Original Production Animation Cel of Lafayette from "The Aristocats," 1970

 

Original hand painted production animation cel of Lafayette from "The Aristocats," 1970, Walt Disney Studios; Set on a lithographic background; With hand painted right leg & paw cel; Size - Lafayette: 5 x 6", Image: 6 x 14 3/4"; Unframed.

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

This original hand-painted production cel captures Lafayette, the lovable and easily distracted Basset Hound from Walt Disney’s The Aristocats, in one of the film’s wonderfully comic encounters with his companion Napoleon. Lafayette is shown in a relaxed but alert pose, his long brown ears falling dramatically along either side of his face as he looks toward Napoleon. His raised paw and open, smiling expression perfectly convey the character’s amiable, somewhat bewildered personality. The blue-toned French countryside background provides a striking contrast to Lafayette’s white-and-brown coloring, while the visible painted texture and bold hand-inked outlines preserve the distinctive appearance of traditional Disney animation.

The cel comes from the memorable exchange between the two motor vehicle-chasing hound dogs. Lafayette dismisses Napoleon’s suspicion by observing, “Oh, shucks, Napoleon, that ain't nothin' but a little old cricket bug.” Napoleon insists, “It's squeaky shoes approachin'!” Lafayette counters, “Aw, cricket bugs don't wear shoes!”, prompting Napoleon's emphatic “Hush yer mouth!” The comedy of the sequence depends upon the contrast between Napoleon's intense suspicion and Lafayette's more easygoing nature. This cel captures Lafayette at precisely the sort of moment that makes the character so appealing: friendly, expressive, and utterly unconcerned with Napoleon's increasingly urgent warnings.

The Aristocats, released in 1970, was an animated feature film produced and released by Walt Disney Productions. It was the last film project to be approved by Walt Disney himself, who died in late 1966, before the film was finally released to theaters by Buena Vista Distribution on December 11, 1970. The film featured the voice talents of Eva Gabor, Hermione Baddeley, Phil Harris, Dean Clark, Sterling Holloway, Scatman Crothers, and Roddy Maude-Roxby. Based on a story by Tom McGowan and Tom Rowe, the film follows a family of aristocratic cats and their struggle to return home after their greedy butler attempts to eliminate them so that he can inherit their mistress's fortune.

The story takes place in Paris in 1910, where Madame Bonfamille tells her lawyer, Georges Hautecourt, that she intends to leave her stocks, bonds, mansion, treasures, jewels, and entire fortune to her beloved cats rather than to her butler, Edgar Balthazar. When Edgar overhears this plan, he realizes that the cats could outlive him and prevent him from ever receiving the inheritance. His solution is to put sleeping tablets into the cats' milk and, once they fall asleep, transport them far from Paris in a covered basket attached to his motorcycle. Edgar's journey through the French countryside ultimately brings him into the path of Napoleon and Lafayette.

Napoleon, a Bloodhound, and Lafayette, a Basset Hound, were both animated by legendary Disney animator Frank Thomas. The dogs were initially intended to appear in only one scene, but the sequence proved so successful that a second scene was developed involving Edgar's return to the countryside to retrieve his umbrella and bowler hat. Their scenes became some of the film's most memorable pieces of comic animation, with Thomas exploiting the enormous difference between Napoleon's imposing Bloodhound physique and Lafayette's low-slung, long-eared Basset Hound design.

Lafayette was voiced by George Lindsey, while Napoleon was voiced by Pat Buttram. The pairing was particularly effective because both performers brought distinctive Southern-inflected comic personalities to the characters. Buttram and Lindsey would later reunite in Disney's Robin Hood, with Buttram voicing the Sheriff of Nottingham and Lindsey voicing Trigger, the vulture guard. They teamed up once again in The Rescuers, providing the voices of Luke and Deadeye.

As a piece of Disney animation art, this Lafayette cel is especially charming because it showcases the character's personality through his expressive face and distinctive pose. His enormous ears, loose-limbed posture, and cheerful expression are immediately recognizable, while the beautifully painted countryside setting places him within the atmosphere of the film's French rural sequences. Together with the complementary Napoleon artwork, the cel represents the wonderfully eccentric canine duo whose brief appearances became an enduring highlight of The Aristocats.

