Original Production Animation Cel of Peter, Egon, Ray, Winston, and Slimer from "The Real Ghostbusters," 1986-1991

 

Original hand painted production animation cel of Peter, Egon, Ray, Winston, and Slimer from "The Real Ghostbusters," 1986-91, DIC Entertainment; Set over a lithographic background; Columbia Pictures seal upper right; Production number in ink upper right; Size - Peter, Egon, Ray, Winston, & Slimer: 6 x 6 1/4", Image 8 1/4 x 10 1/4"; Unframed. 

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

“Who ya gonna call?” This striking cel from The Real Ghostbusters brings together the complete ghostbusting team—Dr. Peter Venkman, Dr. Egon Spengler, Dr. Ray Stantz, and Winston Zeddemore—alongside their mischievous green companion, Slimer. Peter commands the center of the composition in his brown jumpsuit, while the bespectacled Egon, dressed in blue with pink trim, raises one hand in an expressive gesture. Ray stands at the left in his pale uniform, with Winston partially visible behind him and Slimer hovering close by. Their proton packs, colorful uniforms, and distinctive silhouettes stand out against the dark, rocky setting, capturing the series’ appealing blend of supernatural mystery, adventure, and comedy.

Premiering on September 13, 1986, The Real Ghostbusters continued the adventures introduced in the blockbuster 1984 film Ghostbusters. The series followed the paranormal investigators as they confronted ghosts, demons, ancient entities, and other extraordinary threats, expanding the film’s world far beyond the streets of New York City. Slimer, originally an unruly apparition encountered by the team, became an affectionate, perpetually hungry companion whose antics provided a playful counterpoint to the more frightening adventures. The familiar theme-song refrain, “I ain’t afraid of no ghost,” perfectly expressed the show’s combination of spooky atmosphere and irreverent confidence.

The characters’ personalities were brought to life by an exceptional ensemble of voice actors. Lorenzo Music originally supplied Peter Venkman’s dry, laid-back delivery, with Dave Coulier later taking over the role. Maurice LaMarche voiced Egon Spengler, giving the team’s scientific authority a measured, intellectual manner. Frank Welker performed both the enthusiastic Ray Stantz and Slimer, an especially entertaining demonstration of his extraordinary vocal range. Winston Zeddemore was initially voiced by Arsenio Hall and subsequently by Buster Jones. Together, these performers established animated interpretations that retained the spirit of the film’s characters while developing identities of their own.

The Real Ghostbusters (1986–1991) was produced by DIC Enterprises in association with Columbia Pictures Television. Japanese studios, including TMS Entertainment and KK C&D Asia, contributed to the series’ overseas animation production. Its animation and directing talent included Richard Raynis, Will Meugniot, Masakazu Higuchi, and Kazuo Terada. Their work, together with that of the production’s many designers, storyboard artists, and animators, translated elaborate supernatural concepts into expressive television animation. The contrasting uniforms and exaggerated character features visible in this cel made each Ghostbuster immediately recognizable, even within a tightly grouped ensemble composition.

The show’s success extended across Saturday-morning television and weekday syndication, ultimately encompassing seven seasons and 140 main-series episodes. Its popularity helped support an extensive Kenner toy line, comic books, and a lasting international following, while Slimer’s growing prominence led to the expanded Slimer! and the Real Ghostbusters format. The production also earned Daytime Emmy recognition, including a nomination for Outstanding Animated Program in 1991. With all four Ghostbusters and Slimer represented, this cel offers an especially engaging ensemble image from a series that helped define the franchise for a generation of viewers.

#TheRealGhostbusters #Ghostbusters #PeterVenkman #EgonSpengler #RayStantz #WinstonZeddemore #Slimer #AnimationArt #AnimationCel #ProductionCel #OriginalAnimationArt #CelAnimation #HandPaintedCel #AnimationCollectors #AnimationHistory #DICEntertainment #ColumbiaPictures #VintageAnimation #ClassicCartoons #80sCartoons #SaturdayMorningCartoons #GhostbustersCollectibles #ProtonPack #WhoYaGonnaCall #untitledartgallery

Original Production Animation Drawing of Cinderella from "Cinderella," 1950

 

Original production animation drawing of Cinderella in red and graphite pencils from "Cinderella," 1950, Walt Disney Studios; Numbered 147 lower right; Size - Cinderella 4 1/2 x 2 3/4", Sheet 12 1/2 x 15 1/2"; Unframed. 

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

"What's a royal ball? After all, I suppose it would be frightfully dull and... and boring, and completely... completely wonderful." — Cinderella

This exceptional original production animation drawing of Cinderella captures a wonderfully expressive moment from Walt Disney's beloved animated classic "Cinderella" (1950). Having learned of the upcoming Royal Ball, Cinderella attempts to convince herself that attending such a grand occasion would be terribly dull and uninteresting. However, her true feelings quickly betray her as she dreams of wearing a beautiful gown, dancing in a magnificent ballroom, and perhaps meeting someone who might change her life forever. As she wistfully remarks, "What's a royal ball? After all, I suppose it would be frightfully dull and... and boring, and completely... completely wonderful." This charming sequence beautifully illustrates Cinderella's innocence, romantic optimism, and enduring hope that someday she might escape the cruelty of her stepmother and stepsisters and discover a life filled with happiness and love.

"Cinderella" was the twelfth animated feature film produced by Walt Disney Productions and was theatrically released on March 4, 1950. Based on the classic French fairy tale "Cendrillon," written by Charles Perrault and published in 1697, the film follows a kindhearted young woman forced into servitude by her wicked stepmother, Lady Tremaine, and jealous stepsisters, Anastasia and Drizella. Despite her miserable circumstances, Cinderella maintains her gentle spirit and unwavering belief that her dreams might someday come true. With the magical assistance of her Fairy Godmother, a pumpkin transformed into a magnificent carriage, and a pair of delicate glass slippers, Cinderella attends the Royal Ball, where she captures the heart of Prince Charming. The film was an enormous critical and commercial success, helping revitalize Walt Disney's animation studio following the financial difficulties of the 1940s. More than 75 years after its release, "Cinderella" remains one of Disney's most celebrated animated classics, inspiring numerous sequels, adaptations, and reinterpretations.

