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Wednesday, September 2, 2026

Original hand painted production animation cel of Gandalf with the matching original production animation drawing from "The Lord of the Rings," 1978

 

Original hand painted production animation cel of Gandalf from "The Lord of the Rings," 1978, Ralph Bakshi; Production numbers in ink lower cel edge; Set on a lithographic background with book lithographic overlay; With the matching original production animation drawing in graphite and blue pencils; Production numbers in pencil bottom edge; Size - Gandalf: 8 1/4 x 12", Image 8 1/2 x 12 1/2", Drawing 10 1/2 x 12 1/2"; Unframed.

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

This remarkable pairing captures Gandalf the Grey at one of the most ominous moments in Ralph Bakshi's animated adaptation of The Lord of the Rings. Shown seated and holding a dusty, discarded volume, Gandalf studies the book that reveals the tragic fate of the Dwarves of Moria. The accompanying dialogue—“It says, ‘We have barred the gates.’ And something about... the watcher in the water”—gives the image an unmistakable sense of foreboding, as the Fellowship begins to understand the terrible events that unfolded within the ancient Dwarven kingdom. The hand-painted production cel beautifully captures Gandalf's distinctive white hair, beard, and penetrating expression, while the matching animation drawing reveals the extraordinary underlying linework used to create the finished image.

The contrast between the finished cel and its corresponding drawing provides a fascinating glimpse into the animation process. On the original drawing, the character is rendered in delicate graphite lines, with the placement of Gandalf's facial features, hair, robes, hands, and book carefully established by the animator. The production cel transforms those lines into a fully realized screen image, adding the rich tones and dramatic shading that give Bakshi's interpretation of Middle-earth its distinctive visual character. Together, the pieces preserve both stages of the artistic process—from the animator's original design to the finished hand-painted image photographed for the film.

These incredible pieces come from The Lord of the Rings, Ralph Bakshi's ambitious 1978 animated adaptation of J.R.R. Tolkien's classic trilogy, theatrically released on November 15, 1978. The film adapted The Fellowship of the Ring and the first portion of The Two Towers, following the Fellowship of hobbits, elves, men, dwarves, and Gandalf on their perilous quest to destroy the One Ring in Mount Doom. Although Bakshi's planned continuation was never completed, the story was subsequently concluded in animated form by Rankin/Bass Productions with The Return of the King in 1980.

Bakshi's The Lord of the Rings remains one of the most visually distinctive interpretations of Tolkien's work, largely because of its groundbreaking and extensive use of rotoscoping. Publicity for the film famously described it as “the first movie painting,” reflecting Bakshi's unusual approach to combining live-action reference material with traditional hand-drawn and hand-painted animation. Actors performed scenes in live action, which were then traced and transformed by artists into animation, allowing for a remarkable degree of realism and complexity. This technique was especially effective in the film's massive battle sequences, but it also lends intimate scenes such as this one an unusual naturalism, visible in Gandalf's posture, facial expression, and subtle gesture as he reads the ominous words before him.

Ralph Bakshi's approach was rooted in his desire to move rotoscoping away from exaggerated cartoon performance and toward something much closer to realistic acting. As Bakshi explained, his actors were instructed to perform naturally rather than “like a cartoon,” producing what he described as a form of “rotoscope realism unlike anything that's been seen.” The complexity of this process was enormous, with some scenes containing hundreds—and reportedly even thousands—of animated figures. Yet this more intimate image of Gandalf demonstrates that the same painstaking technique could be equally effective when focused upon a single character and a moment of quiet dramatic tension.

Bakshi had been familiar with Tolkien's writing long before bringing The Lord of the Rings to the screen and had made several attempts to adapt the material before securing financing from producer Saul Zaentz and collaborating with United Artists. His film, directed from a screenplay by Peter S. Beagle based upon an earlier draft by Chris Conkling, featured the voice talents of William Squire, John Hurt, Michael Graham Cox, and Anthony Daniels. It was also among the early animated features presented in the Dolby Stereo Sound System, further emphasizing the ambitious scale of the production.

