytla's Grumpy scenes in order to punch up the 'charm level.'"
 
In order to establish Sleepy's character during the march home in "Heigh Ho", the animation director Vernon Stallings noted that traits specific to Sleepy should be taken into account. An early drawing by Albert Hurter of Sleepy with his mouth wide open in a yawn inspired the lead animator for the character, Fred Moore to be more extreme in Sleepy's animation. Moore made sure that, on every animation drawing of Sleepy, one eye was larger than the other; or one eye was more squashed than the other; in order to suggest the dwarf's perpetual sleepiness. Sleepy was voiced by the great Walt Disney voice actor, Pinto Colvig.
 
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 spectacular original hand painted and hand inked production cel setup of all Seven Dwarfs: Dopey, Grumpy, Bashful, Doc, Sleepy, Sneezy, and Happy; set on an airbrushed wood veneer Courvoisier background. The Courvoisier setups from Snow White are highly desired by collectors for their rarity and beauty. Courvoisier Galleries was the first gallery to recognize the artistic value to the newly emerging animation art form in the 1930s and 40s and worked with Disney Studios to prepare and sell the original cels and drawings to the public. An absolutely stunning setup of all Seven Dwarfs and show stopper for any vintage Walt Disney animation art collection!
 
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Original Production Animation Cel of Briar Rose from "Sleeping Beauty," 1959


Original hand painted and hand inked production animation cel of Briar Rose set on a lithographic background from "Sleeping Beauty," 1959, Walt Disney Studios; Size - Briar Rose: 6 x 5 1/2", Image 7 1/2 x 10"; Unframed.
 
 
"And so for sixteen long years, the whereabouts of the princess remained a mystery. While deep in the forest, in a woodcutter's cottage, the good fairies carried out their well-laid plan. Living like mortals, they had reared the child as their own, and called her Briar Rose." - Narrator 
 
"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.

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.
 
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 hand painted and hand inked production animation cel of her. This is an absolutely beautiful close up portrait of Briar Rose and a great addition to any vintage Walt Disney animation art collection!
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Wednesday, August 6, 2025

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

 

Original hand inked and hand painted production animation cel of Lady Tremaine (Stepmother) set on a lithographic background from "Cinderella," 1950, Walt Disney Studios; Size - Lady Tremaine: 10 x 4 3/4", Image 10 1/2 x 9 3/4"; Unframed.

 To purchase this cel or to visit the Art Gallery, CLICK HERE!
 
"Not going? Oh, what a shame." - Stepmother

The 1950 Walt Disney feature film "Cinderella" was based on the French version of the tale by Charles Perrault, entitled "Cinderella" and written in 1698. The film was the second in the series of great Princess films developed by Disney, the first being Snow White in 1937. The character of Cinderella is usually front and center in the pantheon of Disney Princess merchandise, perhaps because she is the only Princess not to be of a noble blood line who ended up marrying a Prince and becoming royalty.

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.

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.

"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
 
This cel is from the scene when the horse drawn carriage arrives to carry Lady Tremaine and the Stepsisters to the King's Ball, and Cinderella knocks on her Stepmother's door to tell her that she will not be going to the Ball. Cinderella, over worked by the amount of housework that she had to complete, simply did not have the time to prepare a dress for the Ball. A great piece of vintage Walt Disney animation artwork from the full length masterpiece "Cinderella!" The dialog for the scene is below:
 
"Yes?" - Lady Tremain
"The carriage is here." - Cinderella 
"Oh. Why, Cinderella, you're not ready, child." - Lady Tremaine
"I'm not going." - Cinderella
"Not going? Oh, what a shame. But of course, there will be other times, and.." - Lady Tremaine
"Yes. Good night." - Cinderella 
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Tuesday, August 5, 2025

Original Production Animation Drawing of The Genie as a Stewardess from "Aladdin," 1992


Original production animation drawing of The Genie as a Stewardess in graphite pencil on peg hole paper from "Aladdin," 1992, Walt Disney Studios; Numbered 1 in pencil lower right; Size - Genie: 4 x 3 3/4", Sheet 12 1/2 x 17"; Unframed.
 
