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.

#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 Cels of Si and Am Siamese Cats and a Purple Table Runner from "Lady and the Tramp," 1955

 

Original hand inked and hand painted production animation cels of Si and Am Siamese Cats and a Purple Table Runner set on a lithographic background from "Lady and the Tramp," 1955; Walt Disney Studios; Size - Si and Am: 8 x 8 1/4", Image 9 x 12"; Unframed.

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

"We are Siamese if you please. We are Siamese if you don't please." - Si and Am

These original animation cels capture one of the most memorable moments from the wonderfully mischievous appearance of Si and Am in Walt Disney’s Lady and the Tramp. Shown during “The Siamese Cat Song,” the identical Siamese twins are engaged in one of their many acts of household destruction, using a table runner as a makeshift rope as they attempt to pull a fishbowl from its perch. The image perfectly conveys the cats’ sly determination and gleeful sense of mischief. With their bodies stretched almost impossibly long, tails curling dramatically behind them, and paws gripping the runner, the scene is a terrific example of the expressive animation that made these two characters so memorable. Their famous musical introduction, with the unforgettable declaration, “We are Siamese if you please,” immediately establishes their smug, self-satisfied personalities.

Released on June 22, 1955, Lady and the Tramp was the 15th feature in the Walt Disney Animated Classics series and was produced by Walt Disney and released by Buena Vista Distribution. It was also Disney's first animated feature photographed using the CinemaScope widescreen process, giving the film a broad cinematic presentation that was particularly effective in scenes such as this, where the characters' exaggerated movements play out across an expansive interior setting. The film was based on Ward Greene's story “Happy Dan, The Whistling Dog” and follows Lady, a refined American Cocker Spaniel living with an upper-middle-class family, whose life changes when she meets Tramp, a streetwise stray. Their adventures combine romance, comedy, and some of Disney's most memorable character animation.

The origins of Lady and the Tramp reach back nearly two decades before the film's release. In 1937, Disney storyman Joe Grant invited Walt Disney to dinner and showed him a drawing he had made of his own Springer Spaniel, Lady. Walt was impressed by the drawing and encouraged Grant to develop it into a storyboard. Grant did so, but Walt ultimately felt that the story was too simplistic, and the project was shelved. Nearly twenty years later, the idea was revived and transformed into the much richer story that became Lady and the Tramp.

Si and Am themselves appear on screen for only a relatively brief portion of the film, yet their impact has been enormous. The cats have become among the most recognizable and popular villains in Disney history and have generated a remarkable amount of Disney merchandise. Their names together form “Siam,” the former name of the Kingdom of Thailand, cleverly reflecting their Siamese heritage. They are identical twin seal-point Siamese cats belonging to Aunt Sarah, and their highly distinctive designs make them immediately recognizable: sleek cream-colored bodies, angular wedge-shaped faces, enormous blue almond-shaped eyes, dark facial points, triangular ears, small black noses, and the characteristic dark markings on their legs and tails. Even their two protruding middle incisors add to their wonderfully peculiar appearance.

The famed Disney animator Milt Kahl was responsible for the final character design of Si and Am, while Bob Carlson, Bill Justice, and John Sibley brought the cats to life through their animation. Their elongated poses, expressive eyes, curling tails, and almost acrobatic movements are particularly evident in these cels. Here, their bodies seem to become part of the physical comedy itself. The sweeping diagonals created by their legs, tails, and the purple table runner give the scene an extraordinary sense of movement, while their mischievous expressions make it perfectly clear that they know exactly what they are doing.

A tremendous part of the characters' enduring popularity, however, belongs to Peggy Lee. Lee supplied the original speaking and singing voices of Si and Am, as well as the voices of Darling and Peg. She also composed much of the film's music with Sonny Burke and performed several of its memorable songs, including “He's a Tramp,” “La La Lu,” “What Is a Baby?”, and, most famously, “The Siamese Cat Song.” Her sly, distinctive vocal performance gave Si and Am an attitude and personality that went far beyond their relatively limited screen time.

