Original production animation cel of Snow White from "Snow White and the Seven Dwarfs," 1937

Original hand painted and hand inked production animation cel of Snow White; Set on an airbrushed Courvoisier background from "Snow White and the Seven Dwarfs," 1937, Walt Disney Studios; Size - Snow White: 5 1/2 x 3 1/4", Image 7 1/4 x 7 1/4", Frame 21 x 19 1/2"; Framed using a gold and cherry wood frame, four mats, gold wood fillet, custom engraved brass title plaque, and plexiglass.

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

Development on Snow White and the Seven Dwarfs began in early 1934, and by June Walt Disney announced to The New York Times the production of his first feature, to be released under Walt Disney Productions. Before Snow White and the Seven Dwarfs, the Disney studio had been primarily involved in the production of animated short subjects in the Mickey Mouse and Silly Symphonies series. However, Disney hoped to expand his studio's prestige and revenues by moving into features, and he estimated that Snow White and the Seven Dwarfs could be produced for a budget of $250,000 (this was ten times the budget of an average Silly Symphony).

Snow White and the Seven Dwarfs was to be the first full-length cel animated feature in motion picture history, and as such Walt Disney had to fight to get the film produced. Both his brother and business partner Roy Disney, as well as his wife Lillian attempted to talk him out of it. The Hollywood movie industry mockingly referred to the film, while is was in production, as "Disney's Folly." Disney ended up having to mortgage his house to help finance the film's production, which would eventually ran up to a total cost of $1,488,422.74; an absolutely massive sum for a feature film in 1937!

After a long and difficult four years, on January 13, 1938, Snow White and the Seven Dwarfs made its New York premiere at Radio City Music Hall. The film ran for five weeks in a row, the first motion picture to do so, and it could have played longer if not for prior commitments of the venue. It was to be the theatres' most successful engagement in all of the 1930s. The film was loved by everyone and Disney, along with his animation team, had managed to make an animated film that the audience would believe! The crowd would be sad and cry when Snow White bit the apple and was placed in a glass casket; and they would laugh, smile, and be happy during the song and dance numbers with the Dwarfs.

A large number of actresses auditioned for the voice of Snow White. Walt Disney listened to each audition in his office while the actress performed in another room, without any knowledge of the actress' appearance or reputation. This would insure that he would only judge based on the sound of the voice. According to later accounts, most of the voices Disney felt, did not sound young enough. Eventually, in September of 1935, Adriana Caselotti was chosen for the voice of Snow White. Caselotti was eighteen at the time and made her coloraturo soprano sound younger, knowing that the character was intended to be 14 years old. In recording sessions Caselotti found difficulty in the line, "Grumpy, I didn't know you cared"; instead of "didn't", Caselotti was only able to say "din". After rehearsing the line many times, Walt Disney eventually said "Oh, the heck with..." and "din'" remained in the final film.

Snow White's design was supervised by Grim Natwick, an animator who had previously developed and worked on Betty Boop at Fleischer Studios. It is interesting to note that early designs for the Snow White resemble Betty Boop, and some appear to be caricatures of famous actresses of the time. As development continued, Snow White became more and more lifelike. Another animator, Hamilton Luske's first designs for Snow White depicted her as a slightly awkward, gangly teenager. However, Walt Disney had a different idea in mind; he wanted Snow White to be older, and more realistic-looking. This was achieved by the use of live-action references for the animators. Also, in order for Snow White to better relate onscreen to the seven Dwarfs, it was decided that her head be slightly larger than normal. In addition, the women in the animation studio's ink and paint department felt that Snow White's black hair was too unnatural and harsh, so they drybrushed whisps of light grey over the top of each and every cel.

Framed original production animation cel of Snow White.

This is a perfect portrait image of the first Disney Princess, Snow White. She is beautifully centered, eyes and mouth are open, and her hands are folded upon her lap. She is placed on an hand airbrushed Courvoisier background. The cel is custom framed and would be a great addition to any animation art collection!

