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Sunday, July 24, 2016

Original Production Animation Drawing of Maleficent as Dragon From "Sleeping Beauty," 1959


Original production animation drawing of Maleficent as Dragon in graphite pencil from "Sleeping Beauty," 1959, Walt Disney Studios; Numbered 85 lower right and center; Size - Maleficent/Dragon 10 1/2 x 11", Sheet 12 1/2 x 15 1/2"; Unframed.

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

“Now you shall deal with me, o prince, and all the powers of HELL!”
―Maleficent before transforming into the Dragon

"Sleeping Beauty," 1959 is an animated musical film produced by Walt Disney based on two stories: "The Sleeping Beauty" by Charles Perrault and "Little Briar Rose" by The Brothers Grimm. The film was released to theaters on January 29, 1959, by Buena Vista Distribution. This was the last Disney adaptation of a fairy tale for 30 years because of its initial mixed critical reception and because of under performance at the box office. The next Disney adaption of a fairy tale would not occur until 1989 with "The Little Mermaid."

"Sleeping Beauty" was directed by Les Clark, Eric Larson, and Wolfgang Reitherman; under the supervision of Clyde Geronimi. Additional story work was by Joe Rinaldi, Winston Hibler, Bill Peet, Ted Sears, Ralph Wright, and Milt Banta. The film's musical score and songs, featuring the work of the Graunke Symphony Orchestra under the direction of George Bruns, are arrangements or adaptations of numbers from the 1890 "Sleeping Beauty Ballet" by Pyotr Ilyich Tchaikovsky. "Sleeping Beauty" was the first animated film to be photographed in the Super Technirama 70 widescreen process, as well as the second full-length animated feature film to be filmed in anamorphic widescreen (following "Lady and the Tramp" four years earlier). The film was presented in Super Technirama 70 and 6-channel stereophonic sound in first-run engagements.

Initially Marc Davis, the animator for Maleficent, had wanted to use a black and red color scheme for the character however; Eyvind Earle, the background artist for the film, protested. Walt Disney had taken some criticism over his recent films for their lack of artistic achievement and so he had decided to put in charge an already accomplished Disney animation artist. Eyvind Earle had already been working at the Disney Animation Studios and was receiving acclaim for his artistic vision and technical skill and so he was chosen by Disney to supervise the styling, color, and backgrounds for "Sleeping Beauty." The film took six years to complete due to Earle's extreme attention to detail. Normal backgrounds for prior Disney films would take a day, however the Earle backgrounds could take up to ten days. In addition, Earle reworked not only the colors for Maleficent but the character design for Briar Rose so that she would work better with his pre-Renaissance Gothic vision for "Sleeping Beauty." "Sleeping Beauty," 1959 was the last of the Disney films that all the cels were both hand inked and hand painted, and many believe it to be one of the most beautiful and one of the greatest Disney films ever!


Close up of the Maleficent as Dragon original production drawing.

If you ask people to name their favorite Disney Villain, chances are you will one of three answers; The Evil Queen/Witch from "Snow White and the Seven Dwarfs," Cruella DeVil from "101 Dalmatians," or Maleficent from "Sleeping Beauty." Two of the three, Cruella and Maleficent, were created/drawn by the great animator Marc Davis. Davis was part of what has been dubbed Disney's Nine Old Men; the core group of animators, some becoming directors, that created the finest animated films ranging from "Snow White and the Seven Dwarfs", 1937 to "The Rescuers", 1977.

The voice of Maleficent was performed by Eleanor Audley. She had worked for Disney prior by also being the voice for the cold and calculating Lady Tremaine (The Stepmother) in "Cinderella." If is known that Frank Thomas for Lady Tremaine and Marc Davis for Maleficent, incorporated facials features of Eleanor into both characters.

Wolfgang Reitherman (known as Woolie) began working for Walt Disney in 1934, and is credited in films from Pinocchio, 1940 (Monstro the Whale) to The Fox and the Hound, 1981 (co-producer).  His masterful animation work includes the climatic dinosaur fight in Igor Stravinsky's The Rite of Spring in Fantasia, the Headless Horseman chase in The Legend of Sleepy Hollow section in The Adventures of Ichabod and Mr. Toad, the Crocodile in Peter Pan, and of course Maleficent as a dragon in Sleeping Beauty. An interesting side note is that all three of Reitherman's sons; Bruce, Richard, and Robert  provided voices for Disney characters, Mowgli in The Jungle Book, Christopher Robin in the Winnie the Pooh films, and Wart in The Sword in the Stone.