The cats' sequence begins innocently enough, with Aunt Sarah upstairs and Si and Am taking advantage of the opportunity to turn the house into their personal playground. Their song accompanies a steadily escalating series of disasters as they investigate everything around them, including the family's fish and bird. The table-runner sequence represented in these cels is a wonderful example of that escalation: what begins as curiosity becomes deliberate destruction. Their goal is not simply to investigate the fishbowl—they are determined to get at it, and the exaggerated physicality of the animation makes their scheme both ridiculous and wonderfully entertaining.

Ultimately, Si and Am's mischief sets off the chain of events that leads to Lady being blamed for the destruction. The cats have the remarkable ability to transform themselves from aggressors into apparent victims, feigning innocence while Lady bears the consequences. Aunt Sarah ultimately has Lady muzzled, making the injustice of the situation all the more frustrating—and making Si and Am's brief appearance even more memorable. These cels therefore capture not merely two cats pulling on a table runner, but a key element of the characters' personalities: Si and Am are clever, calculating, mischievous, and completely unapologetic. Their combination of distinctive design, superb animation, and Peggy Lee's unforgettable performance helped make them two of the most enduring villainous characters in the Disney canon.

#Tramp #Lady #Peg #LadyandtheTramp #Disney #WaltDisney #animation #animationcel #animationdrawing #productiondrawing #productioncel #animationart #cel #Disney #WaltDisney #PeggyLee #MiltKahl #untitledartgallery #EricLarson #LarryRoberts #OllieJohnston #FrankThomas #WolfgangReitherman #JoeGrant #Tony #BellaNotte #spaghetti #TonysRestaurant #BillBaucom #Jock #Trusty #BillThompson 

Original Production Animation Cel of Wendy Darling from "Peter Pan," 1953

 

Original hand inked and hand painted production animation cel of Wendy Darling from "Peter Pan," 1953, Walt Disney Studios; Set over a lithographic background; Size - Wendy Darling: 5 x 1 3/4", Image 5 1/2 x 2 1/4", Mat 10 1/2 x 7 1/2"; Triple Matted.

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

This charming cel presents Wendy Darling, the gentle yet strong-willed heroine of Walt Disney’s Peter Pan (1953). Shown in her familiar light-blue nightdress, Wendy stands with one hand raised in a delicate, expressive gesture, capturing the graceful mannerisms that distinguish her from the more exuberant characters around her. Her relaxed posture, finely articulated hands, expressive eyes, and softly modeled face demonstrate the extraordinary care required to animate a character who had to move and behave like a believable human being. The cool blue palette of her dress also works beautifully against the darker blues of the bedroom setting, giving Wendy a particularly elegant presence.

The origins of Peter Pan reach back to J. M. Barrie, who first introduced Peter in a section of his adult novel The Little White Bird in 1902. Barrie returned to the character in his stage play Peter Pan, or The Boy Who Wouldn't Grow Up, which premiered in London on December 27, 1904. The play remained in production through 1913 before eventually inspiring numerous adaptations, most famously Walt Disney's animated feature Peter Pan, released on February 5, 1953. Disney had been interested in the property for many years, and the studio's version transformed Barrie's theatrical fantasy into one of the most memorable animated adventures of the Golden Age. 

Wendy occupies a particularly important place in the film because she serves as the bridge between the worlds of childhood fantasy and the responsibilities of growing up. She is imaginative enough to believe in Peter Pan, yet mature enough to understand the importance of home, family, and ultimately returning to London. Her famous introduction to Peter, “My name is Wendy. Wendy Moira Angela Darling,” immediately establishes her identity and the slightly formal manner appropriate to the character. Later, when Peter questions the idea of mothers, Wendy explains that “a mother’s someone who loves and cares for you and tells you stories.” Her famous declaration, “But mother, I don’t want to grow up,” captures the central conflict of the story—the desire to preserve childhood while gradually recognizing that growing up is inevitable. 