"Cinderella" was the second great princess-centered animated feature produced by Walt Disney, following the groundbreaking "Snow White and the Seven Dwarfs" (1937). While Snow White was born into royalty, Cinderella's story centers on a young woman whose circumstances have reduced her to the position of a servant within her own household. Her transformation from an overlooked young woman into a princess through marriage became one of the most recognizable fairy-tale narratives in popular culture. Cinderella remains among the most iconic characters in the Disney Princess franchise, with her elegant blue ball gown, sparkling glass slippers, and magical transformation becoming enduring symbols of romance, hope, and the belief that dreams can come true.

The character of Cinderella was animated primarily by two of Walt Disney's legendary "Nine Old Men," Marc Davis (1913–2000) and Eric Larson (1905–1988). Interestingly, the two animators approached the character from somewhat different artistic perspectives. Davis emphasized Cinderella's elegance, sophistication, and graceful feminine beauty, while Larson favored a simpler, warmer, and more naturalistic interpretation. Rather than creating an inconsistent character, these contrasting approaches contributed to Cinderella's remarkable emotional depth. She could be poised and beautiful while simultaneously appearing vulnerable, playful, frustrated, or quietly hopeful. This combination made Cinderella a more psychologically complex heroine than her predecessor, Snow White, and helped establish her as one of Disney's most enduring animated personalities.

The challenge of animating Cinderella was considerable, as the character needed to possess believable human anatomy, realistic movement, and subtle emotional expressions while retaining the charm and visual appeal of traditional Disney animation. To assist the animators, Walt Disney Studios employed actress Helene Stanley (1929–1990) as Cinderella's live-action reference model. Stanley performed the character's movements, gestures, and expressions on a soundstage, allowing the animators to study her physical performance before translating it into animation. Her graceful movements and naturalistic acting helped establish Cinderella's elegant screen presence. Stanley would subsequently return to Disney as a live-action reference model for Princess Aurora in "Sleeping Beauty" (1959) and Anita Radcliffe in "One Hundred and One Dalmatians" (1961).

Walt Disney placed considerable importance on the use of live-action reference during the production of "Cinderella." According to Disney historian Christopher Finch in his book "The Art of Walt Disney," Walt insisted that scenes involving human characters first be performed and filmed in live action to ensure that their movements and dramatic staging were convincing before the costly animation process began. Although some animators initially resisted this approach, believing it restricted their creative freedom, they eventually recognized its practical advantages. The filmed performances provided a foundation for realistic anatomy, natural movement, and believable character acting, while still allowing the animators to exaggerate and refine the performances through their individual artistic interpretations.

The voice of Cinderella was provided by Ilene Woods (1929–2010), whose beautiful singing voice and gentle speaking manner became inseparable from the character. Approximately 400 women and girls were reportedly considered for the role, yet Woods received the opportunity through an extraordinary series of circumstances. At the time, she was a successful radio performer who had no knowledge that Disney was searching for the voice of Cinderella. Songwriters Mack David and Jerry Livingston, who were working on the film's music, asked Woods to record several songs from the production. Without her knowledge, they submitted the recordings to Walt Disney Studios. Upon hearing her performance, Walt Disney was immediately impressed and decided that Woods possessed precisely the voice he had envisioned for Cinderella. She was subsequently contacted and offered the role that would become the defining achievement of her career.

Woods brought an extraordinary combination of warmth, innocence, vulnerability, and optimism to Cinderella. Her speaking voice perfectly conveyed the character's gentle personality, while her singing performances gave emotional depth to some of the film's most memorable musical sequences. Among these were "A Dream Is a Wish Your Heart Makes," "Sing Sweet Nightingale," and the beloved duet "So This Is Love." Her performance was especially important in scenes where Cinderella's emotions were communicated through subtle changes in tone, allowing the animators to develop equally expressive facial gestures and body language.

The moment represented in this original animation drawing is particularly appealing because it reveals Cinderella's personality before the magical events that ultimately transform her life. When she first considers the possibility of attending the Royal Ball, she attempts to dismiss the occasion as something that would surely be dull and uninteresting. Yet as she continues speaking, her imagination takes over, and she can no longer conceal her excitement. The delightful progression from "frightfully dull" and "boring" to "completely... completely wonderful" reveals the romantic dreamer beneath Cinderella's modest and practical exterior. It is a beautifully observed moment of character acting, demonstrating how a seemingly simple line of dialogue can communicate an entire range of emotions.

The scene also emphasizes one of the central themes of "Cinderella": the importance of maintaining hope even under seemingly impossible circumstances. Although Cinderella is surrounded by cruelty and denied the opportunities enjoyed by her stepsisters, she refuses to abandon her dreams. Her longing to attend the Royal Ball represents far more than a desire to wear a beautiful dress or enjoy an evening of dancing. It symbolizes her wish to experience happiness, freedom, and affection beyond the confines of her unhappy household. Her quiet optimism ultimately becomes the emotional foundation of the film, making her eventual transformation and romantic triumph all the more satisfying.

From an artistic perspective, the animation of Cinderella required an exceptional understanding of subtle facial expressions, natural gestures, and believable human movement. Unlike the exaggerated comic performances of characters such as Jaq, Gus, and Lucifer, Cinderella's emotions were often communicated through delicate changes in posture, the positioning of her hands, and the movement of her eyes and mouth. Her elegance had to appear effortless, while her expressions needed to remain warm and approachable. The artistry of Marc Davis and Eric Larson was essential in achieving this delicate balance, creating a heroine who was both idealized and convincingly human.

The extraordinary success of "Cinderella" represented a major turning point in Walt Disney's animation history. Following the financial challenges experienced by the studio during and after World War II, Disney needed another major animated success to secure the future of feature animation. "Cinderella" accomplished precisely that, generating substantial box-office revenue and renewing public enthusiasm for the studio's fairy-tale storytelling. Its success helped finance future productions and contributed to the remarkable creative achievements of Disney animation throughout the 1950s, including "Alice in Wonderland" (1951), "Peter Pan" (1953), "Lady and the Tramp" (1955), and "Sleeping Beauty" (1959).

