Original Production Animation Cel of Maleficent from "Sleeping Beauty," 1959

 

Original hand painted and hand inked production animation cel of Maleficent set on a lithographic background from "Sleeping Beauty," 1959, Walt Disney Studios; Size - Maleficent: 8 3/4 x 14 1/2", Image 10 3/4 x 16"; Unframed.

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

I really felt quite distressed|at not receiving an invitation.

Read more: https://www.springfieldspringfield.co.uk/movie_script.php?movie=sleeping-beauty-1959I - Maleficent

This original animation cel captures a striking moment of frustration for Maleficent, the formidable villain of Walt Disney’s Sleeping Beauty. Here, she is shown in her imposing black-and-purple robes, distinctive horned headdress, and dramatic wing-like collar, gripping her staff as she angrily questions her henchmen. The scene occurs after sixteen years of searching for Princess Aurora, who has been hidden away from Maleficent’s grasp. Exasperated by the failure to find her, Maleficent demands, “It’s incredible, sixteen years and not a trace of her! She couldn’t have vanished into thin air! Are you sure you searched everywhere?” When her goons assure her that they have searched everywhere, she presses them further: “And what about the town, the forests, the mountains?” The cel beautifully captures the intensity of her expression, with her raised hand, pointed gesture, and wide-eyed stare conveying both impatience and barely contained anger.

Released by Buena Vista Distribution on January 29, 1959, Sleeping Beauty was Walt Disney Productions’ sixteenth animated feature in the Walt Disney Animated Classics series. The film was based on Charles Perrault’s The Sleeping Beauty as well as Little Briar Rose by the Brothers Grimm. Although the film would become one of Disney’s most visually distinctive productions, its initial mixed critical reception and disappointing box-office performance led the studio away from traditional fairy-tale adaptations for many years. Disney would not return to the fairy-tale genre until the enormous success of The Little Mermaid in 1989, thirty years later.

Sleeping Beauty was directed by Les Clark, Eric Larson, and Wolfgang Reitherman under the supervision of Clyde Geronimi, with a story developed by Joe Rinaldi, Winston Hibler, Bill Peet, Ted Sears, Ralph Wright, and Milt Banta. Its magnificent musical score was composed and arranged under the direction of George Bruns, incorporating themes and adaptations from Pyotr Ilyich Tchaikovsky’s 1890 Sleeping Beauty Ballet, along with music adapted from compositions by Igor Stravinsky. The film was also a technical landmark: it was the first animated feature photographed in the Super Technirama 70 widescreen process and the second Disney feature filmed in anamorphic widescreen, following Lady and the Tramp. In select first-run engagements, audiences experienced the film in Super Technirama 70 with six-channel stereophonic sound.

One of the most important elements of Sleeping Beauty is its extraordinary visual style. The film was heavily influenced by the work of artist Eyvind Earle, whose distinctive “Pre-Renaissance” aesthetic combined strong vertical lines, stylized forms, rich colors, and Gothic elegance. Earle was responsible for the design of all the characters and designed and painted the majority of the film’s backgrounds. His approach gives the film an almost storybook-like quality, with castles, forests, cliffs, and interiors appearing more like carefully composed medieval paintings than conventional animated settings. This cel of Maleficent is particularly effective in that environment, as her angular silhouette and dramatic costume harmonize perfectly with the film’s Gothic architecture and highly stylized backgrounds.

Maleficent herself underwent a significant transformation during development. Early concepts depicted her as a much more traditional, hag-like witch, closer to the appearance suggested by the original fairy-tale sources. Principal animator Marc Davis ultimately decided that she should instead be portrayed as an elegant and powerful fairy. The choice of Eleanor Audley as her voice actress was an important influence as well. Audley had previously provided the voice of Lady Tremaine in Cinderella, and Davis drew upon her distinctive facial expressions and sophisticated, commanding manner when developing Maleficent. Audley also served as the live-action model for the character, allowing Davis to incorporate her gestures, movements, and expressions into the animation.

Maleficent's costume is another remarkable example of Marc Davis's design work. Davis found inspiration in a book of Medieval art, particularly an image of a religious figure wearing long robes whose ends resembled flames. He transformed that visual idea into Maleficent's sweeping black robes and dramatic purple accents. The sides of her headdress were inspired by the wings of a bat, while the upper portion was based upon the horns of a devil. The result was a character who could be instantly recognized simply by her silhouette. In this cel, those design elements are especially prominent: the towering horns, sharply projecting headdress, flowing robe, and staff create one of the most memorable villainous images in Disney animation.