For collectors, this original hand-painted production cel with matching animation drawing offers a particularly compelling connection to one of the most memorable sequences in Bakshi's film. Gandalf's discovery of the abandoned book provides a haunting bridge between the Fellowship's journey and the destruction that has already taken place within Moria. The combination of the finished cel and original drawing not only preserves this dramatic moment from the film, but also offers a rare opportunity to appreciate the remarkable craftsmanship behind Bakshi's revolutionary vision of Middle-earth.

#RalphBakshi #BakshiAnimation #IndependentAnimation #AdultAnimation #AnimationLegend #FritzTheCat #Wizards1977 #BakshiStudios #TheLordOfTheRings1978 #RotoscopeArt #AnimationHistory #CultAnimation #FantasyArtFilm #AnimatedCinema #FireAndIce #AmericanPop #CoolWorld #AnimationPioneer #ExperimentalAnimation #UndergroundAnimation #AnimatedFantasy #AnimationArtCollector #ClassicAnimation #CinematicArtistry #VisionaryDirector #AnimationInnovation #FilmHistory #HandDrawnCinema #BakshiLegacy 

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Saturday, August 29, 2026

Original Production Animation Drawing of Jafar from "Aladdin," 1992

 

Original production animation drawing of Jafar in graphite and blue pencils from "Aladdin," 1992, Walt Disney Studios; Numbered J-55 in pencil lower right; Animation ladder upper left; Size - Jafar: 10 x 11 1/4", Sheet 12 1/2 x 17"; Unframed.

This dramatic animation drawing captures Jafar in a wonderfully expressive moment from Disney's Aladdin, revealing a side of the villain that is both calculating and darkly humorous. Rendered primarily in graphite with touches of colored pencil, the drawing shows Jafar in a tense, almost uncomfortable pose as he rubs or gestures toward his neck while contemplating a particularly unpleasant future. His sharply angular face, narrow eyes, elongated features, and dramatically stylized costume all contribute to the distinctive silhouette that made him one of Disney's most memorable animated villains. A small indication of Iago's legs can be seen on Jafar's shoulder, serving as an animator's guide for the interaction between the two characters.

The drawing comes from a dramatic sequence of three 16-field, 5-peghole animation drawings created for the scene near the 42:27 mark of the film, when Jafar and Iago lament their increasingly uncertain future. As Jafar considers what will happen once Princess Jasmine finds a husband, he grimly observes, "No, Iago. Only until she finds a chump husband. Then she'll have us banished. Or beheaded." The thought of the latter possibility is clearly the more troubling one, and Jafar's cringing gesture toward his neck provides a marvelous piece of character acting. Although he is normally calm, controlled, and supremely confident, this moment allows the audience to see his frustration and anxiety beneath the carefully maintained exterior.

Jafar's animation was supervised by Disney Legend Andreas Deja, while Iago was supervised by Will Finn. The animators would often include rough indications of where Iago was positioned in a scene so that both animation teams could coordinate the interaction between the two characters. This working drawing offers a fascinating glimpse into that collaborative process. The lightly sketched construction lines, overlapping exploratory marks, and colored-pencil indications preserve the energy of the animator's original work and demonstrate how an animated performance developed from drawing to drawing before becoming the finished sequence on screen.

Aladdin, released by Walt Disney Pictures on November 25, 1992, is an animated musical fantasy feature directed by John Musker and Ron Clements. The film was based on the Arab-style folktale of Aladdin and the Magic Lamp from One Thousand and One Nights. Its celebrated voice cast featured 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 film won two Academy Awards, including Best Original Song for "A Whole New World," with music by Alan Menken and lyrics by Tim Rice, as well as Best Original Score for Menken.

Jafar, whose name means "stream" in Arabic, serves as the principal villain of Aladdin. As the Royal Vizier of Agrabah, he possesses considerable political authority but secretly desires far greater power, ultimately plotting to overthrow the kingdom through control of the Genie. Animated by Andreas Deja and voiced with magnificent theatrical menace by Jonathan Freeman, Jafar is a villain defined less by explosive physical action than by intelligence, patience, and relentless calculation. Interestingly, Sir Patrick Stewart was originally offered the role of Jafar but was forced to decline because of scheduling difficulties.