This wonderful original production animation drawing captures Cinderella at one of her most charming and emotionally expressive moments. Before the appearance of her Fairy Godmother, before the magical transformation of her dress, and before her unforgettable dance with Prince Charming, Cinderella is simply a young woman allowing herself to imagine that something wonderful might happen. The drawing represents the exceptional artistry and character animation that made Walt Disney's "Cinderella" an enduring masterpiece. A beautiful connection to one of the most beloved animated heroines in motion-picture history, this remarkable piece would be an outstanding addition to any collection of vintage Walt Disney animation artwork.

#Cinderella #WaltDisney #Disney #productiondrawing #cel #animation #animationdrawing #EricLarson #MarcDavis #IleneWoods #LesClark #Jaq #Gus #Lucifer #Stepmother #LadyTremaine #animationart #untitledartgallery #animationcel #ChristopherFinch #CharlesPerrault #Anastasia #Drizella #originalbackground #productionbackground #royalball #ballgown

Original Production Animation Drawing of Five Indians from "Peter Pan," 1953

 

Original production animation drawing of Five Indians in graphite pencil from "Peter Pan," 1953, Walt Disney Studios; Numbered 45 and Animation Ladder in pencil lower right; Size - Five Indians: 5 x 15 1/2", Sheet 12 1/2 x 15 1/2"; Unframed.

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

"Why does he ask you, 'How'?" This wonderful original production animation drawing captures five members of the Neverland Indian Tribe during one of the most memorable musical sequences from Walt Disney's Peter Pan (1953). Seen at approximately the 50:35 timestamp, the drawing depicts the tribesmen enthusiastically singing "What Made the Red Man Red?" as they celebrate a newfound friendship with Peter Pan, the Darling children, and the Lost Boys. Having finally settled their playful rivalry, the two groups gather for a festive celebration filled with singing, dancing, and the ceremonial smoking of the peace pipe. When young Michael Darling becomes curious about the tribe's traditional greeting, asking, "Why does he ask you, 'How'?" the tribesmen respond with a lively musical explanation of their customs, transforming the gathering into one of the film's most exuberant and comical sequences.

This exceptional animation drawing beautifully showcases the distinctive character animation and exaggerated expressions that made Disney's Peter Pan such a visually entertaining film. The five tribesmen are arranged in a lively horizontal composition, each displaying an animated expression with wide-open mouths, dramatically extended noses, and expressive gestures as they sing together. Their synchronized movements and wonderfully exaggerated facial features convey the infectious enthusiasm of the musical number, while their differing postures and individual expressions create a delightful sense of rhythm and personality. Particularly appealing is the variety of character designs, from the taller, angular figures with prominent feathered headdresses to the shorter, rounder tribesman positioned near the center. The energetic graphite pencil strokes, loose construction lines, and overlapping character poses provide a fascinating glimpse into the creative process of traditional hand-drawn Disney animation.

The drawing is rendered entirely in graphite pencil on a full 16-field animation sheet with three registration holes along the bottom edge. The five characters measure approximately 15.5" x 5.5" combined, creating an unusually expansive composition that stretches across nearly the entire width of the animation paper. Production notations appear along the lower right margin, including the prominent number "45" and a series of smaller timing marks that reflect the careful planning necessary to coordinate the characters' movements with the accompanying musical soundtrack. The presence of all five tribesmen on a single animation drawing makes this a particularly engaging example of ensemble character animation, capturing the coordinated expressions and comedic timing that were essential to the success of the sequence.

Peter Pan was the fourteenth animated feature film produced by Walt Disney Productions and was released theatrically on February 5, 1953. Based on the beloved stage play Peter Pan; or, the Boy Who Wouldn't Grow Up by Scottish novelist and playwright Sir James Matthew Barrie (1860–1937), the film follows the adventures of Wendy, John, and Michael Darling, three London siblings who are whisked away to the magical island of Neverland by the mischievous Peter Pan and his fairy companion, Tinker Bell. There, they encounter a fantastical world inhabited by mermaids, pirates, the Lost Boys, and the island's Indigenous inhabitants, all while confronting the villainous Captain Hook and his bumbling first mate, Mr. Smee. Featuring memorable songs such as "You Can Fly! You Can Fly! You Can Fly!," "The Second Star to the Right," and "Following the Leader," the film became one of Disney's most enduring animated classics.

The Neverland Indian Tribe plays an important role in the film's depiction of the imaginary island and its colorful inhabitants. Initially presented as rivals of Peter Pan and the Lost Boys, the tribe regularly participates in a playful game of capture and release, with each side attempting to outwit the other. However, their friendly rivalry takes a more serious turn when Captain Hook kidnaps Tiger Lily, the daughter of the tribal chief, in an attempt to discover Peter Pan's secret hiding place. Peter courageously rescues Tiger Lily from the clutches of Hook, earning the gratitude of her father and bringing an end to the mock-feud between the tribe and the Lost Boys. To celebrate, the chief invites Peter and his companions to a ceremonial gathering, where the visitors are welcomed into the tribe's festivities.

During the celebration, the chief and his tribesmen launch into the spirited musical number "What Made the Red Man Red?," answering the Darling children's questions through an increasingly fanciful explanation of their appearance and traditions. The sequence is filled with energetic singing, exaggerated expressions, and broad physical comedy, all characteristic of Disney's animation style during the early 1950s. The song's playful treatment of the tribe's customs reflects the cultural attitudes and theatrical conventions of its era, although its stereotypical portrayal of Indigenous peoples is now widely recognized as insensitive and historically inaccurate. Nevertheless, the sequence remains a notable example of the studio's musical character animation, particularly for its ambitious coordination of multiple figures, elaborate facial expressions, and carefully synchronized movements.