This scene also demonstrates why Maleficent is such a compelling Disney villain. Rather than relying solely upon physical menace, she projects intelligence, authority, elegance, and an almost theatrical sense of superiority. Her frustration at having searched for Aurora for sixteen years reveals just how obsessive her pursuit has become, while her increasingly specific questions about the town, forests, and mountains demonstrate her determination to leave no possibility unexplored. The contrast between Maleficent's fury and the nervous, cringing reactions of her incompetent henchmen adds a touch of dark comedy to the scene.

Among Disney villains, Maleficent remains one of the most enduring and visually influential. Alongside the Evil Queen from Snow White and the Seven Dwarfs and Cruella de Vil from One Hundred and One Dalmatians, she is frequently regarded as one of Disney's definitive villains. Notably, two of these three iconic characters—Maleficent and Cruella—were created and animated under the artistic direction of Marc Davis. This original cel therefore represents not only a memorable moment from Sleeping Beauty, but also the work of one of Disney's legendary animators at the height of his creative influence.

I really felt quite distressed|at not receiving an invitation.

Read more: https://www.springfieldspringfield.co.uk/movie_script.php?movie=sleeping-beauty-1959I - Maleficent 

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Original Production Animation Cel of Kaa from "The Jungle Book," 1967

 

Original hand painted production animation cel of Kaa from "The Jungle Book," 1967, Walt Disney Studios; Set on a lithographic background; Size - Kaa: 6 1/4" x 4 3/4", Image 7 1/2 x 9 1/4"; Unframed

To purchase these cels or to visit the Art Gallery, CLICK HERE!

This original animation cel captures Kaa the python during his first encounter with Mowgli in Walt Disney’s The Jungle Book (1967). Emerging from the jungle foliage with his long body curled dramatically around a tree branch, Kaa wears the deceptively friendly expression that makes his first appearance so memorable. His wide eyes and exaggerated smile belie his sinister intentions as he begins to manipulate the young boy. During this encounter, Kaa introduces himself with his characteristic politeness, telling Mowgli, “Why, hello there.” Mowgli responds with suspicion, but Kaa quickly begins working his way into the boy’s confidence, eventually revealing that his intentions are anything but friendly. The encounter becomes particularly dangerous when Kaa attempts to hypnotize Mowgli, leading to the memorable exchange in which Mowgli protests, “You’re trying to hypnotize me!” Kaa's response—“Oh, no, no, no. I’m trying to hypnotize you!”—perfectly captures the character's sly, humorous personality.

The scene also establishes Kaa as one of the film's principal threats. When Bagheera discovers what is happening, the panther intervenes to protect Mowgli, but Kaa quickly turns his attention toward Bagheera. The sequence culminates in Kaa attempting to constrict and devour the panther, only to be thwarted when Bagheera escapes. The combination of genuine danger and comic timing is characteristic of The Jungle Book, allowing Kaa to be frightening without losing the playful personality that made him one of the film's most memorable characters.

Released in 1967, The Jungle Book was the nineteenth animated feature produced by Walt Disney Productions and was inspired by Rudyard Kipling's collection of stories. Directed by Wolfgang Reitherman, the film follows Mowgli, a human child raised in the jungle by wolves, as he encounters Bagheera and Baloo, who attempt to convince him to leave the jungle before the dangerous Bengal tiger Shere Khan discovers him. The film featured an exceptional voice cast including Phil Harris, Sebastian Cabot, George Sanders, Louis Prima, Sterling Holloway, J. Pat O'Malley, Verna Felton, and Bruce Reitherman as Mowgli. Tragically, The Jungle Book would be the last animated feature worked on by Walt Disney himself, as he died during its production.

Kaa and Shere Khan occupy particularly interesting positions among the film's antagonists. Both are predators who view Mowgli as prey, but they approach him in completely different ways. Shere Khan relies upon intimidation, authority, and brute force, whereas Kaa relies upon deception and hypnosis. Kaa's first encounter with Mowgli therefore introduces a villain who is charming and seemingly courteous while simultaneously being extremely dangerous. His repeated attempts to hypnotize his victims provide some of the film's most memorable comedy, particularly because his smooth, affected manner contrasts so sharply with his predatory nature.