#SnowWhite #Doc #Bashful #Dopey #Happy #Sneezy #Sleepy #Grumpy #Disney #WaltDisney #PintoColvig #VladimirTytla #BillTytla #MarcDavis #GrimNatwick #animation #FrankChurchill #HamiltonLuske #AdrianaCaselotti #animationdrawing #productiondrawing #animationart #untitledartgallery #cel #CourvoisierGalleries #CourvoisierGallery #Courvoisier #Witch #EvilQueen #OldHag #Huntsman #animationcel #sevendwarfs #dwarfs #ArtBabbit #OllieJohnston #FrankThomas #ShamusCulhane #FredMoore #LucilleLaVerne #KeySetup #productionbackground #RadioCityMusicHall #JoeGrant

Original Production Animation Cel of Snow White with Two Chipmunks "Snow White and the Seven Dwarfs," 1937

Original hand painted and hand inked production animation cel of Snow White with two chipmunks; Set on an airbrushed Courvoisier background from "Snow White and the Seven Dwarfs," 1937, Walt Disney Studios; Size - Snow White and Chipmunks: 5 1/4 x 4 1/2", Image 7 x 5 1/2", Frame 15 1/2 x 14"; Framed in the original Courvoisier calligraphy titled mat, wood frame, and glass.

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

“Lips red as the rose. Hair black as ebony. Skin white as snow.”

―The Magic Mirror describing Snow White

Development on Snow White and the Seven Dwarfs began in early 1934, and by June Walt Disney announced to The New York Times the production of his first feature, to be released under Walt Disney Productions.  Before Snow White and the Seven Dwarfs, the Disney studio had been primarily involved in the production of animated short subjects in the Mickey Mouse and Silly Symphonies series.  However, Disney hoped to expand his studio's prestige and revenues by moving into features, and he estimated that Snow White and the Seven Dwarfs could be produced for a budget of $250,000 (this was ten times the budget of an average Silly Symphony).

Snow White and the Seven Dwarfs was to be the first full-length cel animated feature in motion picture history, and as such Walt Disney had to fight to get the film produced. Both his brother and business partner Roy Disney, as well as his wife Lillian attempted to talk him out of it.  The Hollywood movie industry mockingly referred to the film, while is was in production, as "Disney's Folly."  Disney ended up having to mortgage his house to help finance the film's production, which would eventually ran up to a total cost of $1,488,422.74; an absolutely massive sum for a feature film in 1937!

Close up of the original Courvoisier calligraphy titled mat.

A large number of actresses auditioned for the voice of Snow White. Walt Disney listened to each audition in his office while the actress performed in another room, without any knowledge of the actress' appearance or reputation. This would insure that he would only judge based on the sound of the voice. According to later accounts, most of the voices Disney felt, did not sound young enough. Eventually, in September of 1935, Adriana Caselotti was chosen for the voice of Snow White. Caselotti was eighteen at the time and made her coloraturo soprano sound younger, knowing that the character was intended to be 14 years old. In recording sessions Caselotti found difficulty in the line, "Grumpy, I didn't know you cared"; instead of "didn't", Caselotti was only able to say "din". After rehearsing the line many times, Walt Disney eventually said "Oh, the heck with..." and "din'" remained in the final film.

Close up of the Walt Disney copyright stamp.

Snow White's design was supervised by Grim Natwick, an animator who had previously developed and worked on Betty Boop at Fleischer Studios. It is interesting to note that early designs for the Snow White resemble Betty Boop, and some appear to be caricatures of famous actresses of the time. As development continued, Snow White became more and more lifelike. Another animator, Hamilton Luske's first designs for Snow White depicted her as a slightly awkward, gangly teenager. However, Walt Disney had a different idea in mind; he wanted Snow White to be older, and more realistic-looking. This was achieved by the use of live-action references for the animators. Also, in order for Snow White to better relate onscreen to the seven Dwarfs, it was decided that her head be slightly larger than normal. In addition, the women in the animation studio's ink and paint department felt that Snow White's black hair was too unnatural and harsh, so they drybrushed whisps of light grey over the top of each and every cel.

Framed original production animation cel of Snow White with two chipmunks.

This particular cel setup is from the "Whistle While You Work" song sequence which occurs at the Dwarf cottage. Snow White and her animal friends begin to clean up the Dwarf's home while she his singing. The sequence is one of the most beautiful in the film, and the song (music written by Frank Churchill with lyrics by Larry Morey) has become a staple of Pop culture. This is a beautiful full figure image of Snow White sweeping up the Dwarf cottage, assisted by two chipmunks who are holding the dust pan steady. An absolutely wonderful original Courvoisier setup that is still in it's original frame and mat. A great addition to any animation collection!