"Thank you for choosing Magic Carpet for all your travel needs. Don't stand until the rug has come to a complete stop. Thank you. Good bye now. Good bye, good bye! Thank you! Good bye!" 
- The Genie as a Stewardess

"Aladdin," 1992 is a Walt Disney animated musical fantasy featured film that was released on November 25, 1992. The film was directed by John Musker and Ron Clements, and is based on the Arab-style folktale of Aladdin and the Magic Lamp from "One Thousand and One Nights." "Aladdin" won two Academy Awards; one for Best Music, Original Song Alan Menken (music), Tim Rice (lyrics), for the song "A Whole New World," and the second for Best Music, Original Score, Alan Menken. The voice cast featureed Scott Weinger as Aladdin, Robin Williams as the Genie, Linda Larkin as Princess Jasmine, Jonathan Freeman as Jafar, Frank Welker as Abu, Gilbert Gottfried as Iago, and Douglas Seale as The Sultan
 
The Genie was brilliantly animated by Eric Goldberg; who is an American voice actor, animator, and film director who worked for Walt Disney and Warner Bros Animation Studios. The critical success and the public admiration for the character was no doubt due to the amazing voice work of comedian Robin Williams. Williams was known for his spontaneity, comic improvisational, and impression skills; all of which were integrated into the character. During the voice recorded sessions, it is estimated that Williams improvised 52 characters. Goldberg reviewed the recorded dialogue and selected the best gags and lines. Then he and his team created animation to match Williams' jokes, puns, and impersonations.

This is a fantastic original production drawing of The Genie as a Stewardess sitting on the Magic Carpet. He is eyes and mouth open, full figure, and holding a microphone in his right hand. Drawings from Aladdin are very rare to the open market, and this is only the second drawing I have ever offered of The Genie. A fantastic addition to any animation art collection!

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Original Production Animation Cel of The Evil Queen and Background from "Snow White and the Seven Dwarfs," 1937

 

Original hand painted and hand inked production animation cel of The Evil Queen from "Snow White and the Seven Dwarfs," 1937, Walt Disney Studios; Set on a master production background with original hand painted and hand inked production animation overlay cels of Chain & Laboratory Jars; Production stamps verso; Original Courvoisier label verso; Size - Evil Queen: 8 x 5", Image 11 x 14"; Unframed.

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

 
"Now, a formula to transform my beauty into ugliness, change my queenly raiment to a peddler's cloak. Mummy dust to make me old. To shroud my clothes, the Black of Night. To age my voice, an Old Hag's Cackle. To whiten my hair, a Shriek of Fright. A blast of wind, to fan my hate! A thunderbolt to mix it well. Now, begin thy magic spell." - The Evil Queen

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!

After a long and difficult four years, on January 13, 1938, Snow White and the Seven Dwarfs made its New York premiere at Radio City Music Hall. The film ran for five weeks in a row, the first motion picture to do so, and it could have played longer if not for prior commitments of the venue. It was to be the theatres' most successful engagement in all of the 1930s. The film was loved by everyone and Disney, along with his animation team, had managed to make an animated film that the audience would believe! The crowd would be sad and cry when Snow White bit the apple and was placed in a glass casket; and they would laugh, smile, and be happy during the song and dance numbers with the Dwarfs. However, Disney was criticized by some for making a very scary film for children.


Back of the original production watercolor background showing production numbers and the original Courvoisier label.

When the movie was played at Radio City Music Hall on its first release, the theater managers had to replace the music played when Snow White runs into the Dark Forest; because they were nervous that the kids would be too frightened upon hearing it. Snow White's run into the Forest had another result;  young children were still so scared by the sequence, that they wet their pants. As a result, the velvet upholstery of each and every seat held by a child, had to be replaced prior to every showing of the film.

The Walt Disney film's version of the Evil Queen changing into an Old Hag is very different compared to the original story. In the Disney version, the Queen uses her dark magic powers to actually transform herself into an old woman instead of just taking on a disguise; as in the Brothers Grimm story. Animation provided a transformation scene that is truly spectacular and the Disney team even made the event greater by utilizing the multi-plane camera; to make the room itself appeared to spin. This sequence along with the flight of Snow White through the Dark Forest; caused the British Board of Film Censors (now, the British Board of Film Classification) to give the film an A-certificate (children had to be accompanied by an adult) upon its original release. This resulted in a nationwide controversy as to whether the Forest and the Witch were too frightening for younger audiences. Nevertheless, most local authorities simply overrode the censor's decision and gave the film a U-certificate (Suitable for children).