Andreas Deja's own reflections on developing the character provide remarkable insight into this drawing and Jafar's distinctive personality. Deja recalled being thrilled to receive the assignment after completing work on Gaston, a character who required a greater degree of realism. With Jafar, he saw an opportunity to create someone who belonged in a much more graphically stylized world. The influence of Eric Goldberg's groundbreaking Genie animation helped establish that stylistic direction, particularly through the fluid, expressive influence of caricaturist Al Hirschfeld.

Deja ultimately discovered that Jafar became more interesting when his performance was restrained rather than constantly animated with broad gestures. As he explained, "I found out the more I held back and showed him thinking and plotting, the more evil and interesting he became." That philosophy is beautifully evident in this drawing. Jafar's pose is not one of grand action but of thought, irritation, and apprehension. The subtle gesture toward his neck communicates the character's reaction more effectively than an exaggerated expression ever could.

The attitudes Deja created for Jafar were intended to convey both a tremendous hunger for power and moments of extreme frustration. This drawing captures precisely that balance. Even while complaining about the possibility of being banished—or worse, beheaded—Jafar remains unmistakably Jafar: elegant, angular, theatrical, and dangerous. The loose animation lines and unfinished quality of the drawing make it especially appealing as a piece of production art, preserving the spontaneity of the animator's hand while documenting a memorable moment in the performance of one of Disney's great villains.

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Original Production Animation Drawing of Jafar from "Aladdin," 1992

 

Original production animation drawing of Jafar in graphite and blue pencils from "Aladdin," 1992, Walt Disney Studios; Numbered J-17 in pencil lower right; Size - Jafar: 10 x 10", Sheet 12 1/2 x 17"; Unframed.

This dramatic animation drawing captures Jafar in a wonderfully expressive moment from Disney's Aladdin, revealing a side of the villain that is both calculating and darkly humorous. Rendered primarily in graphite with touches of colored pencil, the drawing shows Jafar in a tense, almost uncomfortable pose as he rubs or gestures toward his neck while contemplating a particularly unpleasant future. His sharply angular face, narrow eyes, elongated features, and dramatically stylized costume all contribute to the distinctive silhouette that made him one of Disney's most memorable animated villains. A small indication of Iago's legs can be seen on Jafar's shoulder, serving as an animator's guide for the interaction between the two characters.

The drawing comes from a dramatic sequence of three 16-field, 5-peghole animation drawings created for the scene near the 42:27 mark of the film, when Jafar and Iago lament their increasingly uncertain future. As Jafar considers what will happen once Princess Jasmine finds a husband, he grimly observes, "No, Iago. Only until she finds a chump husband. Then she'll have us banished. Or beheaded." The thought of the latter possibility is clearly the more troubling one, and Jafar's cringing gesture toward his neck provides a marvelous piece of character acting. Although he is normally calm, controlled, and supremely confident, this moment allows the audience to see his frustration and anxiety beneath the carefully maintained exterior.

Jafar's animation was supervised by Disney Legend Andreas Deja, while Iago was supervised by Will Finn. The animators would often include rough indications of where Iago was positioned in a scene so that both animation teams could coordinate the interaction between the two characters. This working drawing offers a fascinating glimpse into that collaborative process. The lightly sketched construction lines, overlapping exploratory marks, and colored-pencil indications preserve the energy of the animator's original work and demonstrate how an animated performance developed from drawing to drawing before becoming the finished sequence on screen.

Aladdin, released by Walt Disney Pictures on November 25, 1992, is an animated musical fantasy feature directed by John Musker and Ron Clements. The film was based on the Arab-style folktale of Aladdin and the Magic Lamp from One Thousand and One Nights. Its celebrated voice cast featured 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 film won two Academy Awards, including Best Original Song for "A Whole New World," with music by Alan Menken and lyrics by Tim Rice, as well as Best Original Score for Menken.