The animation of Wendy was entrusted principally to Milt Kahl, who served as directing animator for Peter Pan and the Darling children. Eric Larson also contributed animation to the film, including work on Wendy and the sequence in which the children fly toward London. Kahl was reportedly less enthusiastic about his assignment than might be expected. He had to animate Peter and Wendy as convincing human figures, a considerable challenge compared with the more stylized characters he had animated previously. Kahl later remarked of Peter, “Peter was interesting in that you had to make him fly but after that was over he became a chore.” His animation nevertheless gave Peter an extraordinary combination of grace, timing, athleticism, and personality, while his work on Wendy established the poised and naturalistic movements essential to her character. Contemporary animation references identify Kahl as the directing animator for Peter Pan, Wendy, John, and Michael, with other animators contributing individual scenes. 

An especially fascinating aspect of Wendy's creation is the involvement of Kathryn Beaumont, who provided both Wendy's voice and the live-action reference for the character. Beaumont had already made an indelible impression on Disney as the voice and live-action reference for Alice in Alice in Wonderland (1951). Walt Disney again selected her for Wendy, and the young actress performed scenes on the Disney sound stages so that the animators could study her movements, gestures, and expressions. Beaumont later recalled that she could recognize some of her own mannerisms when watching the finished characters. For the flying sequences, she was even lifted into the air on a wire so the animators could observe how her body and clothing moved; despite her fear of heights, she participated in the process. 

Beaumont's contribution to Disney history extends well beyond Peter Pan. Born in London on June 27, 1938, she came to the United States under contract to MGM before joining Disney. Her work as Alice and Wendy made her one of the studio's most recognizable young performers of the period. After Peter Pan, she attended the University of Southern California and earned a degree in education, subsequently teaching elementary school in Los Angeles for 36 years. She later returned to her Disney roles for attractions and productions, including providing Wendy's voice for Fantasmic!. In 1998, Kathryn Beaumont was named a Disney Legend, recognizing her lasting contribution to the studio. 

The casting of Bobby Driscoll opposite Beaumont provides another interesting connection. Driscoll supplied the voice of Peter Pan and served as a visual reference, particularly for the character's close-up work, while dancer Roland Dupree provided much of the reference for Peter's flying and action movements. Driscoll had already become one of Disney's most successful young actors through Song of the South, So Dear to My Heart, and Treasure Island, in which his performance as Jim Hawkins earned him a star on the Hollywood Walk of Fame. His work as Peter Pan represented the culmination of his major Disney career. 

This cel therefore represents much more than a beautifully drawn image of Wendy Darling. It captures the work of one of Disney's greatest animators, the performance of Kathryn Beaumont that served as the character's living reference, and a character who stands at the emotional center of Barrie's timeless story. Wendy may enter Never Land because she believes in Peter Pan and longs for adventure, but she ultimately understands something Peter does not: childhood is wonderful precisely because it is temporary. Her combination of innocence, intelligence, compassion, and quiet determination makes her one of the most enduring heroines of Disney's early feature animation.

#PeterPan  #TickTock #JimmyMacDonald #FrankChurchill #JohnLounsbery #JackLawrence #Disney #WaltDisney #CaptainHook #MrSmee #Smee #untitledartgallery #animation #cel #animationcel #animationart #animationdrawing #productiondrawing #productioncel #WolfgangReitherman #JMBarrie #Tinkerbell #hansconried #frankthomas #WendyDarling #pirate #Neverland #MarcDavis

Original Production Animation Drawing of Mickey Mouse from "The Sorcerer's Apprentice" sequence of "Fantasia," 1940

 

Original production animation drawing of Mickey Mouse in red and graphite pencils; Numbered D25 lower right, and used during the production of "The Sorcerer's Apprentice" sequence of "Fantasia," 1940, Walt Disney Studios; Disney Archive stamp lower left; Size - Mickey Mouse: 6 x 4", Sheet 10 x 12"; Unframed.