#TheAristocats #Aristocats #Disney #WaltDisney #cel #animation #animationcel #animationdrawing #productioncel #productiondrawing #Duchess #ThomasOMalley #OMalley #OllieJohnston #MiltKahl #untitledartgallery #cats #PhilHarris #EvaGabor #Marie #Berlioz #Toulouse #AndreasDeja #FrankThomas #RobieLester #HermioneBaddeley #DeanClark #SterlingHolloway #ScatmanCrothers #RoddyMaudeRoxby #TomMcGowan #TomRowe #AbrahamDeLaceyGiuseppeCaseyThomasOMalley #Napoleon #Lafayette #PatButtram #GeorgeLindsey

Original Production Animation Cel of Napoleon from "The Aristocats," 1970

 

Original hand painted production animation cel of Napoleon from "The Aristocats," 1970, Walt Disney Studios; Set on a lithographic background; Numbered 33 in ink lower right; Size - Napoleon: 6 1/4 x 10", Image: 10 1/2 x 14"; Unframed.

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

This original hand-painted production cel captures Napoleon, the gruff, easily excitable Bloodhound from Walt Disney’s The Aristocats, in one of the film’s wonderfully comic encounters with his companion Lafayette. Napoleon is shown in a characteristically expressive pose, lounging beneath an umbrella with his long ears hanging down, his bowler hat perched atop his head, and his face set in a wonderfully suspicious, slightly irritated expression. His raised paw and extended hind leg add to the loose, physical comedy of the scene, while the beautifully painted blue background and tree trunk establish the French countryside setting. The cel preserves the distinctive hand-inked and hand-painted qualities of traditional Disney animation, with the carefully articulated lines giving Napoleon an enormous amount of personality.

The moment comes from the dogs' hilarious exchange as they attempt to determine what is approaching them: “Oh, shucks, Napoleon, that ain't nothin' but a little old cricket bug.” Napoleon responds, “It's squeaky shoes approachin'!” When Lafayette protests, “Aw, cricket bugs don't wear shoes!”, Napoleon emphatically snaps back, “Hush yer mouth!” The humor comes from the wonderfully mismatched personalities of the two motor vehicle-chasing hounds: Lafayette is the more easygoing and skeptical Basset Hound, while Napoleon is perpetually ready to sound the alarm. The artwork captures precisely the kind of exaggerated expression and body language that made their brief appearances among the film's most memorable comic sequences.

The Aristocats, released in 1970, was an animated feature film produced and released by Walt Disney Productions. It was the last film project to be approved by Walt Disney himself, who died in late 1966, several years before the film's completion. The finished picture was released to theaters by Buena Vista Distribution on December 11, 1970. The film featured the voice talents of Eva Gabor, Hermione Baddeley, Phil Harris, Dean Clark, Sterling Holloway, Scatman Crothers, and Roddy Maude-Roxby.

Based on a story by Tom McGowan and Tom Rowe, the film centers on a family of aristocratic cats living in Paris. In 1910, Madame Bonfamille tells her lawyer Georges Hautecourt that she intends to leave her stocks, bonds, mansion, treasures, jewels, and entire fortune to her beloved cats rather than to her butler, Edgar Balthazar. When Edgar overhears the plans, he realizes that the cats could outlive him and prevent him from ever receiving the inheritance. His sinister solution is to drug the cats' milk with sleeping tablets and secretly transport them far from Paris in a covered basket attached to his motorcycle.

Napoleon and Lafayette encounter Edgar during these events, becoming an unexpected obstacle to his plans. Their pursuit of motor vehicles—particularly Edgar's motorcycle—provides some of the film's most entertaining slapstick. The contrast between Napoleon's imposing Bloodhound appearance and Lafayette's long-eared, more tentative Basset Hound personality makes the pair especially effective. In this cel, Napoleon's expressive eyes, drooping ears, oversized nose, bowler hat, and exaggerated pose exemplify the broad yet carefully controlled character animation that defines the sequence.