#SnowWhite #Doc #Bashful #Dopey #Happy #Sneezy #Sleepy #Grumpy #Disney #WaltDisney #PintoColvig #VladimirTytla #BillTytla #MarcDavis #GrimNatwick #animation #FrankChurchill #HamiltonLuske #AdrianaCaselotti #animationdrawing #productiondrawing #animationart #untitledartgallery #cel #CourvoisierGalleries #CourvoisierGallery #Courvoisier #Witch #EvilQueen #OldHag #Huntsman #animationcel #sevendwarfs #dwarfs #ArtBabbit #OllieJohnston #FrankThomas #ShamusCulhane #FredMoore #LucilleLaVerne #KeySetup #productionbackground #RadioCityMusicHall #JoeGrant

Original Production Animation Cel of Snow White with Animals from "Snow White and the Seven Dwarfs," 1937

Original hand painted and hand inked production animation cel of Snow White with three squirrels and four birds; Set on an airbrushed colored paper Courvoisier background from "Snow White and the Seven Dwarfs," 1937, Walt Disney Studios; Size - Snow White: 4 3/4 x 2 3/4", Image 7 x 7", Frame 18 1/4 x 18 1/4"; Framed using a gold wood frame, two linen mats, gold wood fillet, and plexiglass.

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

Development on Snow White and the Seven Dwarfs began in early 1934, and by June Walt Disney announced to The New York Times the production of his first feature, to be released under Walt Disney Productions. Before Snow White and the Seven Dwarfs, the Disney studio had been primarily involved in the production of animated short subjects in the Mickey Mouse and Silly Symphonies series. However, Disney hoped to expand his studio's prestige and revenues by moving into features, and he estimated that Snow White and the Seven Dwarfs could be produced for a budget of $250,000 (this was ten times the budget of an average Silly Symphony).

Snow White and the Seven Dwarfs was to be the first full-length cel animated feature in motion picture history, and as such Walt Disney had to fight to get the film produced. Both his brother and business partner Roy Disney, as well as his wife Lillian attempted to talk him out of it. The Hollywood movie industry mockingly referred to the film, while is was in production, as "Disney's Folly." Disney ended up having to mortgage his house to help finance the film's production, which would eventually ran up to a total cost of $1,488,422.74; an absolutely massive sum for a feature film in 1937!

After a long and difficult four years, on January 13, 1938, Snow White and the Seven Dwarfs made its New York premiere at Radio City Music Hall. The film ran for five weeks in a row, the first motion picture to do so, and it could have played longer if not for prior commitments of the venue. It was to be the theatres' most successful engagement in all of the 1930s. The film was loved by everyone and Disney, along with his animation team, had managed to make an animated film that the audience would believe! The crowd would be sad and cry when Snow White bit the apple and was placed in a glass casket; and they would laugh, smile, and be happy during the song and dance numbers with the Dwarfs.

A large number of actresses auditioned for the voice of Snow White. Walt Disney listened to each audition in his office while the actress performed in another room, without any knowledge of the actress' appearance or reputation. This would insure that he would only judge based on the sound of the voice. According to later accounts, most of the voices Disney felt, did not sound young enough. Eventually, in September of 1935, Adriana Caselotti was chosen for the voice of Snow White. Caselotti was eighteen at the time and made her coloraturo soprano sound younger, knowing that the character was intended to be 14 years old. In recording sessions Caselotti found difficulty in the line, "Grumpy, I didn't know you cared"; instead of "didn't", Caselotti was only able to say "din". After rehearsing the line many times, Walt Disney eventually said "Oh, the heck with..." and "din'" remained in the final film.

Snow White's design was supervised by Grim Natwick, an animator who had previously developed and worked on Betty Boop at Fleischer Studios. It is interesting to note that early designs for the Snow White resemble Betty Boop, and some appear to be caricatures of famous actresses of the time. As development continued, Snow White became more and more lifelike. Another animator, Hamilton Luske's first designs for Snow White depicted her as a slightly awkward, gangly teenager. However, Walt Disney had a different idea in mind; he wanted Snow White to be older, and more realistic-looking. This was achieved by the use of live-action references for the animators. Also, in order for Snow White to better relate onscreen to the seven Dwarfs, it was decided that her head be slightly larger than normal. In addition, the women in the animation studio's ink and paint department felt that Snow White's black hair was too unnatural and harsh, so they drybrushed whisps of light grey over the top of each and every cel.

Framed original production animation cel of Snow White with animals.