Close up of the production number.

The climatic ending of Sleeping Beauty is the transformation of The Mistress of all Evil - Maleficent into a massive black and purple Dragon capable of breathing green fire. Children were absolutely terrified of the Dragon, with her large teeth, powerful claws, and expansive wing span. The success of the Dragon is owed to Reitherman's remarkable drawing and animation skills. In this very large and powerful drawing, Maleficent's left claw in perched atop one of the pillars of the bridge that Prince Phillip is attempting to cross. Her mouth is open and she is breathing green fire that strikes Phillip's shield. This is an absolutely beautiful drawing, from one of the best sequences in the finale of the film!

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Original Production Animation Cel of The Young Pegasus From "The Pastoral Symphony" Sequence of "Fantasia," 1940


Original hand painted and hand inked production animation cel of the Young Pegasus from "The Pastoral Symphony" sequence of "Fantasia," 1940, Walt Disney Studios; Set on an airbrushed Courvoisier background with the WDP stamp lower left; With original Courvoisier Galleries label; Size - Young Pegasus: 2 1/2 x 2 1/2", Image: 7 1/2 x 10"; Unframed.

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

"The Pastoral Symphony" segment from Walt Disney's full length feature film "Fantasia," 1940 uses the 6th symphony in F, Op.68 by Ludwig van Beethoven as it's soundtrack. The symphony that Beethoven named "The Pastoral," is said to be one of the few pieces of music he ever wrote that tells a definite story. Beethoven was a great nature lover, and with this symphony he paints a musical picture of a day in the countryside. However, Walt Disney has taken Beethoven's musical score and set it as a backdrop to a fantastical mythological environment.


Close up of the Young Pegasus original production cel.


Close up of the WDP stamp.

Disney's "The Pastoral Symphony" segment of "Fantasia" utilized expert color styling in order to depict a mythical ancient Greek world of centaurs, pegasi, the Gods of Mount Olympus, fauns, cupids, and other legendary creatures of classical mythology. The segment, directed by Hamilton Luske, Jim Handley, and Ford Beebe; tells the story of mythological creatures gathering for a festival to honor Bacchus, the God of wine.


Original Courvoisier Galleries label.

The Young Black Pegasus is presumably the youngest of his siblings, and bears the most resemblance to his parents; having his father's coat color and his mother's mane, tail, and eye color. This is wonderful cel of the Young Pegasus; he is full figure, eyes and mouth open, and is placed on it's original Courvoisier airbrushed background. The Walt Disney Productions (WDP) stamp is lower left and the original Courvoisier Galleries label is included.

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Thursday, July 21, 2016

Original Production Animation Cels of Flora, Fauna, and Merryweather From "Sleeping Beauty," 1959


Original hand painted and hand inked production animation cels of Flora, Fauna, and Merryweather set on a lithographic background from "Sleeping Beauty," 1959, Walt Disney Studios; Size - Flora: 8 1/4" x 4 3/4", Fauna: 7 3/4 x 4 1/4", Merryweather: 6 x 4 3/4"; Image 10 3/4 x 16"; Unframed.

Flora: "Make it pink!"
Merryweather: "Make it blue!"
Fauna: "Oh, I just love happy endings."

"Sleeping Beauty," 1959 is an animated musical film produced by Walt Disney based on two stories: "The Sleeping Beauty" by Charles Perrault and "Little Briar Rose" by The Brothers Grimm. The film was released to theaters on January 29, 1959, by Buena Vista Distribution. This was the last Disney adaptation of a fairy tale for 30 years because of its initial mixed critical reception and because of under performance at the box office. The next Disney adaption of a fairy tale would not occur until 1989 with "The Little Mermaid."