Walt Disney's response to the idea that the film was too frightening for children was, "I do not make films primarily for children. I make them for the child in all of us, whether we be six or sixty." This may have been his statement, but he never made another film with such a scary villain. Every film after Snow White had the main villain accompanied by a comedic sidekick; such as Maleficent and her Goons, Cruella de Vil with Horace and Jasper, or Medusa with Snoops

The Evil Queen, one of the greatest Walt Disney animated villains of all time, was animated by the famous Disney animator Art Babbitt. Babbitt was already an accomplished animator prior to working on "Snow White." He was known for creating the character of Goofy and for his work on "The Country Cousin," which won an Academy Award for the Disney Studio in 1936. The villain for Snow White was the Evil Queen; which Walt Disney and Joe Grant (Walt Disney character designer and story artist) had conceived as a blend of Lady Macbeth and the Big Bad Wolf, as well as traits inspired by actresses Joan Crawford and Gale Sondergaard. Refinement of the Queen was done by animators Grim Natwick and Norm Ferguson; however the actual animation of the Queen fell to Babbitt.

Rotoscoping, a technique used in animation whereby live actors are used to portray the characters and then animators trace over the footage frame by frame; was not used as much on the Queen as it was for the character of Snow White. Babbitt preferred to avoid rotoscoping and instead draw the character free hand. It has been stated that you could wallpaper a room with just drawings that Babbitt made just of her mouth and eyes; because all of the Queen's emotions came through her face. The Evil Queen, wonderfully voiced by veteran stage actress Lucille La Verne; holds a place in history as being the first character to ever speak in a full length animated film.

This is an absolutely spectacular piece of animation art history and is of museum quality. Original cels of the Evil Queen and production backgrounds from vintage Walt Disney (1959 and before) feature films are extremely rare. In addition, this is from the first full length feature animation film in history, and features one of the greatest (if not the greatest) Disney Villains of all time, The Evil Queen! This is an extremely rare cel, set on an original hand painted production background with production stamps and original Courvoisier label verso,  and complete with original hand painted and hand inked production animation overlay cels of Chain & Laboratory Jars. A stand out for any serious animation art collection!

The dialog for the scene is below:
 
"Now, a formula to transform my beauty into ugliness, change my queenly raiment to a peddler's cloak. Mummy dust to make me old. To shroud my clothes, the black of night. To age my voice, an old hag's cackle. To whiten my hair, a scream of fright. A blast of wind, to fan my hate! A thunderbolt, to mix it well. Now, begin thy magic spell." - Evil Queen

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Friday, August 1, 2025

Original Production Animation Cel of Cinderella from "Cinderella," 1950

 

Original hand inked and hand painted production animation cel of Cinderella set on a lithographic background from "Cinderella," 1950, Walt Disney Studios; Size - Cinderella: 7 x 3", Image 11 x 9 1/2"; Unframed.
 "A dream is a wish your heart makes when you're fast asleep. In dreams you will lose your heartaches. Whatever you wish for, you keep. Have faith in your dreams, and someday, your rainbow will come smiling through. No matter how your heart is grieving, if you keep on believing, the dream that you wish will come true." - Cinderella
 
The 1950 Walt Disney feature film "Cinderella" was based on the French version of the tale by Charles Perrault, entitled "Cinderella" and written in 1698. The film was the second in the series of great Princess films developed by Disney, the first being Snow White in 1937. The character of Cinderella is usually front and center in the pantheon of Disney Princess merchandise, perhaps because she is the only Princess not to be of a noble blood line who ended up marrying a Prince and becoming royalty.

Cinderella was animated by both Marc Davis and Eric Larson, however the two animators had different perceptions of the character, with Davis preferring elegance and Larson opting for simplicity. This actually worked in the film's favor, resulting in Cinderella being a much more complicated character than her predecessor Snow White. As with other Disney films, the studio hired actress Helene Stanley to perform the live-action reference for Cinderella. She would later return to the studio for the characters of Aurora in "Sleeping Beauty," 1959 and Anita Radcliffe in "One Hundred and One Dalmatians," 1961.

According to Christopher Finch, from his book "The Art of Walt Disney":
"Disney insisted that all scenes involving human characters should be shot first in live-action to determine that they would work before the expensive business of animation was permitted to start. The animators did not like this way of working, feeling it detracted from their ability to create character. The animators understood the necessity for this approach and in retrospect acknowledged that Disney had handled things with considerable subtlety."

About 400 women and girls auditioned for the voice role of Cinderella, but the role ended up going to Ilene Woods. Woods, who at the time worked on the radio and did not know anything about the audition, was asked one day by her colleagues Mack David and Jerry Livingston to sing a song from Cinderella. Without her knowledge, her recording was given by her friends to Disney Studios. After listening to the material Walt Disney immediately decided that he had found the voice with which to speak and sing the character of Cinderella and contacted Ilene.

This is a rare and wonderful hand painted and hand inked original production cel of Cinderella. Animation cels of Cinderella are rare to the market and here she is full figure with her eyes open. A fantastic piece of Walt Disney vintage artwork that would be a great addition to any animation art collection!

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