After the Evil Queen has transformed into the Old Hag, she magically creates the poisoned apple. "With one bite of the poisoned apple, the victim's (Snow White's) eyes will close forever in the sleeping death." She  places the apple into a basket and goes to the Dwarf cottage; and looking through a window, finds Snow White making pies. This original production animation cel is from the very beginning of this wonderful point in the film. Snow White is holding a pie with the name of the dwarf GRUMPY. This is an outstanding multi-cel setup of Snow White and three squirrels and four birds; all set on an airbrushed colored paper Courvoisier background! The dialog for the scene is below:

Old Hag: "All alone, my pet?"
Snow White: "Why yes, yes I am, but..."

#SnowWhite #Doc #Bashful #Dopey #Happy #Sneezy #Sleepy #Grumpy #Disney #WaltDisney #PintoColvig #VladimirTytla #BillTytla #MarcDavis #GrimNatwick #animation #FrankChurchill #HamiltonLuske #AdrianaCaselotti #animationdrawing #productiondrawing #animationart #untitledartgallery #cel #CourvoisierGalleries #CourvoisierGallery #Courvoisier #Witch #EvilQueen #OldHag #Huntsman #animationcel #sevendwarfs #dwarfs #ArtBabbit #OllieJohnston #FrankThomas #ShamusCulhane #FredMoore #LucilleLaVerne #KeySetup #productionbackground #RadioCityMusicHall #JoeGrant

Original Friz Freleng Signed Production Animation Cel of The Ant from "The Ant and The Aardvark," 1970-71

Original hand painted production animation cel of The Ant from "The Ant and The Aardvark," 1970-71, Depatie-Freleng Enterprises; Signed Friz Freleng in ink lower center; Set on an original hand painted background with matching original hand painted overlay cel from "Snake Preview," 1973; Production numbers upper background edges; Size - Ant: 3 1/4 x 2 1/2", Image 9 3/4 x 12 1/4"; Unframed.

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

DePatie-Freleng Enterprises, (1963-1981) was an American animation company that was based in Burbank, California. It produced theatrical cartoons, animated series, commercials, film title design sequences, and television specials; but was most known for The Pink Panther film titles and cartoon shorts, as well as the Dr. Seuss cartoon adaptations made for CBS and ABC. The company was founded by two former Warner Bros. Cartoons employees, director/composer/producer Friz Freleng and executive David H. DePatie. Although Freleng and DePatie were no longer working for Warner Bros., they were able to lease the former Warner cartoons studio, complete with equipment and supplies, for only a few dollars each year.

Original Friz Freleng signed production animation cel of The Ant.

Director Blake Edwards contacted DePatie-Freleng and asked them to design a panther character for Edwards's new film, The Pink Panther; and they would also produce the animated titles for the film. The opening titles were hugely popular and soon DePatie-Freleng contracted with United Artists to produce a series of cartoon shorts featuring the Pink Panther. The first entry in the Pink Panther series, The Pink Phink, was directed by Freleng; and won the studio its only Academy Award in 1964. In 1967, DePatie-Freleng would receive another Academy Award nomination for The Pink Blueprint. The studio created over 100 Pink Panther shorts for both theatrical release and television through 1980.

Henry Mancini composed "The Pink Panther Theme" for the live action films, which was also used in the cartoon series. Doug Goodwin composed the show's opening title music, while William Lava and Walter Greene composed music scores heard throughout the cartoons; many of which were derivations of Mancini's composition.

Close up of the original Friz Freleng signed production animation cel of The Ant.

Original production background without the cel.

The Pink Panther theatrical series of cartoons became the basis of a Saturday morning television series, The Pink Panther Show. The series (1969-1980) also included cartoons of The Inspector; and eventually The Ant and the Aardvark, Tijuana Toads (a.k.a. Texas Toads), Hoot Kloot, Misterjaw, Roland and Rattfink, The Dogfather, and two Tijuana Toads spinoffs: The Blue Racer and Crazylegs Crane. It was produced by Mirisch Films and DePatie-Freleng Enterprises, and was broadcast on two American television networks: from September 6, 1969 to September 2, 1978, on NBC; and from September 9, 1978 to September 1, 1980, on ABC (as The All New Pink Panther Show). After nine years on NBC, the Pink Panther moved to ABC in 1978 and was titled The All New Pink Panther Show, where it lasted one season before leaving the network realm entirely. The ABC version of the series featured sixteen episodes with 32 new Pink Panther cartoons, and 16 featuring Crazylegs Crane.