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

This charming production drawing presents Mickey Mouse in his most celebrated role: the Sorcerer’s Apprentice from Walt Disney’s Fantasia (1940). Shown seated with his legs extended and his hands resting near his knees, Mickey wears the apprentice’s flowing robe, oversized brown shoes, and the unmistakable magical hat. The relaxed, almost contemplative pose contrasts nicely with the chaos that surrounds him in the film, capturing Mickey during a moment of quiet confidence before his attempt at magic turns disastrously out of control. The drawing also emphasizes the appealing proportions of the 1940 Mickey—large expressive eyes, a pear-shaped body, shortened nose, and more sophisticated anatomy than the earlier “pie-eyed” version.

Mickey Mouse as the Sorcerer’s Apprentice is considered by many to be his greatest role. Fantasia was the third full-length animated feature produced by Walt Disney and was released by Walt Disney Productions on November 13, 1940. Story direction was handled by Joe Grant and Dick Huemer, with production supervision by Ben Sharpsteen. The film consisted of eight animated segments, each set to classical music conducted by Leopold Stokowski. Seven selections were performed by the Philadelphia Orchestra, while The Sorcerer’s Apprentice utilized an ad hoc studio orchestra. Each segment was introduced by music critic and composer Deems Taylor, who served as the film’s Master of Ceremonies.

The idea for The Sorcerer’s Apprentice originally developed as a Silly Symphony intended to give Mickey Mouse a major comeback. By the late 1930s, Mickey’s popularity had begun to decline, and Walt Disney wanted to place him in a more sophisticated and visually spectacular story. As production costs grew beyond what the short could reasonably earn on its own, Disney made the decision to incorporate it into a feature-length presentation built around classical music. The result was Fantasia, with Mickey’s performance as the apprentice becoming the centerpiece most closely associated with the film.

The sequence itself is based upon Johann Wolfgang von Goethe’s 1797 poem The Sorcerer’s Apprentice. In Disney’s version, the sorcerer is Yen Sid—“Disney” spelled backward—who leaves his apprentice to perform his chores. After Yen Sid departs, Mickey puts on the sorcerer’s enchanted hat and uses magic to bring a broom to life. He commands the broom to carry buckets of water to fill a cauldron, and, pleased with his accomplishment, settles into a chair and falls asleep. His dream becomes an extravagant vision of magical power, with Mickey imagining himself commanding the stars, planets, and waters from a mountain pinnacle. He is abruptly awakened when water splashes him, only to discover that the room is rapidly filling with water and the enchanted broom refuses to stop.

One of the most memorable moments follows at approximately the 6:20 mark of the sequence. Realizing the extent of the disaster, Mickey grabs an ax and, in dramatic fashion, chops the broom apart. Believing the problem has finally been solved, he leaves the room and shuts the door behind him, leaning against it in relief. The relief is short-lived, of course, as the pieces of the broom begin multiplying and carrying even more buckets of water. Mickey’s increasingly desperate attempts to regain control provide much of the comedy and drama of the sequence, culminating in the return of the stern Yen Sid.

The drawing is particularly interesting because it reflects the Mickey Mouse redesign associated with animator Fred Moore. In 1935, Moore gave Mickey his first major makeover. Earlier versions had relied heavily on simple circular forms, which could restrict the character’s movement and expression. Moore introduced a pear-shaped body, pupils, white gloves, and a shorter nose, producing a softer and more appealing character. Moore animated Mickey in the 1938 short The Brave Little Tailor, which was essentially the final major appearance of the earlier “pie-eyed” Mickey. By Fantasia in 1940, that earlier design had disappeared, and Moore’s transformed Mickey had become the foundation for the character’s enduring appearance.