Jafar, whose name means "stream" in Arabic, serves as the principal villain of Aladdin. As the Royal Vizier of Agrabah, he possesses considerable political authority but secretly desires far greater power, ultimately plotting to overthrow the kingdom through control of the Genie. Animated by Andreas Deja and voiced with magnificent theatrical menace by Jonathan Freeman, Jafar is a villain defined less by explosive physical action than by intelligence, patience, and relentless calculation. Interestingly, Sir Patrick Stewart was originally offered the role of Jafar but was forced to decline because of scheduling difficulties.

Andreas Deja's own reflections on developing the character provide remarkable insight into this drawing and Jafar's distinctive personality. Deja recalled being thrilled to receive the assignment after completing work on Gaston, a character who required a greater degree of realism. With Jafar, he saw an opportunity to create someone who belonged in a much more graphically stylized world. The influence of Eric Goldberg's groundbreaking Genie animation helped establish that stylistic direction, particularly through the fluid, expressive influence of caricaturist Al Hirschfeld.

Deja ultimately discovered that Jafar became more interesting when his performance was restrained rather than constantly animated with broad gestures. As he explained, "I found out the more I held back and showed him thinking and plotting, the more evil and interesting he became." That philosophy is beautifully evident in this drawing. Jafar's pose is not one of grand action but of thought, irritation, and apprehension. The subtle gesture toward his neck communicates the character's reaction more effectively than an exaggerated expression ever could.

The attitudes Deja created for Jafar were intended to convey both a tremendous hunger for power and moments of extreme frustration. This drawing captures precisely that balance. Even while complaining about the possibility of being banished—or worse, beheaded—Jafar remains unmistakably Jafar: elegant, angular, theatrical, and dangerous. The loose animation lines and unfinished quality of the drawing make it especially appealing as a piece of production art, preserving the spontaneity of the animator's hand while documenting a memorable moment in the performance of one of Disney's great villains.

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Original Production Animation Drawing of Jafar from "Aladdin," 1992

 

Original production animation drawing of Jafar in graphite and blue pencils from "Aladdin," 1992, Walt Disney Studios; Numbered J-1 in pencil lower right; Animation ladder upper left; Size - Jafar: 9 1/2 x 11 1/2", Sheet 12 1/2 x 17"; Unframed.

This dramatic animation drawing captures Jafar in a wonderfully expressive moment from Disney's Aladdin, revealing a side of the villain that is both calculating and darkly humorous. Rendered primarily in graphite with touches of colored pencil, the drawing shows Jafar in a tense, almost uncomfortable pose as he rubs or gestures toward his neck while contemplating a particularly unpleasant future. His sharply angular face, narrow eyes, elongated features, and dramatically stylized costume all contribute to the distinctive silhouette that made him one of Disney's most memorable animated villains. A small indication of Iago's legs can be seen on Jafar's shoulder, serving as an animator's guide for the interaction between the two characters.

The drawing comes from a dramatic sequence of three 16-field, 5-peghole animation drawings created for the scene near the 42:27 mark of the film, when Jafar and Iago lament their increasingly uncertain future. As Jafar considers what will happen once Princess Jasmine finds a husband, he grimly observes, "No, Iago. Only until she finds a chump husband. Then she'll have us banished. Or beheaded." The thought of the latter possibility is clearly the more troubling one, and Jafar's cringing gesture toward his neck provides a marvelous piece of character acting. Although he is normally calm, controlled, and supremely confident, this moment allows the audience to see his frustration and anxiety beneath the carefully maintained exterior.

Jafar's animation was supervised by Disney Legend Andreas Deja, while Iago was supervised by Will Finn. The animators would often include rough indications of where Iago was positioned in a scene so that both animation teams could coordinate the interaction between the two characters. This working drawing offers a fascinating glimpse into that collaborative process. The lightly sketched construction lines, overlapping exploratory marks, and colored-pencil indications preserve the energy of the animator's original work and demonstrate how an animated performance developed from drawing to drawing before becoming the finished sequence on screen.