"Sleeping Beauty" was directed by Les Clark, Eric Larson, and Wolfgang Reitherman; under the supervision of Clyde Geronimi. Additional story work was by Joe Rinaldi, Winston Hibler, Bill Peet, Ted Sears, Ralph Wright, and Milt Banta. The film's musical score and songs, featuring the work of the Graunke Symphony Orchestra under the direction of George Bruns, are arrangements or adaptations of numbers from the 1890 "Sleeping Beauty Ballet" by Pyotr Ilyich Tchaikovsky. "Sleeping Beauty" was the first animated film to be photographed in the Super Technirama 70 widescreen process, as well as the second full-length animated feature film to be filmed in anamorphic widescreen (following "Lady and the Tramp" four years earlier). The film was presented in Super Technirama 70 and 6-channel stereophonic sound in first-run engagements.

Flora, Fauna and Merryweather are Princess Aurora's Fairy Godmothers, who appear at baby Aurora's christening to present their gifts to her, as well as go on to become her guardians. The Fairies were voiced by Verna Felton (Flora), Barbara Jo Allen (Fauna), and Barbara Luddy (Merryweather). Verna Felton also voiced Queen Leah, Aurora's mother; and had prior roles as Dumbo's mother in "Dumbo," the Fairy Godmother in "Cinderella," the Queen of Hearts in "Alice in Wonderland," and Aunt Sarah in "Lady in the Tramp." Barbara Luddy had previously voiced Lady in "Lady and the Tramp." The principle animator for the Three Fairies was Ollie Johnston and a little known fact is that one of the actresses who was one of the live action models for the Good Fairies was Frances Bavier, the future Aunt Bee on "The Andy Griffith Show."


Original production animation cel of Fauna without the background.

Fauna is the middle Fairy and is dressed in a green gown, a green hat, and a green cape clipped with a green triangle. Her gift to Aurora is the gift of song.



Original production animation cel of Flora without the background.

Flora is the tallest and oldest Fairy, dressed in a red gown (although she is obsessed with the color pink), a red hat, and a red cape clipped with a yellow square. She is the strongest-willed leader of the group, and her gift to Aurora is the gift of beauty. She also created for Prince Phillip the powerful Sword of Truth and the invulnerable Shield of Virtue, for his escape and battle with Maleficent.


Original production animation cel of Merryweather without the background.

Merryweather is the shortest and youngest Fairy, dressed in a blue gown, a blue hat, and a blue cape clipped with a blue circle. She is the Fairy who is the most verbal and aggressive towards Maleficent, and she is much bolder than the other two Fairies. As Merryweather is about to give her gift, Maleficent makes her appearance and curses Aurora to die when she touches a spinning wheel's spindle before the sun sets on her sixteenth birthday. Merryweather's gift to Aurora is to weaken Maleficent's curse so that instead of death, Aurora will fall into a deep sleep until she is awakened by true love's kiss.

This is a wonderful set of original hand painted and hand inked production animation cels of all three Good Fairies, Flora, Fauna, and Merryweather from the Walt Disney masterpiece "Sleeping Beauty," 1959. All three Fairies are full figure, eyes open, and are large hand painted images. This is the nicest set of cels of all three Fairies that I have ever offered for sale, and would make a great addition to any animation collection!

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Original Production Cels of Lady, Tramp, and Tony From "Lady and the Tramp," 1955


 Original hand inked and hand painted production cels of Lady, Tramp, and Tony set on lithographic backgrounds from "Lady and the Tramp," 1955, Walt Disney Studios; Size - Lady and Tramp: 6 3/4 x 5 1/4", Tony: 8 1/2 x 9 1/4", Image 9 x 17 1/2"; Unframed.

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

"Now, here you are, the best spaghetti in town!"  - Tony

"Lady and the Tramp" (released on June 22, 1955) is a full length featured animated film produced by Walt Disney and released by Buena Vista Distribution. The film was the 15th in the Walt Disney Animated Classics series, and it was the first animated feature filmed in with the CinemaScope widescreen film process. The film was based on the story "Happy Dan, The Whistling Dog" by Ward Greene and tells the story of a female American Cocker Spaniel named Lady who lives with a refined, upper-middle-class family. Lady meets a male stray mutt named Tramp and they embark on many exciting and romantic adventures.