The animation of Kaa in this particular sequence is especially significant because his entrance was animated by the legendary Frank Thomas. Thomas was responsible for Kaa's first appearance, including his encounter with Mowgli and his attempt to consume Bagheera. Later in the film, Kaa was animated by Milt Kahl, whose version of the character became perhaps the more iconic interpretation because Kahl handled the much longer sequence involving Kaa's hypnotic song “Trust in Me” and his memorable confrontation with Shere Khan. The distinction is fascinating for collectors, as the two sequences demonstrate the different approaches of two of Disney's legendary Nine Old Men.

Kaa's design and animation are particularly effective because the character's entire body becomes part of his personality. His long, looping coils create elegant graphic shapes across the screen, while his head and eyes are capable of conveying both friendliness and menace. This cel beautifully demonstrates that approach. Kaa's body forms a sweeping curve around the tree, while his head rises toward Mowgli with an almost welcoming smile. The simplicity of the pose makes the underlying threat even more effective: this seemingly harmless snake is positioning himself perfectly to strike.

Sterling Holloway's voice was an equally important part of Kaa's appeal. Kaa was the second major Disney character voiced by Holloway, following his unforgettable performance as Winnie-the-Pooh. Holloway's distinctive high, gentle, almost soothing voice was an inspired choice for a character whose primary weapon is persuasion. Rather than making Kaa sound conventionally threatening, Holloway gives him a deliberately pleasant and almost grandfatherly quality, making his attempts at hypnosis all the more amusing—and unsettling. It is difficult to imagine another voice producing quite the same combination of innocence, charm, and menace.

That personality reaches its fullest expression later in the film with “Trust in Me,” also known as “The Python's Song.” Sung by Sterling Holloway and written by the legendary Disney songwriting team of Robert and Richard Sherman, the number transforms Kaa's hypnotic abilities into one of the film's most memorable musical sequences. Kaa's soft voice, mesmerizing eyes, and sinuous movements work together as he attempts to lull Mowgli into submission. The song has subsequently become one of the defining musical moments associated with the character.

Kaa also has an interesting Disney lineage through his resemblance to Sir Hiss from Robin Hood (1973). Both characters are serpentine, highly theatrical figures who use hypnosis and manipulation and who constantly ingratiate themselves with a more powerful villain. Kaa attempts to win the favor of Shere Khan, while Sir Hiss serves Prince John. The parallels are particularly amusing because both characters combine genuine cunning with an almost comic tendency to be dominated by the very villains they attempt to please.

Wolfgang Reitherman's connection to The Jungle Book is equally significant. He began working for Walt Disney in 1934 alongside future legends Ward Kimball and Milt Kahl, and the three contributed to numerous classic Disney shorts, including The Band Concert, Music Land, and Elmer Elephant. Beginning with One Hundred and One Dalmatians in 1961, Reitherman served as Disney's chief animation director. He subsequently directed The Sword in the Stone, The Jungle Book, The Aristocats, Robin Hood, and The Rescuers. His 1968 production Winnie the Pooh and the Blustery Daywon the Academy Award for Best Animated Short Film.

Reitherman's family also became part of Disney animation history. All three of his sons—Bruce, Richard, and Robert—provided voices for Disney characters. Bruce voiced Mowgli in The Jungle Book, Richard voiced Christopher Robin in Winnie the Pooh and the Honey Tree, and Robert voiced Wart in The Sword in the Stone. Bruce Reitherman did more than provide Mowgli's voice; he also acted out portions of Mowgli's scenes as live-action reference for the animators. Mowgli's final design was established by Milt Kahl, while Frank Thomas and Ollie Johnston animated the majority of the character's scenes.

As a piece of original Disney animation, this cel is an especially appealing representation of Kaa because it comes from his first encounter with Mowgli, before the character's more elaborate hypnotic performance later in the film. The cel captures the essence of Kaa in a single image: graceful, theatrical, deceptively friendly, and quietly threatening. With the vivid blue jungle background, the strong curve of Kaa's body, and his wonderfully expressive face, it is an excellent example of the character animation and graphic design that helped make The Jungle Book one of Disney's most enduring animated classics.