The animation of the Neverland Indians was supervised by the legendary Ward Kimball (1914–2002), one of Walt Disney's celebrated "Nine Old Men" and a recipient of the prestigious Disney Legends Award. Renowned for his unconventional artistic style, inventive character designs, and extraordinary talent for exaggerated comedy, Kimball was responsible for animating some of Disney's most unforgettable personalities. His remarkable career included work on Jiminy Cricket in Pinocchio (1940), the delightfully eccentric Mad Hatter and March Hare in Alice in Wonderland (1951), and the mischievous Lucifer in Cinderella (1950). Kimball possessed a particular gift for transforming ordinary character movements into expressive visual comedy, often pushing facial expressions, gestures, and physical proportions to their most entertaining extremes.

Kimball's distinctive influence is especially evident in the design and animation of the Neverland tribesmen. Their dramatically elongated noses, angular profiles, expressive mouths, and exaggerated body movements exemplify his preference for bold caricature and dynamic staging. Rather than relying on subtle naturalism, Kimball emphasized strong silhouettes, rhythmic movements, and visually amusing character interactions. In this drawing, the five singing figures appear almost as a single animated chorus, their open mouths and enthusiastic expressions capturing the precise energy of the musical performance. The loose yet confident graphite linework reveals the underlying construction of the characters while preserving the spontaneity and vitality essential to successful animation.

This remarkable original production animation drawing offers an exceptional glimpse into the artistry behind one of Walt Disney's most beloved animated adventures. Featuring five individually expressive characters in a single expansive composition, the artwork beautifully demonstrates the technical skill, imaginative draftsmanship, and comedic sensibilities associated with Ward Kimball's animation. Its identifiable appearance in the finished film, visible production markings, and connection to the memorable musical celebration make it a fascinating piece of Disney animation history. More than seventy years after the theatrical release of Peter Pan, this wonderful drawing preserves a moment of the film's energetic musical storytelling and the extraordinary craftsmanship that helped bring the magical world of Neverland to life.

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

Original Production Animation Drawing of Alice from "Alice In Wonderland," 1951

Original production animation drawing of Alice in graphite, red, and brown pencils from "Alice In Wonderland," 1951, Walt Disney Studios; Animation Ladder lower center right; Numbered 36 lower right; Size - Alice: 5 x 6 1/2", Sheet 12 1/2 x 15 1/2"; Unframed.

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

“I mean my C-A-T.” “Tea?” In one of the delightfully absurd exchanges from Walt Disney's Alice in Wonderland (1951), Alice attempts to discreetly whisper into the Mad Hatter's ear during his famously chaotic tea party. This charming original production animation drawing captures Alice at approximately the 46:47 timestamp, as she carefully tries to avoid upsetting the easily frightened Dormouse by spelling out the word “cat” rather than saying it aloud. Having already witnessed the Dormouse's alarming reaction to the mention of her pet cat, Dinah, Alice thoughtfully attempts to continue her story without causing another disturbance. Unfortunately, her innocent efforts are once again derailed by the Mad Hatter's nonsensical interpretation, transforming an ordinary conversation into yet another example of Wonderland's delightful madness.

This wonderful drawing beautifully captures Alice's gentle, considerate nature, providing a charming contrast to the eccentric personalities surrounding her. Leaning forward with one hand raised to her mouth, Alice adopts a wonderfully conspiratorial expression as she whispers her secret to the Mad Hatter. Her mischievous sideways glance, delicately arched eyebrows, and subtle smile convey both her youthful innocence and her growing awareness of Wonderland's peculiar inhabitants. The drawing is particularly appealing for its expressive facial animation, with Alice's beautifully rendered features executed in graphite pencil while delicate red-colored pencil construction lines define her arms, dress, and flowing skirt. The combination of finished character details and loosely developed body contours provides a fascinating glimpse into the traditional Disney animation process.

The original production drawing measures approximately 6" x 5" on a full 16-field animation sheet with three registration holes along the bottom edge. The artwork is identified as key drawing number 36, indicated by the circled number in the lower right corner, while additional production annotations appear along the right margin. A small penciled notation resembling “267” appears near Alice's collar, along with other animator's markings that offer insight into the drawing's role within the animated sequence. These production details, together with the expressive draftsmanship and delicate colored-pencil construction lines, make this a particularly desirable example of original Disney animation artwork.

Alice in Wonderland was Walt Disney Productions' thirteenth animated feature film, released theatrically on July 26, 1951. The film was inspired by Alice's Adventures in Wonderland, the celebrated 1865 novel written by English author Charles Lutwidge Dodgson under the pseudonym Lewis Carroll, as well as its 1871 sequel, Through the Looking-Glass. Disney adapted Carroll's imaginative literary world into a colorful, approximately 75-minute animated feature, carefully selecting and reworking characters, encounters, and dialogue to create a story accessible to younger audiences while preserving the whimsical absurdity of the original material. Among the film's most memorable sequences is the Mad Tea Party, featuring the Mad Hatter, March Hare, and Dormouse, whose illogical conversations and increasingly outrageous behavior perfectly embody the peculiar rules of Wonderland.

The voice of Alice was provided by Kathryn Beaumont, the talented young British actress who was only ten years old when Walt Disney selected her for the role. Born in London, England, Beaumont attracted Disney's attention following her appearance in the 1948 musical film On an Island with You. Impressed by her natural charm, expressive voice, and youthful appearance, Disney selected her not only to voice Alice but also to serve as the character's live-action reference model, allowing the animators to study her movements, gestures, and facial expressions. Beaumont subsequently provided the voice and live-action reference for Wendy Darling in Disney's Peter Pan (1953), becoming closely associated with two of the studio's most beloved young heroines. She later reprised her role as Alice in Disney's House of Mouse and voiced both Alice and Wendy in the Kingdom Hearts video game franchise. Beaumont continued providing the characters' voices until 2005, when Hynden Walch succeeded her in those roles.