Both dogs were animated by Frank Thomas, one of Disney's legendary Nine Old Men. Napoleon and Lafayette were originally intended to appear in only one scene, but the sequence proved successful enough that a second scene was developed, involving Edgar's return to the French countryside to retrieve his umbrella and bowler hat. Napoleon was voiced by Pat Buttram, while Lafayette was voiced by George Lindsey. The two performers would later reunite in Disney's Robin Hood, with Buttram voicing the Sheriff of Nottingham and Lindsey providing the voice of Trigger the vulture guard, and again in The Rescuers, where they voiced Luke and Deadeye.

As a piece of Disney animation history, this cel is particularly appealing because it represents one of the film's distinctive supporting characters rather than its central feline cast. Napoleon's wonderfully exaggerated design and Frank Thomas's expressive animation give the artwork an immediate sense of motion and personality. The combination of the original painted cel, the unmistakable 1970 Disney character design, and Napoleon's comic pose makes this a charming representation of one of The Aristocats' most memorable canine characters.

#TheAristocats #Aristocats #Disney #WaltDisney #cel #animation #animationcel #animationdrawing #productioncel #productiondrawing #Duchess #ThomasOMalley #OMalley #OllieJohnston #MiltKahl #untitledartgallery #cats #PhilHarris #EvaGabor #Marie #Berlioz #Toulouse #AndreasDeja #FrankThomas #RobieLester #HermioneBaddeley #DeanClark #SterlingHolloway #ScatmanCrothers #RoddyMaudeRoxby #TomMcGowan #TomRowe #AbrahamDeLaceyGiuseppeCaseyThomasOMalley #Napoleon #Lafayette #PatButtram #GeorgeLindsey

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 the matching original production animation drawing in graphite and blue pencils; Production numbers in pencil bottom edge; Size - Gandalf: 7 1/4 x 7 1/4", Image 9 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 striking hand-painted production cel captures one of the most iconic moments in Ralph Bakshi’s 1978 animated adaptation of J.R.R. Tolkien’s The Lord of the Rings, as Gandalf the Grey makes his final stand against the Balrog known as Durin’s Bane deep within the Mines of Moria. With his sword raised in one hand and his staff held aloft in the other, Gandalf is rendered in a powerful, commanding pose, his determined expression conveying the gravity of the confrontation. The dramatic gesture beautifully complements his defiant declaration: “I’m a servant of a secret fire! You cannot pass!” The cel’s rich blues and carefully defined linework give Gandalf an imposing presence, while the dark, textured Moria setting heightens the sense of danger surrounding him.

The original hand-painted production cel with matching animation drawing, offers an unusually tangible connection to the creation of Bakshi’s The Lord of the Rings. The film was theatrically released on November 15, 1978, and adapted The Fellowship of the Ring and the first half of The Two Towers. Although the planned animated continuation was never completed following the film’s disappointing reception, Rankin/Bass Productions subsequently produced The Return of the King in 1980, bringing an animated conclusion to Tolkien’s story. Bakshi’s film nevertheless remains one of the most distinctive and celebrated interpretations of Tolkien’s work, particularly for its groundbreaking visual approach.

At the center of that approach was Bakshi’s extensive use of rotoscoping, a technique in which live-action performances were filmed and then traced by animators to create remarkably fluid and realistic movement. The process allowed Bakshi to combine conventional hand-drawn and hand-painted animation with imagery derived from live-action performances, producing the unusual visual quality that the film’s publicity famously promoted as “the first movie painting.” Rather than asking his actors to exaggerate their performances as was common in animation, Bakshi instructed them to play their roles straight and then used the rotoscoped footage as the foundation for the animated action. The resulting realism was particularly effective in large-scale sequences involving armies, battles, and crowds of characters.