Over its 11 years on various television networks, The Pink Panther Show had a variety of names:
The Pink Panther Show (1969–1970)
The Pink Panther Meets the Ant and the Aardvark (1970–1971)
The New Pink Panther Show (1971–1974)
The Pink Panther and Friends (1974–1976)
It's the All New Pink Panther Laugh-and-a-Half Hour-and-a-Half Show Introducing Misterjaw (1976–1977)
Think Pink Panther (1977–1978)
The All New Pink Panther Show (1978–1980)

The Ant and The Aardvark cartoon shorts center on a blue aardvark (voiced by John Byner who was impersonating the comedian Jackie Mason) trying to catch and eat a red ant named Charlie (also voiced by John Byner but impersonating Dean Martin). The Aardvark's trunk sucking was the sound of a vacuum cleaner. The series was enormously popular, but only 17 shorts were every produced. Unique techniques were employed for the series, including making the Aardvark and his clothing (shorts and t-shirt) all one color blue; and the Ant was painted all red. This allowed for the two characters to clearly stand out on the brightly colored backgrounds. Another production element was the jazzy musical score that was directed by Doug Goodwin. He assembled a group jazz session musicians to perform the opening/closing credits and the musical cues; and for the first time in animated cartoon history all six of the musicians received on screen credit.

This is a large Friz Freleng hand signed cel of Charlie The Ant. He is full figure and eyes open; in addition the cel is set on an original hand painted background with matching original hand painted overlay cel from "Snake Preview," 1973 A very rare and beautiful piece of animation artwork, perfect for any collection!

#PinkPanther #ThePinkPanther #Storyboard #DepatieFrelengEnterprises #Depatie-Freleng #TheInspector #TheAntandtheAardvark #TijuanaToads #TexasToads #HootKloot #Misterjaw #RolandandRattfink #TheDogfather #TheBlueRacer #CrazylegsCrane #ThePinkPantherShow #FrizFreleng #untitledartgallery #cel #animation #animationcel #animationdrawing #productioncel #productiondrawing #productionbackground #cartoon #DavidHDePatie #DavidDePatie #BlakeEdwards #HenryMancini

Original Production Animation Cel of The Ant and The Aardvark from "The Ant and The Aardvark," 1970-71

Original hand painted production animation cel of The Ant and The Aardvark from "The Ant and The Aardvark," 1970-71, Depatie-Freleng Enterprises; Set on a lithographic background; Size - Aardvark: 6 3/4 x 3 1/2", Ant: 1 1/2 x 1 1/2", Image 9 1/4 x 12 1/2"; Unframed.

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

DePatie-Freleng Enterprises, (1963-1981) was an American animation company that was based in Burbank, California. It produced theatrical cartoons, animated series, commercials, film title design sequences, and television specials; but was most known for The Pink Panther film titles and cartoon shorts, as well as the Dr. Seuss cartoon adaptations made for CBS and ABC. The company was founded by two former Warner Bros. Cartoons employees, director/composer/producer Friz Freleng and executive David H. DePatie. Although Freleng and DePatie were no longer working for Warner Bros., they were able to lease the former Warner cartoons studio, complete with equipment and supplies, for only a few dollars each year.

Original production animation cel of The Aardvark and The Ant.

Director Blake Edwards contacted DePatie-Freleng and asked them to design a panther character for Edwards's new film, The Pink Panther; and they would also produce the animated titles for the film. The opening titles were hugely popular and soon DePatie-Freleng contracted with United Artists to produce a series of cartoon shorts featuring the Pink Panther. The first entry in the Pink Panther series, The Pink Phink, was directed by Freleng; and won the studio its only Academy Award in 1964. In 1967, DePatie-Freleng would receive another Academy Award nomination for The Pink Blueprint. The studio created over 100 Pink Panther shorts for both theatrical release and television through 1980.

Henry Mancini composed "The Pink Panther Theme" for the live action films, which was also used in the cartoon series. Doug Goodwin composed the show's opening title music, while William Lava and Walter Greene composed music scores heard throughout the cartoons; many of which were derivations of Mancini's composition.

Close up of the original production animation cel of The Aardvark and The Ant.