One evening in 1937, Disney storyman Joe Grant invited Walt Disney over to his house for dinner and ended up showed Disney a drawing he had made of his pet spinger spaniel, who was named Lady. Walt loved the drawing and suggested that Joe make a storyboard out of it; which he did and the plan was to create a new animated film, simply titled "Lady." The story that was pitched ended up being too simplistic to Walt Disney's taste, and the project was put on hold until about 20 years later.

Lady was wonderfully animated by the great Disney artist Ollie Johnston and she was voiced by Barbara Luddy. Barbara Luddy (1908 — 1979) was an American actress from Great Falls, Montana and she starred in silent pictures in the 1920s. She was also a prolific radio performer; known for her performances on the long running radio show "The First Nighter Program" which aired from 1936 until 1953.

However, Luddy is perhaps best remembered for her voice work in Walt Disney animated films; with her most memorable role being that of Lady from Lady and the Tramp.  She also performed in Sleeping Beauty (voice of Merryweather), One Hundred and One Dalmatians (voice of Rover), Robin Hood (voice of both Mother Church Mouse and the Mother Rabbit), and the Winnie-the-Pooh featurettes (Winnie the Pooh and the Honey Tree, Winnie the Pooh and the Blustery Day, and Winnie the Pooh and Tigger Too) all of which she provided the voice for Kanga.


Original production animation cel of Lady and Tramp.
 
Initially Tramp was called Homer and although he was first conceived as Lady's suitor, he ended up as her ex-dog pound mate in the initial 1943 storyboard pitch. A few years after that version was scrapped, Walt Disney read a story called "Happy Dan the Cynical Dog" in Cosmopolitan Magazine and decided that this was they type of character that was needed to enhance the film. Although Walt wanted his new character to be called Tramp, the animators feared that audiences would take offense in such a name, due to the word's sexual connotations that had been popularized by the song "The Lady Is A Tramp." The animators first called the character Rags, then Bozo; before Walt insisted that that name Tramp would be acceptable.

Tramp is a very laid-back dog and acts more like a kid. He's flirtatious and has history of having had a multitude of girlfriends; and he's known for his street smarts, able to both avoid dog catchers and deal with junkyard dogs. However, he dreams about living with a family and in a loving home. Tramp was animated by Ollie Johnston, Milt Kahl, and Wolfgang Reitherman who animated the rat fight scene. Larry Roberts (1926 - 1992), an American voice actor and comedian who was most active in the 1950s, is best remembered for his role as the voice of Tramp.

Although the spaghetti eating sequence is the best known in the entire film, Walt Disney was prepared to cut it; because he thought it would look both silly and not be romantic. However, animator Frank Thomas was against Walt's decision and took it upon himself to animate the entire scene, without the use of lay-outs. Walt was so impressed by Thomas's work, that he kept the scene in the film.

The spaghetti scene is usually referred to as the "Bella Notte" scene because of the romantic love song "Bella Notte" that is first sung by a chorus in the opening credits; and then by Tony and Joe while Lady and Tramp eat spaghetti together while on a romantic, moonlit date. The song has become an iconic love song, and the animated sequence is one of the most unforgettable Disney moments ever created.


Original production animation cel of Tony with the plate of spaghetti.

This is a large and wonderful original production animation cel of Tony, the owner of Tony's Restaurant, bringing a huge plate of spaghetti with extra meatballs to Lady and Tramp. Both Lady and Tramp are sitting full figure, eyes and mouth open, and with big excited smiles. The cel of the dogs is just a few frames from the cel of Tony in the original film. This is just a wonderful piece of animation history and certainly would be a great addition to any animation art collection! The dialog for the scene is below:

Tony: "Now, here you are, the best spaghetti in town!"

To view the scene these cels were used to create, click on the short video below:

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Original Production Animation Cel Key Setup of The Evil Queen 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; Numbered 268 in ink lower right; Set on key master production background; Size - Evil Queen: 10 x 9 3/4", Background 12 1/2 x 15 3/4", Image 10 3/4 x 14 1/2", Frame 29 1/2 x 32 1/4"; Framed with two suede acid free mats, gold wood fillet, gold wood frame, and UV conservation clear museum perfect glass.