Ralph Bakshi (b. 1938) is a producer, animator, writer, actor, and painter, although he is perhaps best known for directing independent and adult-oriented animated and live-action films. He began his professional career at the Terrytoons cartoon studio as a cel polisher before advancing to animator and eventually director. In 1967, he moved to the animation division of Paramount Pictures, and the following year established his own studio, Bakshi Productions. The studio’s debut feature, Fritz the Cat (1972), became the first animated feature to receive an X rating from the Motion Picture Association of America and went on to become an enormous independent success. Between 1972 and 2015, Bakshi directed ten feature films, including Wizards (1977), The Lord of the Rings (1978), American Pop (1981), Fire and Ice (1983), and Cool World (1992). His television work likewise included projects such as Mighty Mouse: The New Adventures and the anthology series Spicy City.

Bakshi had been familiar with Tolkien’s writing for years and made several attempts to bring The Lord of the Rings to animation before finally securing financing from producer Saul Zaentz, in collaboration with United Artists. The screenplay was written by Peter S. Beagle from an earlier draft by Chris Conkling, and the film featured voice performances by William Squire, John Hurt, Michael Graham Cox, and Anthony Daniels. It was also among the earliest animated features presented with Dolby Stereo sound. Bakshi’s ambitious adaptation attempted to convey the enormous scale of Tolkien’s world while retaining the immediacy and physicality of live-action filmmaking.

The complexity of that undertaking is reflected in Bakshi’s own description of the production: “The number of characters moving in a scene is staggering.” He recalled that some cels contained a thousand people and that the intricacy of the work could mean an artist produced only one cel in an entire week. That extraordinary production process makes surviving original cels and their corresponding animation drawings especially fascinating. Rather than simply being finished illustrations, they are individual pieces of the filmmaking process, preserving the artwork created frame by frame to bring Tolkien’s world to life.

This Gandalf cel is particularly compelling because it depicts the wizard at one of the defining turning points of the entire story. His raised sword and staff, surrounded by the darkness of Moria, visually reinforce his role as the Fellowship’s protector and his willingness to stand between his companions and an almost unimaginable supernatural threat. The cel therefore represents not merely a memorable image of Gandalf, but a remarkable piece of animation history from an ambitious film that helped redefine what animated fantasy could look like.

#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 

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 x 12 1/2", Image 8 3/4 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 

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 x 11 1/2", Image 8 3/4 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 

Original Production Animation Cel of Madame Medusa from "The Rescuers," 1977

 

Original hand painted production animation cel of Madame Medusa set on a lithographic background from "The Rescuers," 1977, Walt Disney Studios; Numbered 77 in ink lower right; Size - Madame Medusa: 9 1/2 x 4 1/4", Image 11 x 16"; Unframed.

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

This striking original hand-painted animation cel captures Madame Medusa at the height of her obsession, as she cries, “I want that diamond. I've got to have the Devil's Eye!” Seated dramatically on the plush purple sofa, Medusa clutches her long-handled staff, throwing her head back in an extravagant display of greed and frustration. Her eyes are squeezed shut, her mouth is stretched impossibly wide, and her entire body seems to recoil and twist with the force of her outburst. The contrast between her vivid pink dress, fiery red hair, turquoise earrings, and the dark, brooding interior of Devil's Bayou makes the cel especially visually powerful. It is an excellent example of how expressive posing and exaggeration could turn a relatively simple moment of dialogue into a memorable piece of character animation.

The Rescuers was produced by Walt Disney Productions and released by Buena Vista Distribution on June 22, 1977. The 23rd film in the Walt Disney Animated Classics series, it was based on Margery Sharp's books, most notably The Rescuers and Miss Bianca. The film follows the Rescue Aid Society, an international mouse organization headquartered in New York and operating in the shadow of the United Nations. Dedicated to helping victims of abduction throughout the world, the Society sends the jittery janitor Bernard, voiced by Bob Newhart, and the elegant Miss Bianca, voiced by Eva Gabor, to rescue Penny, an orphan being held prisoner in Devil's Bayou by the ruthless treasure hunter Madame Medusa.