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Original Production Animation Cel of Hathi Jr. (Baby Elephant) from "The Jungle Book," 1967

 

Original hand painted production animation cel of Hathi Jr. (Baby Elephant) from "The Jungle Book," 1967, Walt Disney Studios; Set on a lithographic background; Size - Hathi Jr.: 4 x 4", Image 7 1/2 x 10"; Unframed.

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

This original animation cel from The Jungle Book (1967) captures the charming young Hathi Jr. in a wonderfully expressive moment as he marches through the Indian jungle. With one leg lifted high, his trunk raised and tail curled behind him, the Baby Elephant displays the spirited, almost military manner that makes him such a memorable character. The hand-painted cel is particularly appealing for its lively pose and the beautifully rendered jungle setting, with tall grasses, distant acacia trees, and the softly colored landscape providing an atmospheric backdrop. Hathi Jr.’s oversized ears, tousled hair, and youthful proportions further emphasize his innocence and playful personality.

The Jungle Book, released in 1967, was the nineteenth animated feature produced by Walt Disney Productions and was inspired by Rudyard Kipling’s classic book of the same name. Directed by Wolfgang Reitherman, the film was the last animated feature on which Walt Disney himself worked, as he passed away during its production. The story follows Mowgli, a feral child raised in the Indian jungle by wolves, who encounters Bagheera the panther and Baloo the bear. The two attempt to convince Mowgli to leave the jungle before the dangerous tiger Shere Khan discovers him. The film featured a remarkable voice cast including Phil Harris, Sebastian Cabot, George Sanders, and Louis Prima, along with Disney regulars Sterling Holloway, J. Pat O’Malley, and Verna Felton. Mowgli was voiced by Bruce Reitherman, the director’s son.

Wolfgang Reitherman was one of the most important figures in Disney animation during the studio’s transition into the post-Walt era. He joined Walt Disney Productions in 1934 alongside future Disney Legends Ward Kimball and Milt Kahl, and the three worked together on such classic shorts as The Band Concert, Music Land, and Elmer Elephant. Reitherman subsequently contributed to Disney feature films from Snow White and the Seven Dwarfs through The Fox and the Hound, serving as an animator, director, and eventually producer. Beginning with One Hundred and One Dalmatians in 1961, “Woolie,” as he was known to his friends, became Disney’s chief animation director. He went on to direct The Sword in the Stone (1963), The Jungle Book (1967), The Aristocats (1970), Robin Hood (1973), and The Rescuers (1977).

Reitherman’s influence extended beyond feature animation. His 1968 production Winnie the Pooh and the Blustery Daywon the Academy Award for Best Animated Short Film. His three sons—Bruce, Richard, and Robert—also provided voices for Disney characters, making the Reitherman family an especially distinctive part of Disney history. Bruce not only supplied the voice of Mowgli but also acted out portions of the character’s movements as live-action reference for the animators. Although several animators worked on Mowgli, Milt Kahl established the character’s final design, while Frank Thomas and Ollie Johnston animated the majority of his scenes.

Hathi Jr. is the young son of Colonel Hathi and his wife, Winifred, and his brief appearances provide some of the film’s most endearing comic moments. The character was voiced by Clint Howard, who was only eight years old when The Jungle Book was produced. Because of his young age, some of the Disney filmmakers had to assist Howard with some of the larger words in his dialogue. Despite having relatively little screen time, Hathi Jr. quickly became one of the film’s most beloved supporting characters. His youthful enthusiasm, innocent determination, and miniature version of his father’s military-style personality make him instantly recognizable.

This cel is especially appealing because it captures Hathi Jr. away from the larger elephant herd, allowing the animation to focus entirely on his personality and distinctive physicality. The exaggerated marching pose, raised trunk, lifted foot, and determined expression are quintessential examples of Disney character animation, where a simple gesture could communicate an entire personality. Combined with the richly colored jungle background, the cel provides a wonderful glimpse into the artistry of The Jungle Book and preserves one of the film’s most charming—and comparatively fleeting—characters.

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Original Production Animation Cel of Pongo and Roger Radcliffe from "One Hundred and One Dalmatians," 1961

 

Original hand painted production animation cel of Pongo and Roger Radcliffe from "One Hundred and One Dalmatians," 1961, Walt Disney Studios; Set on a lithographic background; Size - Pongo & Roger: 7 x 8 1/2", Image: 8 1/2 x 12"; Unframed.