Aladdin, released by Walt Disney Pictures on November 25, 1992, is an animated musical fantasy feature directed by John Musker and Ron Clements. The film was based on the Arab-style folktale of Aladdin and the Magic Lamp from One Thousand and One Nights. Its celebrated voice cast featured 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 film won two Academy Awards, including Best Original Song for "A Whole New World," with music by Alan Menken and lyrics by Tim Rice, as well as Best Original Score for Menken.

Jafar, whose name means "stream" in Arabic, serves as the principal villain of Aladdin. As the Royal Vizier of Agrabah, he possesses considerable political authority but secretly desires far greater power, ultimately plotting to overthrow the kingdom through control of the Genie. Animated by Andreas Deja and voiced with magnificent theatrical menace by Jonathan Freeman, Jafar is a villain defined less by explosive physical action than by intelligence, patience, and relentless calculation. Interestingly, Sir Patrick Stewart was originally offered the role of Jafar but was forced to decline because of scheduling difficulties.

Andreas Deja's own reflections on developing the character provide remarkable insight into this drawing and Jafar's distinctive personality. Deja recalled being thrilled to receive the assignment after completing work on Gaston, a character who required a greater degree of realism. With Jafar, he saw an opportunity to create someone who belonged in a much more graphically stylized world. The influence of Eric Goldberg's groundbreaking Genie animation helped establish that stylistic direction, particularly through the fluid, expressive influence of caricaturist Al Hirschfeld.

Deja ultimately discovered that Jafar became more interesting when his performance was restrained rather than constantly animated with broad gestures. As he explained, "I found out the more I held back and showed him thinking and plotting, the more evil and interesting he became." That philosophy is beautifully evident in this drawing. Jafar's pose is not one of grand action but of thought, irritation, and apprehension. The subtle gesture toward his neck communicates the character's reaction more effectively than an exaggerated expression ever could.

The attitudes Deja created for Jafar were intended to convey both a tremendous hunger for power and moments of extreme frustration. This drawing captures precisely that balance. Even while complaining about the possibility of being banished—or worse, beheaded—Jafar remains unmistakably Jafar: elegant, angular, theatrical, and dangerous. The loose animation lines and unfinished quality of the drawing make it especially appealing as a piece of production art, preserving the spontaneity of the animator's hand while documenting a memorable moment in the performance of one of Disney's great villains.

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Original Production Animation Cel of Sergeant Tibbs from "One Hundred and One Dalmatians," 1961

 

Original hand painted production animation cel of Sergeant Tibbs from "One Hundred and One Dalmatians," 1961, Walt Disney Studios; Set on a lithographic background; With original Art Corner label and backing board; Size - Sergeant Tibbs: 3 x 6 3/4", Image 7 1/4 x 10"; Unframed.

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

This dramatic production cel captures Sergeant Tibbs at a crucial moment in One Hundred and One Dalmatians, as the resourceful tabby cat helps guide the stolen puppies toward freedom from Cruella de Vil's sinister country estate, Hell Hall. Shown stretched low to the ground in a desperate, urgent pose, Tibbs appears to be moving quickly through the dark interior of the crumbling mansion. His wide eye, open mouth, and extended limbs give the image a tremendous sense of alarm and motion, perfectly conveying the danger surrounding the puppies as Horace and Jasper remain close at hand. Against the ominous, richly colored background of Hell Hall, the comparatively small figure of Tibbs becomes an unlikely but courageous hero.

One Hundred and One Dalmatians—also known as 101 Dalmatians—is a 1961 full-length animated feature film produced by Walt Disney Productions. Adapted from Dodie Smith's 1956 novel of the same name, the film stars Rod Taylor as the voice of Pongo and Cate Bauer as the voice of Perdita, with Betty Lou Gerson providing the unforgettable voice of the evil and villainous Cruella de Vil. The animation of all the characters in the film was quite extraordinary, combining memorable personality animation with a striking new visual style that distinguished the picture from the more lavishly rendered Disney features that preceded it.