The pose and costume in this drawing make it especially evocative of the Fantasia Mickey. His enormous shoes, flowing robe, magical hat, and expressive eyes immediately identify him as the young apprentice who has discovered that magic is considerably easier to start than to stop. Although Mickey never speaks a word during The Sorcerer’s Apprentice, his personality is communicated entirely through movement, expression, and acting. That makes drawings such as this particularly valuable for appreciating the artistry behind the character: a simple change in the position of Mickey’s eyes, hands, or body can communicate curiosity, confidence, worry, exhaustion, or relief.

The production of Fantasia itself was an extraordinary undertaking. More than 1,000 artists and technicians worked on the film, producing more than 500 animated characters. The film also pioneered new approaches to sound. Its multichannel soundtrack was reproduced using Fantasound, an innovative sound-reproduction system that made Fantasia the first commercial motion picture presented with stereophonic sound. Originally released as a theatrical roadshow in thirteen U.S. cities, the film was critically acclaimed but initially failed to turn a profit. World War II disrupted European distribution, while the enormous production costs and the expense of leasing theaters and installing Fantasound equipment further complicated its financial performance.

Over the decades, Fantasia was repeatedly reissued, with portions of its original footage and soundtrack altered, deleted, or restored in different releases. Its reputation, however, continued to grow. In 1990, the Library of Congress selected Fantasia for preservation in the National Film Registry as being “culturally, historically, or aesthetically significant.” The American Film Institute subsequently placed it among its selections of the greatest American films and ranked it fifth on its 10 Top 10 list of animated films. The enduring popularity of Mickey’s role was demonstrated again when The Sorcerer’s Apprentice was the only segment from the original 1940 film included in Fantasia 2000, which was co-produced by Roy E. Disney and released in 1999.

Original production drawings of Mickey from Fantasia are extremely rare and highly collected, making a full-figure image such as this particularly appealing. Rather than simply showing Mickey’s head or a close-up expression, this drawing captures the complete character design, from the pointed Sorcerer’s hat down to his oversized shoes. It conveys the elegant simplicity of Fred Moore’s Mickey while also preserving the personality that made the character so successful in The Sorcerer’s Apprentice. More than eighty years after the film’s release, the image remains instantly recognizable: Mickey sitting in his magical robes, seemingly enjoying a moment of peace before the consequences of his apprentice-level spellcasting once again catch up with him. A large, centered, and action packed production drawing of Mickey Mouse accomplished in red and graphite pencils would make a great addition to any vintage Walt Disney animation art collection!

#Mushroom #HopLow #Mushrooms #CourvoisierGallery #Fantasia #ArtBabbitt

#Nutcracker #Disney #WaltDisney #cel #animation #animationart #untitledartgallery  

#FredMoore #art #artwork #animationcel #Courvoisier  #animationdrawing #productiondrawing #productioncel #MickeyMouse #FantasiaMickey #NutcrackerSuite #TheSorcerersApprentice #TheNutcrackerSuite

Original Production Animation Cel of Bambi from "Bambi," 1942

 

Original hand painted and hand inked production animation cel of Bambi set on a lithographic background from "Bambi," 1942, Walt Disney Studios; Numbered 235G in ink lower right; Size - Bambi: 4 x 4 3/4", Image 10 3/4 x 14 3/4"; Unframed.

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

This charming original production cel from Walt Disney’s Bambi captures the young fawn in one of the film’s beautifully observed moments of movement. His wide, expressive eyes and open mouth give him an unmistakably youthful personality, while the delicate markings across his back and the soft modeling of his body emphasize the naturalistic approach that distinguished Bambi from earlier Disney features. Behind him, a beautifully rendered winter landscape of snow-covered ground, bare branches, and layered blue tones creates an atmosphere that is both peaceful and expansive. The printed background is particularly effective with this cel, with subtle variations of blue giving the snow remarkable depth.