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

This wonderful original production animation cel from Walt Disney’s One Hundred and One Dalmatians (101 Dalmatians), 1961, captures one of the film’s most joyful and memorable moments, featuring Pongo and Roger Radcliffe immediately after Roger succeeds in reviving the fifteenth newborn Dalmatian puppy. Pongo looks on with his tongue out and a huge smile, while Roger excitedly holds the tiny puppy wrapped in a yellow towel. The expressions of both characters perfectly convey the relief, happiness, and excitement of the moment. Roger’s exclamation captures the emotion of the scene: “Look, Pongo! Anita! Nanny! Fifteen! We still have fifteen!” Anita responds, “Oh, the dear thing is alright!” and Roger proudly reassures her, “See? He's just as good as new!” Anita then marvels, “Can you imagine, Rog? Fifteen puppies!” The cel beautifully preserves this wonderful moment of family celebration.

Released by Walt Disney Productions in 1961, One Hundred and One Dalmatians was based upon Dodie Smith’s 1956 novel and featured Rod Taylor as the voice of Pongo, Cate Bauer as Perdita, and Betty Lou Gerson as the unforgettable and villainous Cruella de Vil. The film represented a major turning point for Disney animation. Following the enormous expense and disappointing box-office performance of Sleeping Beauty (1959), the Disney studio was seriously concerned about the future of hand-drawn animation. During production of Sleeping Beauty, Walt Disney reportedly told animator Eric Larson, “I don't think we can continue, it's too expensive.” Walt needed to find a way to continue producing animated features while substantially reducing production costs.

The solution came in part through the pioneering work of Disney animator and technical innovator Ub Iwerks, who had been experimenting with Xerox photography as a means of transferring animators’ drawings directly onto animation cels. By 1959, Iwerks had modified a Xerox camera capable of transferring the animator’s original pencil drawings onto the cels, eliminating the labor-intensive hand-inking stage. The process preserved much of the spontaneous character of the animators’ drawings while saving considerable time and money. Its principal drawback was aesthetic: the Xerox process produced a distinctive black, somewhat scratchy outline rather than the smooth, refined lines created by traditional hand inking. For 101 Dalmatians, however, this new visual style became an important part of the film’s distinctive appearance.

Perhaps the greatest practical advantage of the Xerox process was its application to the film’s enormous number of spotted dogs. Animating dozens of Dalmatian characters, each covered with individually positioned spots, would have been extraordinarily laborious using traditional methods. The Xerox process made this task substantially more manageable. The animators approached the placement of spots almost as though they were creating a constellation: once an “anchor spot” had been established, additional spots could be positioned in relation to it until the desired pattern was completed. The result was an astonishing total of 6,469,952 spots throughout the film. Pongo has 72 spots, Perdita has 68, while each of the puppies has 32. The spotted characters thus became not merely a visual trademark of the film but also an extraordinary achievement in animation production.

Pongo was animated by legendary Disney animator Ollie Johnston and voiced by Australian actor Rod Taylor, who enjoyed a long career in film and television. Roger Radcliffe, Anita’s husband and Pongo’s owner, best friend, and human companion, was voiced by English actor Ben Wright. Wright also supplied the voice of Rama, Mowgli’s wolf father, in The Jungle Book (1967), as well as Grimsby in The Little Mermaid (1989). Roger’s singing voice was provided by Bill Lee, one of the most prolific and respected singing voices in Disney animation, whose voice can be heard in numerous Disney films.

The composition of this cel is particularly appealing, with Roger and Pongo leaning toward one another in an exuberant moment of shared happiness. Roger’s raised hand, expressive face, and broad smile contrast beautifully with Pongo’s alert eyes, open mouth, wagging excitement, and wonderfully rendered black spots. The newborn puppy, safely wrapped in Roger’s yellow towel, provides the emotional focus of the scene. The cel also offers an excellent example of the Xerox-influenced animation style that helped define 101 Dalmatians, while retaining the remarkable character animation for which Disney was famous. As a scene of celebration, an important moment in the story, and an example of the technological revolution taking place within the Disney studio, this original production cel of Pongo and Roger Radcliffe is a particularly charming and historically significant piece of 101 Dalmatians animation art—and a wonderful addition to any serious Disney animation collection.