The Pink Panther theatrical series of cartoons became the basis of a Saturday morning television series, The Pink Panther Show. The series (1969-1980) also included cartoons of The Inspector; and eventually The Ant and the Aardvark, Tijuana Toads (a.k.a. Texas Toads), Hoot Kloot, Misterjaw, Roland and Rattfink, The Dogfather, and two Tijuana Toads spinoffs: The Blue Racer and Crazylegs Crane. It was produced by Mirisch Films and DePatie-Freleng Enterprises, and was broadcast on two American television networks: from September 6, 1969 to September 2, 1978, on NBC; and from September 9, 1978 to September 1, 1980, on ABC (as The All New Pink Panther Show). After nine years on NBC, the Pink Panther moved to ABC in 1978 and was titled The All New Pink Panther Show, where it lasted one season before leaving the network realm entirely. The ABC version of the series featured sixteen episodes with 32 new Pink Panther cartoons, and 16 featuring Crazylegs Crane.

Over its 11 years on various television networks, The Pink Panther Show had a variety of names:
The Pink Panther Show (1969–1970)
The Pink Panther Meets the Ant and the Aardvark (1970–1971)
The New Pink Panther Show (1971–1974)
The Pink Panther and Friends (1974–1976)
It's the All New Pink Panther Laugh-and-a-Half Hour-and-a-Half Show Introducing Misterjaw (1976–1977)
Think Pink Panther (1977–1978)
The All New Pink Panther Show (1978–1980)

The Ant and The Aardvark cartoon shorts center on a blue aardvark (voiced by John Byner who was impersonating the comedian Jackie Mason) trying to catch and eat a red ant named Charlie (also voiced by John Byner but impersonating Dean Martin). The Aardvark's trunk sucking was the sound of a vacuum cleaner. The series was enormously popular, but only 17 shorts were every produced. Unique techniques were employed for the series, including making the Aardvark and his clothing (shorts and t-shirt) all one color blue; and the Ant was painted all red. This allowed for the two characters to clearly stand out on the brightly colored backgrounds. Another production element was the jazzy musical score that was directed by Doug Goodwin. He assembled a group jazz session musicians to perform the opening/closing credits and the musical cues; and for the first time in animated cartoon history all six of the musicians received on screen credit.

This is a wonderful cel setup of both The Aardvark and The Ant. Both characters are full figure and eyes open. A very rare and beautiful piece of animation artwork, perfect for any collection!

#PinkPanther #ThePinkPanther #Storyboard #DepatieFrelengEnterprises #Depatie-Freleng #TheInspector #TheAntandtheAardvark #TijuanaToads #TexasToads #HootKloot #Misterjaw #RolandandRattfink #TheDogfather #TheBlueRacer #CrazylegsCrane #ThePinkPantherShow #FrizFreleng #untitledartgallery #cel #animation #animationcel #animationdrawing #productioncel #productiondrawing #productionbackground #cartoon #DavidHDePatie #DavidDePatie #BlakeEdwards #HenryMancini

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, blue, green, and graphite pencils, production stamp lower left, numbered 63 lower right, and used during the production of "The Sorcerer's Apprentice" sequence of "Fantasia," 1940, Walt Disney Studios; Size - Mickey Mouse: 4 1/4 x 4", Sheet 10 x 12"; Unframed.

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

"The Sorcerer's Apprentice" was initially going to be a "Silly Symphonies" short and be a venue for a comeback role for Mickey Mouse, who had declined in popularity. However, it was eventually included in the full length feature film "Fantasia," in 1940. The Disney version of "The Sorcerer's Apprentice" is based on the 1797 poem by Goethe of the same name. Mickey Mouse takes the role of the apprentice and the only real change from the original poem occurs when the Sorcerer is stern and angry with the apprentice after he saves him from a spell gone horribly wrong.

Close up of the Mickey Mouse production animation drawing.

In 1935 a young animator, born in Los Angeles, named Fred Moore gave Mickey his first makeover. Earlier animators had drawn the mouse as a series of circles, which limited his movement. Moore gave him a pear-shaped body, pupils, white gloves, and a shortened nose; all of which added to make the World's most famous mouse a lot cuter. Moore animated Mickey Mouse for the 1938 short "The Brave Little Tailor," which was to be the last significant appearance of the "pie-eyed" Mickey. For "Fantasia," 1940 the "pie-eyes" were gone and Moore's complete transformation of Mickey Mouse for the film continues to be his official look up to this day.

Close up of the production stamp.

Close up of the production number.