Alice's distinctive visual appearance was developed through the contributions of several exceptionally talented Disney artists. Mary Blair, whose imaginative use of color and stylized compositions profoundly influenced the film's artistic direction, created memorable conceptual artwork that helped establish Wonderland's extraordinary visual identity. Legendary animator Les Clark also contributed to the development of Alice, while Ollie Johnston, Don Lusk, and Marc Davis were among the accomplished animators responsible for bringing the character to life. Their combined efforts created a heroine whose naturalistic movements, believable expressions, and youthful personality provided an essential emotional anchor amid the film's wildly exaggerated supporting cast.

The animation of Alice in this particular tea party sequence has been attributed to veteran Disney animator Don Lusk, whose remarkable career spanned some of the studio's most important productions. Lusk joined Walt Disney Studios in the 1930s, contributing to Donald Duck shorts and the groundbreaking animated feature Snow White and the Seven Dwarfs (1937). His subsequent work included animation of Cleo and Figaro in Pinocchio (1940), the Arabian Dance sequence in Fantasia (1940), and the majestic Great Stag in Bambi (1942). He continued working on Disney animated features through One Hundred and One Dalmatians (1961), developing a reputation for expressive character animation and exceptional draftsmanship. Lusk passed away in 2018 at the remarkable age of 105, leaving behind an extraordinary artistic legacy. While this drawing is consistent with the production work associated with his Alice animation, definitive attribution of the individual sheet to Lusk would require additional production documentation.

This delightful original animation drawing represents a particularly appealing moment from one of Disney's most imaginative animated classics. Rather than depicting Alice in a dramatic or action-filled scene, the artwork captures a subtle expression of her personality: a thoughtful young girl attempting to exercise a little courtesy in a world where courtesy and common sense rarely prevail. Her playful expression, beautifully articulated features, and intimate whispering gesture perfectly illustrate the character animation that made Disney's Alice so endearing. As an original production drawing from the unforgettable Mad Tea Party sequence, it offers a wonderful connection to the artistry, humor, and enduring charm of Walt Disney's Alice in Wonderland.

#Alice #madhatter #aliceinwonderland #marchhare #KathrynBeaumont #HyndenWalch #OllieJohnston #MarcDavis #wardkimball #teaparty #unbirthday #disney #WaltDisney #LesClark #MaryBlair #untitledartgallery #animation #productioncel #animationart #lewiscarroll #edwynn #jerrycolonna #cel #animationcel #artcollecting #whiterabbit #wonderland #CheshireCat #JimmyMacDonald

Original Production Animation Drawing of Cinderella from "Cinderella," 1950

 

Original production animation drawing of Cinderella in red and graphite pencils from "Cinderella," 1950, Walt Disney Studios; Numbered 13 lower right; Size - Cinderella 4 x 3", Sheet 12 1/2 x 15 1/2"; Unframed. 

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

"What's a royal ball? After all, I suppose it would be frightfully dull and... and boring, and completely... completely wonderful." — Cinderella

This exceptional original production animation drawing of Cinderella captures a wonderfully expressive moment from Walt Disney's beloved animated classic "Cinderella" (1950). Having learned of the upcoming Royal Ball, Cinderella attempts to convince herself that attending such a grand occasion would be terribly dull and uninteresting. However, her true feelings quickly betray her as she dreams of wearing a beautiful gown, dancing in a magnificent ballroom, and perhaps meeting someone who might change her life forever. As she wistfully remarks, "What's a royal ball? After all, I suppose it would be frightfully dull and... and boring, and completely... completely wonderful." This charming sequence beautifully illustrates Cinderella's innocence, romantic optimism, and enduring hope that someday she might escape the cruelty of her stepmother and stepsisters and discover a life filled with happiness and love.

"Cinderella" was the twelfth animated feature film produced by Walt Disney Productions and was theatrically released on March 4, 1950. Based on the classic French fairy tale "Cendrillon," written by Charles Perrault and published in 1697, the film follows a kindhearted young woman forced into servitude by her wicked stepmother, Lady Tremaine, and jealous stepsisters, Anastasia and Drizella. Despite her miserable circumstances, Cinderella maintains her gentle spirit and unwavering belief that her dreams might someday come true. With the magical assistance of her Fairy Godmother, a pumpkin transformed into a magnificent carriage, and a pair of delicate glass slippers, Cinderella attends the Royal Ball, where she captures the heart of Prince Charming. The film was an enormous critical and commercial success, helping revitalize Walt Disney's animation studio following the financial difficulties of the 1940s. More than 75 years after its release, "Cinderella" remains one of Disney's most celebrated animated classics, inspiring numerous sequels, adaptations, and reinterpretations.

"Cinderella" was the second great princess-centered animated feature produced by Walt Disney, following the groundbreaking "Snow White and the Seven Dwarfs" (1937). While Snow White was born into royalty, Cinderella's story centers on a young woman whose circumstances have reduced her to the position of a servant within her own household. Her transformation from an overlooked young woman into a princess through marriage became one of the most recognizable fairy-tale narratives in popular culture. Cinderella remains among the most iconic characters in the Disney Princess franchise, with her elegant blue ball gown, sparkling glass slippers, and magical transformation becoming enduring symbols of romance, hope, and the belief that dreams can come true.

The character of Cinderella was animated primarily by two of Walt Disney's legendary "Nine Old Men," Marc Davis (1913–2000) and Eric Larson (1905–1988). Interestingly, the two animators approached the character from somewhat different artistic perspectives. Davis emphasized Cinderella's elegance, sophistication, and graceful feminine beauty, while Larson favored a simpler, warmer, and more naturalistic interpretation. Rather than creating an inconsistent character, these contrasting approaches contributed to Cinderella's remarkable emotional depth. She could be poised and beautiful while simultaneously appearing vulnerable, playful, frustrated, or quietly hopeful. This combination made Cinderella a more psychologically complex heroine than her predecessor, Snow White, and helped establish her as one of Disney's most enduring animated personalities.