Released by RKO Radio Pictures on August 13, 1942, Bambi is a full-length animated film produced by Walt Disney Studios and based on Bambi, A Life in the Woods by Austrian author Felix Salten. The story follows Bambi, a white-tailed deer, from his earliest days as a fawn through his growth into a young adult. Along the way he forms enduring friendships with Thumper, the pink-nosed rabbit; Flower, the shy skunk; and Faline, his childhood friend who eventually becomes his mate. His parents are the Great Prince of the Forest and his unnamed mother. The film's emotional power comes from watching Bambi experience the wonder of the natural world while gradually encountering the joys, dangers, friendships, and losses that accompany growing up.

Walt Disney was determined that the animals in Bambi should appear considerably more realistic and expressive than those in Snow White and the Seven Dwarfs. To accomplish this, wildlife painter Rico LeBrun was brought into the Disney Studios to lecture the animators on animal anatomy, structure, and movement. Disney artists also visited the Los Angeles Zoo to observe animals firsthand. Walt went even further, establishing a small zoo at the Disney studio that included rabbits, ducks, owls, skunks, and two fawns appropriately named Bambi and Faline. These living models allowed the artists to study the subtle movements and behavior of animals directly rather than relying solely on drawings or photographs.

The final design of Bambi was created by Marc Davis, who combined LeBrun's careful study of deer anatomy with an important artistic exaggeration: Bambi's face was given baby-like proportions, including a short muzzle and exceptionally large, expressive eyes. That combination of anatomical realism and heightened Disney appeal is immediately apparent in this cel. His body moves like a real fawn, yet his face communicates an almost human sense of curiosity and innocence. The result is a character who feels convincingly like a young deer while simultaneously possessing the emotional expressiveness necessary to carry the story.

The animation of Bambi was accomplished by an extraordinary group of Disney artists, including Frank Thomas, Milt Kahl, Eric Larson, Ollie Johnston, and Preston Blair. Bambi's voice was likewise divided among four actors to correspond with his changing age: Bobby Stewart as the baby Bambi, Donnie Dunagan as the young Bambi, Hardie Albright as the adolescent, and John Sutherland as the young adult. Donnie Dunagan also served as the performance model for the character, with the animators incorporating his facial expressions into Bambi's design. That approach helped give the young deer an unusually expressive face, and the result can be seen clearly in the animated poses and gestures throughout the film.

One of the great achievements of Bambi is the way its characters are integrated into their natural environment. Disney's animators did not treat the forest merely as a backdrop; the environment becomes an essential part of Bambi's story. Water, snow, wind, falling leaves, fire, and changing seasons all contribute to the film's emotional atmosphere. The special effects—particularly the water—and the lush, hand-painted backgrounds create a remarkably immersive world. This cel demonstrates that achievement beautifully: Bambi's small figure stands out against an expansive field of blue snow, while the winter trees above him establish a sense of scale and place.

The film was recognized with three Academy Award nominations: Best Sound for Sam Slyfield, Best Song for “Love Is a Song,” sung by Donald Novis, and Best Original Music Score. Decades later, its reputation continued to grow. In June 2008, the American Film Institute included Bambi at number three in its animation category of its 10 Top 10, which selected ten notable films in each of ten classic American film genres. In December 2011, Bambi was added to the National Film Registry of the Library of Congress, recognizing the film's enduring cultural, historical, and artistic significance.

Bambi was Walt Disney's favorite film among those he made, a fitting choice given his lifelong interest in nature and natural-history films. What makes the film so enduring is the remarkable balance between beauty and emotion. The viewer experiences the innocent happiness of Bambi's childhood, the excitement of discovering the forest, the warmth of friendship, and eventually the sadness and dangers that accompany maturity. This cel captures one of the lighter, more innocent sides of that journey: a young Bambi racing joyfully through his environment, still at the beginning of the remarkable journey from fawn to deer. Its combination of expressive character animation, sophisticated naturalistic movement, and exquisite use of backgrounds makes it a wonderful representation of the artistry that went into creating one of Disney's most beloved films.

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