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

"A blast of wind, to fan my hate!" - 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).


Full untrimmed cel of The Evil Queen.

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!


Close up of the production number.

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.


Original production watercolor background without The Evil Queen cel.

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.


Original production watercolor background with The Evil Queen cel showing all four edges.

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.


Framed original production animation cel key setup of The Evil Queen.

This is an absolutely spectacular piece of animation art history and is of museum quality. Original key setups (an original production animation cel on it's matching watercolor production background) 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 full untrimmed cel, with it's production number in ink lower right, placed on it's key matching watercolor production background. It simply does not get any better!

The dialog for the scene is below:

Evil Queen: "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."

To view the scene which this cel and background were used to create, click on the short video below:


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Saturday, July 9, 2016

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


Original production animation drawing of Briar Rose in graphite and red pencils from "Sleeping Beauty," 1959, Walt Disney Studios; Numbered 25 in pencil lower right and center; The word "STRANGER" upper center right with lines over and under the "N" showing the sound that she is pronouncing; Size - Briar Rose: 8 x 3 1/2", 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.

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."


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

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 word "STRANGER" upper center right with lines over and under the "N" showing the sound that she is pronouncing.


Close up of the production number.

This is an absolutely beautiful eyes and mouth open original production animation drawing of Briar Rose. The drawing is accomplished in red and graphite pencils, the production number is lower right, and the word "STRANGER" is upper center right with lines over and under the "N" showing the sound that Briar Rose is pronouncing. A wonderful piece of vintage Walt Disney artwork, and a great addition to any animation collection!

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Original Production Animation Cel Setup of Jasper Badun from "One Hundred and One Dalmatians," 1961


Original hand painted production animation three cel setup of Jasper Badun from "101 Dalmatians," 1961, Walt Disney Studios; Cel setup consists of 1) Head cel, 2) Arms and cigar cel, and 3) Cigar smoke cel; Set on a hand-painted background; Size - Jasper Badun: 7 1/4" x 7 1/2", Image 11 1/2 x 15 1/2", Frame 19 1/2" x 23 1/2"; Framed using a brown wood frame, an acid free mat, and plexiglass.

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

“You idiots! You... You fools! Oh, you imbeciles!”
―Cruella to Jasper and Horace

"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 animators responsible for the villains were Marc Davis who animated Cruella De Vil, and John Lounsbery who animated both Horace and Jasper Badun.


Close up of the Jasper Badun original production animation cel setup.

From former Walt Disney animator Andreas Deja:
"Cruella De Vil's henchmen Jasper and Horace were principally animated by John Lounsbery (and beautifully so), but their final design was created by Milt Kahl based on story man Bill Peet's rough character concepts. These two second rate criminals share a fairly low IQ, but in appearance they form a fun, strong contrasting duo. Jasper is tall, thin and gangly, Horace is tubby, short and  roly-poly. Some of their scenes were based on live action reference, but the animation never looks rotoscoped or floaty."

Frederick Worlock provided the voice for both Horace and Inspector Craven, while J. Pat O'Malley provided the voice for both Jasper and the Colonel. O'Malley had a long history with voice work for Disney: he was the Cockney guy in the "Supercalifragilisticexpialidocious" sequence in "Mary Poppins," 1964, Cyril Proudbottom, Winkie, and a policeman in "The Adventures of Ichabod and Mr. Toad," 1949, Colonel Hathi and Buzzie in "The Jungle Book," 1967, all the character voices in the "The Walrus and the Carpenter" segment (besides Alice), including Tweedledum and Tweedledee from "Alice In Wonderland," 1951.


Framed Jasper Badun original production animation cel setup.

This is a great multi-cel setup of Jasper Badun smoking a cigar. The cel setup consists of 1) Head cel, 2) Arms and cigar cel, and 3) Cigar smoke cel; and all three hand painted production animation cels are set on a custom hand-painted background. The image of Jasper is large, being an impressive 7 1/4" x 7 1/2". A wonderful piece of animation artwork from one the most recognized Walt Disney feature films of all time!

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