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

 

Original hand painted production animation cel of Pongo from "One Hundred and One Dalmatians," 1961, Walt Disney Studios; Set on a lithographic background; Size - Pongo: 5 x 6", Image: 6 1/4 x 8 1/2"; Unframed.

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

This charming original animation cel showcases Pongo, the clever and devoted canine hero of One Hundred and One Dalmatians (101 Dalmatians), a 1961 full-length animated feature film by Walt Disney Productions. Adapted from Dodie Smith's 1956 novel of the same name, the movie stars Rod Taylor as the voice of Pongo and Cate Bauer as the voice of Perdita, with Betty Lou Gerson delivering an iconic performance as the voice of the evil and villainous Cruella de Vil. In this expressive scene, Pongo stands alert near a doorway, his mouth open in an expectant smile that highlights his playful yet determined character. Pongo famously opens the film observing London life from his window, musing, "My name is Pongo. Perdy calls me Pongo, but the pet calls me Pongo too." Desperate to break his human Roger's dull routine, he famously remarks, "As far as I could see, the old boy needed a mate," leading him to orchestrate the meeting that brings their two families together. The animation of all the characters from the film was quite extraordinary, giving Pongo a warmth and expressive range that immediately captured audiences' hearts.

The creation of 101 Dalmatians came at a pivotal moment for Walt Disney Studios. The film Sleeping Beauty (1959) was very expensive to make and took a huge financial loss at the box office; as a result, the Disney animation studio was considering closing. During the production of Sleeping Beauty, Walt Disney told animator Eric Larson: "I don't think we can continue, it's too expensive." Because Disney's entire company was based on animation, he was looking for a way to continue with animation and at the same time significantly reduce costs.

A revolutionary technological breakthrough solved this crisis. The animator Ub Iwerks had been experimenting with Xerox photography to aid in the animation process. By 1959, he had modified a Xerox camera to transfer the drawings by the animators directly onto animation cels. The process would preserve the spontaneity of the penciled drawings but eliminate the inking process, thus saving time and money. However, the limitation was that the camera was unable to deviate from a black scratchy outline, and the resulting cels lacked the fine lavish quality of hand inking. Despite this change in style, it gave 101 Dalmatians a distinct, modern, graphic aesthetic that suited its contemporary London setting perfectly.

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

Pongo was animated by legendary animator Ollie Johnston—one of Disney's "Nine Old Men"—and voiced by Rod Taylor, an Australian TV and movie actor who appeared in over 50 films. Taylor's warm, charismatic vocal performance complemented Johnston's expressive animation, bringing Pongo's courageous spirit to life as he embarks on the Twilight Bark to rescue his stolen puppies, declaring, "We'll find 'em, Perdy. I don't know how, but we will." Capturing both the technological innovation and artistic brilliant of Disney's golden age, this artwork would certainly make a great addition to any animation art collection!

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Original Production Animation Cel of Thomas O'Malley and Scat Cat from "The Aristocats," 1970

 

Original hand painted production animation cel of Thomas O'Malley and Scat Cat from "The Aristocats," 1970; Walt Disney Studios; Set over a lithographic background; Size - Thomas O'Malley & Scat Cat: 4 3/4 x 6 1/4", Image 6 3/4 x 11 1/4"; Unframed.

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

"Everybody wants to be a cat. Because a cat's the only cat, who knows where it's at." - Scat Cat

This outstanding original production cel from Walt Disney’s The Aristocats (1970) captures a delightful moment during the film’s showstopping musical number, “Everybody Wants to Be a Cat,” featuring two of the film’s most beloved feline characters: Thomas O’Malley and Scat Cat. Seated together atop a colorful ottoman in a rustic attic setting, the two alley cats appear completely at home in their musical surroundings. Scat Cat, distinguished by his gray fur and signature red bow tie, tips his hat with a theatrical flourish, while the orange-and-white O’Malley grins broadly beside him, his relaxed posture and playful expression reflecting the carefree spirit that makes him such an appealing character. The full-figure presentation of both characters, combined with their expressive poses and the richly detailed background, makes this a particularly attractive image from one of Disney’s most memorable animated musical sequences.