Medusa's entire personality is ultimately defined by her fixation on the Devil's Eye, the world's largest diamond. Her desperate declaration in this scene reveals that the diamond is more than merely a valuable object—it has become an obsession that overwhelms everything else. Her greed also explains why she has gone to such lengths to keep Penny prisoner: she needs the young girl to retrieve the diamond from its hiding place. The cel's extreme expression therefore perfectly complements the dialogue, presenting Medusa as a woman whose desire for wealth has become almost manic.

The development of Medusa was itself an interesting part of the film's production history. Early designs were created by Ken Anderson, and Disney even considered bringing back Cruella de Vil from One Hundred and One Dalmatians as the villain. That idea was ultimately abandoned, and Medusa evolved into her own distinctive character. Although she shares certain qualities with Cruella—including a thin figure, expensive tastes, extravagant automobiles, a ferocious temper, and spectacular emotional reactions—Medusa has a completely different visual identity. Her wild red hair, green eyes, exaggerated features, heavy makeup, and flamboyant pink clothing make her immediately recognizable. This cel particularly showcases those qualities, with her fiery hair and vivid costume dominating the composition.

The responsibility for bringing Medusa to life fell to legendary Disney animator Milt Kahl, and the character became one of the great showcases of his extraordinary talent for character acting. Kahl's work is often discussed in connection with his ability to translate the gestures and mannerisms of a live performer into animation. His inspiration for Medusa is also known to have included his ex-wife, contributing to the character's highly individualized physicality. Kahl's technical brilliance is perhaps most famously demonstrated in the sequence where Medusa removes her false eyelashes and makeup—an astonishing piece of animation that makes an inherently difficult action feel completely natural.

Veteran Disney animator Andreas Deja was particularly fascinated by Kahl's achievement. Kahl once said that although he had enjoyed animating characters such as Madame Mim, Shere Khan, and the butler and lawyer from The Aristocats, he believed he enjoyed animating Medusa more than any of them. Deja noted that it showed in the finished film, describing Kahl's final Disney animation assignment as a tour de force of character acting, with the feeling that Kahl was determined to give the character everything he had. This cel is a wonderful illustration of that philosophy. Medusa isn't simply standing and speaking her line; every part of her body participates in the performance.

Deja also recalled that Kahl had promised Marc Davis that Medusa would “wipe his Cruella off the screen,” creating a friendly rivalry between the two legendary animators. Kahl deliberately constructed Medusa as a visual counterpoint to Cruella: where Cruella has a small nose, Medusa has a longer one; Cruella's hair parts in the center, while Medusa's falls dramatically to one side; and Cruella possesses a pointed jaw, while Medusa's face is nearly chinless. These seemingly small decisions demonstrate Kahl's careful understanding of character design and ensure that Medusa feels like an original creation rather than a variation of an earlier Disney villain.

Deja's own reaction to Medusa captures why the character remains so admired by animation historians and collectors. Seeing her for the first time, he was astonished by the inventiveness of her drawing and movement and particularly by the seemingly impossible task of animating her removing her makeup. His conclusion—that the character demonstrated dialogue, graphic but dimensional drawing, and simply being gutsy—applies beautifully to this cel. Medusa's enormous open mouth, tightly closed eyes, contorted posture, theatrical gesture, and almost elastic anatomy demonstrate Kahl's willingness to push animation to its expressive limits. As a result, this cel is not merely an image of one of Disney's most memorable villains; it is a superb example of Milt Kahl's late-career mastery and the extraordinary character acting that made Madame Medusa such an enduring achievement of The Rescuers.

#MrSnoops #GlenKeane #MargerySharp #OllieJohnston #MichelleStacy #madamemedusa #Bernard #Bianca #AndreasDeja #m,m edusa #therescuers #disney #animationcel #animationart #geraldinepage #miltkahl #JoeFlynn #EvaGabor #BobNewhart #DevilsBayou #untitledartgallery

Original Production Animation Cel of Madame Medusa from "The Rescuers," 1977

 

Original hand painted production animation cel of Madame Medusa set on a lithographic background from "The Rescuers," 1977, Walt Disney Studios; Numbered 47 in ink lower right; Walt Disney seal lower left; Size - Madame Medusa: 8 1/2 x 7", Image 11 x 15 3/4"; Unframed.