The challenge of animating Cinderella was considerable, as the character needed to possess believable human anatomy, realistic movement, and subtle emotional expressions while retaining the charm and visual appeal of traditional Disney animation. To assist the animators, Walt Disney Studios employed actress Helene Stanley (1929–1990) as Cinderella's live-action reference model. Stanley performed the character's movements, gestures, and expressions on a soundstage, allowing the animators to study her physical performance before translating it into animation. Her graceful movements and naturalistic acting helped establish Cinderella's elegant screen presence. Stanley would subsequently return to Disney as a live-action reference model for Princess Aurora in "Sleeping Beauty" (1959) and Anita Radcliffe in "One Hundred and One Dalmatians" (1961).

Walt Disney placed considerable importance on the use of live-action reference during the production of "Cinderella." According to Disney historian Christopher Finch in his book "The Art of Walt Disney," Walt insisted that scenes involving human characters first be performed and filmed in live action to ensure that their movements and dramatic staging were convincing before the costly animation process began. Although some animators initially resisted this approach, believing it restricted their creative freedom, they eventually recognized its practical advantages. The filmed performances provided a foundation for realistic anatomy, natural movement, and believable character acting, while still allowing the animators to exaggerate and refine the performances through their individual artistic interpretations.

The voice of Cinderella was provided by Ilene Woods (1929–2010), whose beautiful singing voice and gentle speaking manner became inseparable from the character. Approximately 400 women and girls were reportedly considered for the role, yet Woods received the opportunity through an extraordinary series of circumstances. At the time, she was a successful radio performer who had no knowledge that Disney was searching for the voice of Cinderella. Songwriters Mack David and Jerry Livingston, who were working on the film's music, asked Woods to record several songs from the production. Without her knowledge, they submitted the recordings to Walt Disney Studios. Upon hearing her performance, Walt Disney was immediately impressed and decided that Woods possessed precisely the voice he had envisioned for Cinderella. She was subsequently contacted and offered the role that would become the defining achievement of her career.

Woods brought an extraordinary combination of warmth, innocence, vulnerability, and optimism to Cinderella. Her speaking voice perfectly conveyed the character's gentle personality, while her singing performances gave emotional depth to some of the film's most memorable musical sequences. Among these were "A Dream Is a Wish Your Heart Makes," "Sing Sweet Nightingale," and the beloved duet "So This Is Love." Her performance was especially important in scenes where Cinderella's emotions were communicated through subtle changes in tone, allowing the animators to develop equally expressive facial gestures and body language.

The moment represented in this original animation drawing is particularly appealing because it reveals Cinderella's personality before the magical events that ultimately transform her life. When she first considers the possibility of attending the Royal Ball, she attempts to dismiss the occasion as something that would surely be dull and uninteresting. Yet as she continues speaking, her imagination takes over, and she can no longer conceal her excitement. The delightful progression from "frightfully dull" and "boring" to "completely... completely wonderful" reveals the romantic dreamer beneath Cinderella's modest and practical exterior. It is a beautifully observed moment of character acting, demonstrating how a seemingly simple line of dialogue can communicate an entire range of emotions.

The scene also emphasizes one of the central themes of "Cinderella": the importance of maintaining hope even under seemingly impossible circumstances. Although Cinderella is surrounded by cruelty and denied the opportunities enjoyed by her stepsisters, she refuses to abandon her dreams. Her longing to attend the Royal Ball represents far more than a desire to wear a beautiful dress or enjoy an evening of dancing. It symbolizes her wish to experience happiness, freedom, and affection beyond the confines of her unhappy household. Her quiet optimism ultimately becomes the emotional foundation of the film, making her eventual transformation and romantic triumph all the more satisfying.

From an artistic perspective, the animation of Cinderella required an exceptional understanding of subtle facial expressions, natural gestures, and believable human movement. Unlike the exaggerated comic performances of characters such as Jaq, Gus, and Lucifer, Cinderella's emotions were often communicated through delicate changes in posture, the positioning of her hands, and the movement of her eyes and mouth. Her elegance had to appear effortless, while her expressions needed to remain warm and approachable. The artistry of Marc Davis and Eric Larson was essential in achieving this delicate balance, creating a heroine who was both idealized and convincingly human.

The extraordinary success of "Cinderella" represented a major turning point in Walt Disney's animation history. Following the financial challenges experienced by the studio during and after World War II, Disney needed another major animated success to secure the future of feature animation. "Cinderella" accomplished precisely that, generating substantial box-office revenue and renewing public enthusiasm for the studio's fairy-tale storytelling. Its success helped finance future productions and contributed to the remarkable creative achievements of Disney animation throughout the 1950s, including "Alice in Wonderland" (1951), "Peter Pan" (1953), "Lady and the Tramp" (1955), and "Sleeping Beauty" (1959).

This wonderful original production animation drawing captures Cinderella at one of her most charming and emotionally expressive moments. Before the appearance of her Fairy Godmother, before the magical transformation of her dress, and before her unforgettable dance with Prince Charming, Cinderella is simply a young woman allowing herself to imagine that something wonderful might happen. The drawing represents the exceptional artistry and character animation that made Walt Disney's "Cinderella" an enduring masterpiece. A beautiful connection to one of the most beloved animated heroines in motion-picture history, this remarkable piece would be an outstanding addition to any collection of vintage Walt Disney animation artwork.

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Original Production Animation Drawing of Alice from "Alice In Wonderland," 1951

 

Original production animation drawing of Alice in graphite and brown pencils from "Alice In Wonderland," 1951, Walt Disney Studios; Numbered 121 in pencil lower right; Size - Alice: 7 1/2 x 3 1/4", Sheet 12 1/2 x 15 1/2"; Unframed.

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

"Goodness, if the people here are like that I must try not to upset them!" — Alice

"Alice in Wonderland" is the thirteenth animated feature film produced by Walt Disney Productions and was theatrically released on July 26, 1951. The film was adapted from "Alice's Adventures in Wonderland," the celebrated 1865 novel written by English author Charles Lutwidge Dodgson (1832–1898), better known by his pen name, Lewis Carroll. Disney reimagined Carroll's whimsical literary masterpiece for a younger audience, condensing its imaginative adventures and eccentric characters into a 75-minute animated feature. The resulting film became one of the studio's most visually inventive productions, filled with extraordinary character designs, surreal landscapes, and wonderfully imaginative sequences that continue to captivate audiences more than seven decades after its original release.