The production of 101 Dalmatians also represented an important turning point for the Disney animation studio. Disney's previous feature, Sleeping Beauty in 1959, had been enormously expensive to make and suffered a significant financial loss at the box office. As a result, the future of feature animation at the studio was seriously questioned. During the production of Sleeping Beauty, Walt Disney reportedly told animator Eric Larson, "I don't think we can continue, it's too expensive." Because Disney's entire company was built upon animation, however, Walt was determined to find a way to continue producing animated features while significantly reducing their enormous production costs.

A major solution came from the pioneering work of animator and technical innovator Ub Iwerks, who had been experimenting with Xerox photography as an aid to the animation process. By 1959, Iwerks had modified a Xerox camera so that animators' drawings could be transferred directly onto animation cels. The process preserved much of the spontaneity and energy of the original pencil drawings while eliminating the costly and time-consuming inking process. There were limitations, however, as the Xerox process could not deviate from its distinctive black, somewhat scratchy outlines, and the resulting cels lacked the polished and lavish appearance of traditional hand-inked animation. Yet those very qualities ultimately gave 101 Dalmatians much of its distinctive and enduring visual personality.

One of the greatest benefits of the Xerox process was its tremendous usefulness in animating the film's enormous number of spotted Dalmatians. According to famed animator Chuck Jones, Disney was able to complete the film for approximately half of what it might have cost had every dog and every spot required the traditional animation process. To create the complicated spot patterns, Disney's animators envisioned the markings much like star constellations. Once an "anchor spot" was established, the remaining spots were placed in relation to that pattern until each fully spotted Dalmatian was completed. All told, the film featured an astonishing 6,469,952 spots, with Pongo having 72, Perdita 68, and each puppy possessing 32.

Sergeant Tibbs is a tabby cat and the loyal sidekick of Colonel, the old English Sheepdog. Although small in comparison with many of the other characters, Tibbs plays an essential role in the story and was primarily responsible for helping lead the one hundred and one Dalmatian puppies out of Cruella's dilapidated family mansion, Hell Hall. Voiced by David Frankham, Tibbs possesses the courage, intelligence, and determination necessary to confront the terrifying situation within the mansion. This wonderful cel captures those qualities beautifully. His elongated, almost exaggerated pose reflects the urgency of the escape and demonstrates how effectively Disney's animators could communicate action and emotion through silhouette and movement.

As a piece of Disney animation art, this cel is especially appealing because it represents one of the film's most suspenseful sequences while featuring an important supporting character in a strong and expressive full-body pose. The dark setting of Hell Hall, combined with Tibbs' animated expression and dramatic movement, creates a wonderful contrast between the danger of Cruella's world and the determined efforts of the animals working together to save the puppies. It is an exciting reminder that One Hundred and One Dalmatians was not only a technical milestone for Disney animation, but also a film filled with memorable characters whose courage and personality continue to make the adventure so beloved.

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Original Production Animation Drawing of Jafar and Iago from "Aladdin," 1992

Original production animation drawing of Jafar and Iago in graphite and blue pencils from "Aladdin," 1992, Walt Disney Studios; Numbered 41 in pencil lower right; Size - Jafar & Iago: 8 x 5 1/2", Sheet 12 1/2 x 17"; Unframed.

“Now, then, perhaps I can divine a solution to this thorny problem.” This wonderfully expressive animation drawing captures the scheming Royal Vizier Jafar at a moment when his calculating mind is already moving several steps ahead. Rendered in loose but remarkably confident animator's lines, the drawings emphasize Jafar's distinctive graphic design: his impossibly elongated figure, sharply angular features, sweeping robes, and dramatic headpiece. Even in this relatively economical pencil work, his personality is unmistakable. His wide  eyes and thin, crooked smile suggest the barely concealed condescension with which he addresses the Sultan, while his elegant gesture reinforces the theatrical confidence of a man who believes himself to be the cleverest person in Agrabah.