Released in theaters on December 11, 1970, The Aristocats was produced by Walt Disney Productions and distributed by Buena Vista Distribution. It holds a special place in Disney animation history as the last animated feature project approved by Walt Disney himself before his death in December 1966. The film follows Duchess, an elegant mother cat, and her three kittens—Berlioz, Marie, and Toulouse—who stand to inherit the fortune of their wealthy Parisian owner. When the household butler, Edgar, discovers that the cats are the intended beneficiaries, he plots to eliminate them from the picture by abandoning them in the countryside. Their unexpected journey home introduces them to Thomas O’Malley, a charismatic alley cat whose streetwise resourcefulness, generous heart, and love of adventure prove invaluable. The film features an accomplished voice cast that includes Eva Gabor, Hermione Baddeley, Phil Harris, Dean Clark, Sterling Holloway, Scatman Crothers, and Roddy Maude-Roxby.

Thomas O’Malley, whose full name is Abraham DeLacey Giuseppe Casey Thomas O’Malley, is one of Disney’s most appealing roguish heroes. Animated by the legendary Disney artists Ollie Johnston and Milt Kahl, O’Malley combines a wonderfully loose, expressive physical style with an easygoing personality and a natural gift for comedy. His memorable voice was provided by Phil Harris, the American singer, songwriter, jazz musician, actor, and comedian whose relaxed delivery gave the character his distinctive charm. Harris had already established an enduring place in Disney animation as Baloo the Bear in The Jungle Book (1967), and he would later voice Little John in Robin Hood (1973). In all three roles, Harris brought a similar blend of warmth, humor, musicality, and irrepressible confidence. O’Malley’s carefree philosophy is perfectly suited to the film’s central musical celebration, where friendship, individuality, and the pleasures of living in the moment take center stage.

Scat Cat has a particularly interesting history. The character was originally conceived as Satchmo Cat, with the legendary jazz musician Louis Armstrong intended to provide his voice. Unfortunately, Armstrong became ill and could not participate, and Scatman Crothers was brought in as his replacement. The character was renamed Scat Cat, and the musical number was developed around his personality and performance. Nevertheless, a delightful connection to the original concept remains: Scat Cat still plays the trumpet, Armstrong’s celebrated instrument. Crothers brought his own distinctive musical energy to the role, creating a charismatic bandleader whose enthusiasm and playful showmanship make him a natural centerpiece of the film’s jazz sequence.

The song “Everybody Wants to Be a Cat,” written by Al Rinker and Floyd Huddleston, is the final major musical number in The Aristocats and arguably its most enduring musical highlight. Performed by Scatman Crothers as Scat Cat, Phil Harris as Thomas O’Malley, Thurl Ravenscroft as Bill Boss, Robie Lester as Duchess, and Liz English as Marie, the sequence celebrates the freedom and exuberance associated with the jazz-loving alley cats. Paul Winchell also performed the original part of Shun Gon, the Chinese cat, whose character and musical passages have subsequently drawn criticism for stereotypical racial portrayals. The sequence remains a fascinating example of Disney’s use of music to establish character, atmosphere, and a sense of community, while also reflecting changing cultural attitudes toward animated entertainment.

What makes this particular cel especially desirable is the combination of two full-figure character images from the film’s signature musical sequence. Both O’Malley and Scat Cat are clearly recognizable, and their expressions convey the infectious enthusiasm of the performance. Scat Cat’s raised hat adds a theatrical touch, while O’Malley’s broad grin and relaxed stance capture his easygoing personality. The colorful ottoman, weathered wooden walls, and surrounding attic furnishings provide a wonderful sense of setting, complementing the warm palette of the characters. Rather than presenting a simple portrait, the cel captures the two cats interacting in a specific moment, giving the artwork a sense of narrative and movement.

For collectors of original Disney animation art, this is a particularly compelling image from The Aristocats. Both characters are central to the film’s musical identity, and the pairing of O’Malley and Scat Cat connects two of its most charismatic feline personalities. The artwork also represents an important period in Disney history, following Walt Disney’s death and the studio’s transition into a new era of animated filmmaking. With its appealing character expressions, complete figures, attractive composition, and association with the unforgettable “Everybody Wants to Be a Cat” sequence, this cel would make a standout addition to a serious Disney animation art collection.

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