The story follows a curious young English girl named Alice, who tumbles down a rabbit hole while pursuing the mysterious White Rabbit and finds herself transported into the fantastical world of Wonderland. Throughout her adventures, Alice encounters an unforgettable assortment of peculiar characters, including the Cheshire Cat, the Mad Hatter, the March Hare, the Caterpillar, the Queen of Hearts, and the mischievous Tweedledee and Tweedledum. As Alice attempts to make sense of this extraordinary world, she discovers that conventional logic and good manners are frequently challenged by Wonderland's delightfully absurd inhabitants.

The voice of Alice was provided by Kathryn Beaumont (born 1938), who was just ten years old when she was selected for the role. Born in London, England, Beaumont caught Walt Disney's attention after appearing in the 1948 MGM musical "On an Island with You." Impressed by her natural charm, expressive personality, and distinctly British voice, Disney personally selected her to portray Alice. Beaumont also served as the live-action reference model for the character, performing scenes that were filmed and studied by Disney's animators to help establish Alice's movements, expressions, and mannerisms. Her performance was instrumental in giving Alice the youthful innocence, intelligence, curiosity, and occasional exasperation that make the character so appealing.

Beaumont's association with Walt Disney continued when she was chosen to voice Wendy Darling in "Peter Pan" (1953), another of the studio's most beloved animated classics. Decades later, she returned to both characters, reprising Alice in Disney's animated television series "House of Mouse" and providing the voices of Alice and Wendy in the popular "Kingdom Hearts" video game franchise. Beaumont continued her association with these iconic Disney characters until 2005, when voice actress Hynden Walch succeeded her in the roles. In recognition of her remarkable contributions to Disney animation, Beaumont was honored as a Disney Legend in 1998.

The visual development of Alice was influenced by the extraordinary artistry of Mary Blair, whose distinctive use of color, imaginative compositions, and stylized character designs helped establish the visual identity of "Alice in Wonderland." Animator Les Clark also contributed to the character's development, while the animation of Alice was primarily handled by several of Walt Disney's most talented artists, including Ollie Johnston, Don Lusk, and Marc Davis. Davis was particularly involved in Alice's animation during the famous Mad Tea Party sequence. The challenge of animating Alice was considerable, as she needed to appear believable and naturally expressive while interacting with Wonderland's wildly exaggerated and often surreal inhabitants.

This exceptional original production animation drawing of Alice was created by legendary Walt Disney animator Don Lusk (1913–2018), who supervised Alice's animation in this memorable sequence. Beautifully rendered in brown and graphite pencils, the drawing demonstrates Lusk's remarkable ability to capture the delicate facial expressions, graceful proportions, and charming personality of Disney's young heroine. Particularly interesting is the handwritten notation "to" in the upper right corner, identifying a portion of Alice's dialogue and providing a fascinating connection between the animator's original artwork and the finished film. Such production annotations offer collectors a wonderful glimpse into the animation process, when individual drawings were carefully coordinated with recorded dialogue to create the illusion of natural speech and movement.

Don Lusk enjoyed an extraordinary career in animation that spanned more than six decades. Joining Walt Disney Studios in the 1930s, he contributed to early Donald Duck cartoons and worked on the studio's groundbreaking first animated feature, "Snow White and the Seven Dwarfs" (1937). His subsequent achievements included animating Cleo and Figaro in "Pinocchio" (1940), contributing to the Arabian Dance sequence of "The Nutcracker Suite" in "Fantasia" (1940), and animating the majestic Great Stag in "Bambi" (1942). Lusk continued working on Disney's animated features through "One Hundred and One Dalmatians" (1961), developing a reputation for his exceptional draftsmanship, versatility, and ability to bring both human and animal characters convincingly to life. He later contributed to numerous television animation productions and remained a respected figure in the industry until his passing in 2018 at the remarkable age of 105.

This delightful drawing originates from the conclusion of Alice's first encounter with the mysterious Cheshire Cat, one of the most memorable characters in "Alice in Wonderland." Voiced by the incomparable Sterling Holloway, the Cheshire Cat is a mischievous, philosophical creature whose ability to appear, disappear, and materialize in unexpected places perfectly embodies the absurdity of Wonderland. During their conversation, the Cat suggests that Alice visit either the Mad Hatter or the March Hare, explaining that both are quite mad. When Alice protests that she does not wish to associate with mad people, the Cat cheerfully informs her, "Oh, you can't help that... most everyone's mad here."

Following this bewildering exchange, Alice begins to walk away, placing her hands upon her hips as she thoughtfully remarks, "Goodness, if the people here are like that I must try not to upset them!" The moment is wonderfully characteristic of Alice, whose determination to remain polite and sensible persists despite the increasingly nonsensical world surrounding her. Her innocent expression and cheerful disposition contrast beautifully with the strange and unpredictable behavior of Wonderland's inhabitants. It is precisely this combination of curiosity, good manners, and quiet determination that makes Alice such an endearing Disney heroine.

The artistry of Don Lusk is especially evident in his treatment of Alice's facial features and body language. Her wide, expressive eyes, gentle smile, and carefully constructed features convey a wonderful sense of youthful optimism. The delicate pencil work captures the softness of her face and the natural appeal of her character design, while the carefully observed proportions reflect the considerable technical skill required to animate a believable human figure. Unlike Wonderland's more exaggerated inhabitants, Alice needed to remain visually grounded, serving as the audience's connection to the extraordinary events unfolding around her. Lusk's sophisticated character animation accomplished this beautifully, balancing realistic movement with the expressive charm associated with classic Walt Disney animation.

Although "Alice in Wonderland" received a mixed critical reception upon its original release, the film gradually developed an enormous following and is now recognized as one of Disney's most imaginative animated achievements. Its extraordinary visual design, memorable musical sequences, and remarkable collection of eccentric characters have secured its place among the studio's most enduring classics. The film also represents an important period in Disney animation, when some of the industry's greatest artists were working together to create increasingly sophisticated and expressive animated performances.