The scene occurs following an unforeseen setback in Jafar's search for the elusive “diamond in the rough,” the one person capable of entering the Cave of Wonders and retrieving the lamp he so desperately desires. Turning his attention toward the Sultan, Jafar approaches him in search of a mystic blue diamond and, with his customary mixture of false politeness and barely restrained contempt, asks for—and ultimately steals—the family ring containing the gem from practically under the Sultan's nose. Appearing at approximately 15:05 in the film, the moment finds Jafar preparing to acquire the final component needed for his spell by any means necessary. It follows shortly after the Sultan gives Iago his usual helping of dry crackers, explaining why the Sultan is having a bit of difficulty speaking during the exchange.

The wonderful 16-field, five-peghole animation drawings were created by Jafar's supervising animator and Disney Legend Andreas Deja, who also blocked out Iago's positioning on Jafar's shoulder. The contrast between the characters is especially appealing: Jafar's long, elegant silhouette and controlled movements provide a perfect visual counterpoint to Iago's smaller, more animated presence. Iago's animation would later be supervised by Will Finn, who also supervised Cogsworth's animation in Beauty and the Beast. The loose construction lines and overlapping pencil strokes provide a fascinating glimpse into the animation process, revealing how pose, gesture, expression, and character placement were developed before the image was refined for the screen.

“Yes. Only one may enter. I must find this one, this... diamond in the rough.” Jafar's obsessive determination is central to his role in Aladdin. Released on November 25, 1992, the Walt Disney animated musical fantasy feature was directed by John Musker and Ron Clements and drew inspiration from the Arab-style folktale of Aladdin and the Magic Lamp from One Thousand and One Nights. The film won two Academy Awards, including Best Original Song for “A Whole New World,” with music by Alan Menken and lyrics by Tim Rice, as well as Best Original Score for Menken. Its celebrated voice cast featured 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.

Jafar, whose name means “stream” in Arabic, serves as the villain of Aladdin. As the Royal Vizier of Agrabah, he outwardly presents himself as a loyal adviser while secretly plotting to overthrow the kingdom and gain ultimate power through the Genie. He was animated primarily by Andreas Deja and memorably voiced by Jonathan Freeman; Sir Patrick Stewart was originally offered the role but was forced to decline because of scheduling difficulties.

Deja himself described his excitement at receiving the assignment to supervise Jafar after completing his work on Gaston in Beauty and the Beast. Whereas Gaston required a degree of realism, Jafar gave Deja the opportunity to explore a far more graphically stylized character. Influenced by the fluid, elegant lines of caricaturist Al Hirschfeld and by the visually inventive direction established elsewhere in the film, Deja made a crucial decision about Jafar's performance: rather than constantly competing with the broad and energetic acting of characters such as the Genie, he often held Jafar back. The more the villain appeared to be thinking, waiting, and plotting, the more sinister and interesting he became. These drawings beautifully demonstrate that philosophy. Jafar does not need an exaggerated gesture to communicate his intentions; the subtle turn of his head, calculating expression, and poised hand are enough to suggest the hunger for power and extreme frustration simmering beneath his composed exterior.

As production artwork, this drawing offers a particularly engaging look at the artistry behind one of Disney's most memorable villains. The combination of Deja's graceful draftsmanship, Jafar's unmistakable silhouette, and Iago's carefully planned placement creates a striking visual record of the animation process while preserving the quiet menace and calculating intelligence that made Jafar such an unforgettable antagonist.

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Original Production Animation Drawing of Jafar and Iago from "Aladdin," 1992


Original production animation drawing of Jafar and Iago in graphite and blue pencils from "Aladdin," 1992, Walt Disney Studios; Numbered 21 in pencil lower right; Animation ladder upper right; Size - Jafar & Iago: 8 1/2 x 5 1/2", Sheet 12 1/2 x 17"; Unframed.