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

This striking original hand-painted animation cel captures Madame Medusa in one of her most memorable moments from Walt Disney’s The Rescuers, as she angrily confronts her hapless partner, Mr. Snoops. In the scene, Medusa demands, “Where is she? Where is she? Ah, where is she?” When Snoops explains that he has sent Penny to her room, Medusa explodes: “Why did you let her escape? What is your alibi this time, nitwit?” The cel beautifully conveys Medusa’s volatile personality through her exaggerated pose and expressive gesture. Leaning forward with one arm dramatically extended and the other raised, she appears to be in perpetual motion, her body twisting with impatience and fury. The rich pink of her dress stands out vividly against the dark wood-paneled interior and the deep purple upholstered chair, creating a particularly effective composition.

The Rescuers was produced by Walt Disney Productions and released by Buena Vista Distribution on June 22, 1977. The 23rd film in the Walt Disney Animated Classics series, it was based on Margery Sharp’s books, particularly The Rescuersand Miss Bianca. The story follows the Rescue Aid Society, an international organization of mice headquartered in New York and operating in the shadow of the United Nations. Dedicated to helping victims of abduction around the world, the Society sends its nervous janitor Bernard, voiced by Bob Newhart, and elegant agent Miss Bianca, voiced by Eva Gabor, to rescue Penny, an orphan held captive in Devil’s Bayou by the ruthless treasure hunter Madame Medusa.

Medusa was developed after early designs by Disney artist Ken Anderson, with the studio even considering bringing back Cruella de Vil from One Hundred and One Dalmatians as the villain before ultimately abandoning the idea. Although Medusa shares certain characteristics with Cruella—including her thin figure, extravagant lifestyle, temper, dramatic automobile, and spectacular emotional breakdowns—she became a distinctly different character. Her wild red hair, green eyes, heavy makeup, exaggerated features, and flamboyant wardrobe give her a unique visual identity. Her obsession is the Devil’s Eye, the enormous diamond she believes will make her fortune. The animation of Medusa was entrusted to legendary Disney animator Milt Kahl, whose extraordinary understanding of character acting transformed her into one of the most memorable villains in Disney animation.

Veteran Disney animator Andreas Deja has particularly praised Kahl’s work on Medusa. Kahl once said that although he had enjoyed animating characters such as Madame Mim, Shere Khan, and the butler and lawyer from The Aristocats, he enjoyed Medusa more than any of them. As Deja observed, Kahl's final Disney assignment became a remarkable “tour de force” of character animation, with a sense that the veteran animator was determined to give the character everything he had. That brilliance is evident in this cel: Medusa’s angular pose, expressive hands, cocked head, and exaggerated silhouette communicate her personality even without dialogue.

Deja also recalled that Kahl had jokingly promised Marc Davis that Medusa would “wipe his Cruella off the screen,” establishing a friendly competition between the two great Disney animators. Kahl deliberately designed Medusa with features that contrasted with Davis’s Cruella: Medusa has a longer nose rather than Cruella’s small one, an asymmetrical hairstyle rather than a center part, and an almost chinless face rather than Cruella’s pointed jaw. Those choices helped ensure that Medusa was not simply a second Cruella, but a completely original creation.

Perhaps the most extraordinary achievement of Kahl’s work is the way he translated live-action mannerisms into animation. Deja famously marveled at Medusa’s ability to remove her makeup and false eyelashes, observing that such an action seemed as though it should be possible only for a live actress. Yet Kahl made it completely convincing through carefully controlled drawing, timing, dimensional construction, and expressive movement. That same mastery is evident here. Even in a relatively simple moment of Medusa confronting Snoops, every element—the sweeping arm, raised fingers, tilted head, narrowed eyes, and dramatically elongated body—contributes to the performance. This cel therefore represents not merely a beautiful piece of The Rescuers artwork, but a superb example of Milt Kahl’s extraordinary character animation and his final great Disney villain.

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