This outstanding original production drawing is a beautiful example of classic Walt Disney animation artistry and a wonderful representation of Alice at her most charming. Capturing the beloved heroine with her eyes open, a delightful smile, and an expression of innocent optimism, the artwork perfectly conveys the personality that has endeared Alice to generations of audiences. Created by the accomplished hand of Don Lusk for one of the film's most memorable character encounters, this exceptional drawing is both a fascinating piece of Disney animation history and a superb addition to any collection of vintage Walt Disney production artwork.

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Original Production Animation Drawing of Peter Pan from "Peter Pan," 1953

 

Original production animation drawing of Peter Pan in graphite pencil from "Peter Pan," 1953, Walt Disney Studios; Numbered 88 in pencil lower right; Size - Peter Pan: 6 1/4 x 3 1/2", Sheet 10 x 12"; Unframed.

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

"What's the matter? Don't you know?" — Wendy Darling

"Oh sure, it's... it's just I never thought about it before. Say, that's it! You think of a wonderful thought." — Peter Pan

This exceptional original production animation drawing of Peter Pan is from Walt Disney's beloved animated classic "Peter Pan" (1953). The drawing captures a wonderfully charming moment early in the film, when Wendy Darling asks Peter how she and her brothers will ever get to Neverland. Momentarily stumped by her question, the ordinarily confident Peter perches himself atop a chair, drawing his knees toward his chest as he struggles to remember the secret of flying. Wendy, surprised by his hesitation, asks, "What's the matter? Don't you know?" Peter responds, "Oh sure, it's... it's just I never thought about it before. Say, that's it! You think of a wonderful thought." His thoughtful expression, relaxed posture, and sudden realization beautifully capture the youthful spontaneity and mischievous charm of the boy who never grows up. Occurring at approximately the 16:34 timestamp of the film, this delightful sequence showcases Milt Kahl's extraordinary ability to convey personality, emotion, and character through the simplest of gestures. 

The animation of Peter Pan was primarily entrusted to Milt Kahl and fellow Disney animator Eric Larson. Kahl handled the majority of Peter's character animation, while Larson concentrated on portions of the flying sequences, including the journey over London, and contributed animation of Wendy Darling and Captain Hook. Interestingly, Kahl was not particularly enthusiastic about his assignment. Responsible for animating both Peter and Wendy, he faced the considerable challenge of bringing two relatively realistic human characters to life while maintaining the expressive appeal of traditional Disney animation. As Kahl later recalled, "Peter was interesting in that you had to make him fly but after that was over he became a chore." Kahl also reportedly resented that fellow animator Frank Thomas had been assigned the more flamboyant and theatrically expressive Captain Hook, a character Kahl would have preferred to animate.

Despite these reservations, Kahl's work on Peter Pan remains an extraordinary achievement in character animation. Peter is a fascinating combination of confidence, arrogance, innocence, and irresistible charm. He is courageous and adventurous, yet also impulsive, mischievous, and occasionally uncertain of himself. These contrasting characteristics are beautifully conveyed in this drawing. Rather than depicting Peter in one of his spectacular flying sequences or heroic confrontations, Kahl presents him in a quiet moment of contemplation. The natural positioning of his hands, the compression of his body into a compact seated pose, and the delicately rendered facial expression demonstrate Kahl's remarkable ability to communicate personality through gesture alone. His expert timing, sophisticated understanding of anatomy, and graceful character design helped establish Peter Pan as one of the most appealing male protagonists of Disney's early animated features.

The character of Peter Pan was voiced by Bobby Driscoll (1937–1968), one of Walt Disney's most prominent child stars. Driscoll was the first actor placed under a long-term contract by Walt Disney and achieved widespread recognition through his starring role in "Song of the South" (1946), alongside fellow child performer Luana Patten. He subsequently appeared in "So Dear to My Heart" (1948) and portrayed Jim Hawkins in Disney's live-action adventure "Treasure Island" (1950). His performances established him as one of the studio's most recognizable young actors, and in 1950 he received a special Academy Juvenile Award recognizing his work in "So Dear to My Heart" and "The Window." His portrayal of Peter Pan would become one of his final major successes for Disney.

Driscoll's involvement in "Peter Pan" extended well beyond providing the character's voice. He also served as Peter's principal live-action reference model, particularly for close-up sequences, while dancer and choreographer Roland Dupree provided reference for many of the character's more athletic movements and flying sequences. These performances were filmed on a largely empty soundstage using only essential props and scenery, allowing Disney's animators to study the actors' movements, gestures, and expressions. Rather than simply tracing the filmed performances, animators such as Kahl interpreted and refined the live-action reference to create the exaggerated movement and visual appeal essential to successful character animation. Driscoll's casting was also historically significant, as Peter Pan had traditionally been portrayed by female performers in stage productions, making Driscoll a notable early male interpreter of the character.

What makes this particular drawing so appealing is its ability to capture Peter Pan's personality through a deceptively simple gesture. Seated with his knees raised and his hands resting gently against his legs, Peter appears momentarily lost in thought, a rare occurrence for a character who generally acts before thinking. Kahl's delicate graphite lines convey a remarkable sense of weight, balance, and dimensionality, while the expressive facial features give the character an unmistakable sense of life. The lightly constructed pencil work also offers a fascinating glimpse into the animator's creative process, revealing the careful attention to proportion, gesture, and character acting that ultimately translated into the finished film.

An outstanding example of original Walt Disney production animation artwork, this drawing represents the artistry of Milt Kahl at the height of Disney's Golden Age of Animation. Created for one of the most beloved sequences in "Peter Pan," it captures the magical instant when Peter recalls that the secret to flying begins with a wonderful thought. Beyond its connection to an iconic animated feature, the drawing stands as a beautiful testament to Kahl's extraordinary draftsmanship and his ability to transform a simple pencil sketch into a character filled with charm, personality, and enduring appeal.

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