“Now, then, perhaps I can divine a solution to this thorny problem.” This wonderfully expressive animation drawing captures the scheming Royal Vizier Jafar at a moment when his calculating mind is already moving several steps ahead. Rendered in loose but remarkably confident animator's lines, the drawings emphasize Jafar's distinctive graphic design: his impossibly elongated figure, sharply angular features, sweeping robes, and dramatic headpiece. Even in this relatively economical pencil work, his personality is unmistakable. His narrowed eyes and thin, crooked smile suggest the barely concealed condescension with which he addresses the Sultan, while his elegant gesture reinforces the theatrical confidence of a man who believes himself to be the cleverest person in Agrabah.

The scene occurs following an unforeseen setback in Jafar's search for the elusive “diamond in the rough,” the one person capable of entering the Cave of Wonders and retrieving the lamp he so desperately desires. Turning his attention toward the Sultan, Jafar approaches him in search of a mystic blue diamond and, with his customary mixture of false politeness and barely restrained contempt, asks for—and ultimately steals—the family ring containing the gem from practically under the Sultan's nose. Appearing at approximately 15:05 in the film, the moment finds Jafar preparing to acquire the final component needed for his spell by any means necessary. It follows shortly after the Sultan gives Iago his usual helping of dry crackers, explaining why the Sultan is having a bit of difficulty speaking during the exchange.

The wonderful 16-field, five-peghole animation drawings were created by Jafar's supervising animator and Disney Legend Andreas Deja, who also blocked out Iago's positioning on Jafar's shoulder. The contrast between the characters is especially appealing: Jafar's long, elegant silhouette and controlled movements provide a perfect visual counterpoint to Iago's smaller, more animated presence. Iago's animation would later be supervised by Will Finn, who also supervised Cogsworth's animation in Beauty and the Beast. The loose construction lines and overlapping pencil strokes provide a fascinating glimpse into the animation process, revealing how pose, gesture, expression, and character placement were developed before the image was refined for the screen.

“Yes. Only one may enter. I must find this one, this... diamond in the rough.” Jafar's obsessive determination is central to his role in Aladdin. Released on November 25, 1992, the Walt Disney animated musical fantasy feature was directed by John Musker and Ron Clements and drew inspiration from the Arab-style folktale of Aladdin and the Magic Lamp from One Thousand and One Nights. The film won two Academy Awards, including Best Original Song for “A Whole New World,” with music by Alan Menken and lyrics by Tim Rice, as well as Best Original Score for Menken. Its celebrated voice cast featured 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.

Jafar, whose name means “stream” in Arabic, serves as the villain of Aladdin. As the Royal Vizier of Agrabah, he outwardly presents himself as a loyal adviser while secretly plotting to overthrow the kingdom and gain ultimate power through the Genie. He was animated primarily by Andreas Deja and memorably voiced by Jonathan Freeman; Sir Patrick Stewart was originally offered the role but was forced to decline because of scheduling difficulties.

Deja himself described his excitement at receiving the assignment to supervise Jafar after completing his work on Gaston in Beauty and the Beast. Whereas Gaston required a degree of realism, Jafar gave Deja the opportunity to explore a far more graphically stylized character. Influenced by the fluid, elegant lines of caricaturist Al Hirschfeld and by the visually inventive direction established elsewhere in the film, Deja made a crucial decision about Jafar's performance: rather than constantly competing with the broad and energetic acting of characters such as the Genie, he often held Jafar back. The more the villain appeared to be thinking, waiting, and plotting, the more sinister and interesting he became. These drawings beautifully demonstrate that philosophy. Jafar does not need an exaggerated gesture to communicate his intentions; the subtle turn of his head, calculating expression, and poised hand are enough to suggest the hunger for power and extreme frustration simmering beneath his composed exterior.

As production artwork, this drawing offers a particularly engaging look at the artistry behind one of Disney's most memorable villains. The combination of Deja's graceful draftsmanship, Jafar's unmistakable silhouette, and Iago's carefully planned placement creates a striking visual record of the animation process while preserving the quiet menace and calculating intelligence that made Jafar such an unforgettable antagonist.

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