"The Sorcerer's Apprentice," is perhaps Mickey Mouse's most well known role (despite the fact that he never utters a single word), and as such it was the only 1940 segment that was added to the later film "Fantasia, 2000." Original production drawings and cels of the character are extremely rare and highly collected and this drawing is a wonderful eyes open image of the character. Mickey is full figure, wearing his robe and large shoes, and both of his ears are clearly seen. His arms are outstretched in front of him and there is a shadow cast on the floor to the left. A great addition to any animation art collection!

#MickeyMouse #Fantasia #SorcerersApprentice #YenSid #Disney #WaltDisney #animation #animationart #cel #animationcel #productiondrawing #animationdrawing #FredMoore #Fantasia1940 #SorcererApprentice #untitledartgallery

Original Production Animation Cel of The Ant from "The Ant and The Aardvark," 1970-71

Original hand painted production animation cel of The Ant from "The Ant and The Aardvark," 1970-71, Depatie-Freleng Enterprises; Set on a lithographic background; Size - Ant: 1 3/4 x 1 1/2", Image 10 x 12"; Unframed.

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

DePatie-Freleng Enterprises, (1963-1981) was an American animation company that was based in Burbank, California. It produced theatrical cartoons, animated series, commercials, film title design sequences, and television specials; but was most known for The Pink Panther film titles and cartoon shorts, as well as the Dr. Seuss cartoon adaptations made for CBS and ABC. The company was founded by two former Warner Bros. Cartoons employees, director/composer/producer Friz Freleng and executive David H. DePatie. Although Freleng and DePatie were no longer working for Warner Bros., they were able to lease the former Warner cartoons studio, complete with equipment and supplies, for only a few dollars each year.

Original production animation cel of The Ant.

Director Blake Edwards contacted DePatie-Freleng and asked them to design a panther character for Edwards's new film, The Pink Panther; and they would also produce the animated titles for the film. The opening titles were hugely popular and soon DePatie-Freleng contracted with United Artists to produce a series of cartoon shorts featuring the Pink Panther. The first entry in the Pink Panther series, The Pink Phink, was directed by Freleng; and won the studio its only Academy Award in 1964. In 1967, DePatie-Freleng would receive another Academy Award nomination for The Pink Blueprint. The studio created over 100 Pink Panther shorts for both theatrical release and television through 1980.

Henry Mancini composed "The Pink Panther Theme" for the live action films, which was also used in the cartoon series. Doug Goodwin composed the show's opening title music, while William Lava and Walter Greene composed music scores heard throughout the cartoons; many of which were derivations of Mancini's composition.

Close up of the original production animation cel of The Ant.

The Pink Panther theatrical series of cartoons became the basis of a Saturday morning television series, The Pink Panther Show. The series (1969-1980) also included cartoons of The Inspector; and eventually The Ant and the Aardvark, Tijuana Toads (a.k.a. Texas Toads), Hoot Kloot, Misterjaw, Roland and Rattfink, The Dogfather, and two Tijuana Toads spinoffs: The Blue Racer and Crazylegs Crane. It was produced by Mirisch Films and DePatie-Freleng Enterprises, and was broadcast on two American television networks: from September 6, 1969 to September 2, 1978, on NBC; and from September 9, 1978 to September 1, 1980, on ABC (as The All New Pink Panther Show). After nine years on NBC, the Pink Panther moved to ABC in 1978 and was titled The All New Pink Panther Show, where it lasted one season before leaving the network realm entirely. The ABC version of the series featured sixteen episodes with 32 new Pink Panther cartoons, and 16 featuring Crazylegs Crane.

Over its 11 years on various television networks, The Pink Panther Show had a variety of names:
The Pink Panther Show (1969–1970)
The Pink Panther Meets the Ant and the Aardvark (1970–1971)
The New Pink Panther Show (1971–1974)
The Pink Panther and Friends (1974–1976)
It's the All New Pink Panther Laugh-and-a-Half Hour-and-a-Half Show Introducing Misterjaw (1976–1977)
Think Pink Panther (1977–1978)
The All New Pink Panther Show (1978–1980)

The Ant and The Aardvark cartoon shorts center on a blue aardvark (voiced by John Byner who was impersonating the comedian Jackie Mason) trying to catch and eat a red ant named Charlie (also voiced by John Byner but impersonating Dean Martin). The Aardvark's trunk sucking was the sound of a vacuum cleaner. The series was enormously popular, but only 17 shorts were every produced. Unique techniques were employed for the series, including making the Aardvark and his clothing (shorts and t-shirt) all one color blue; and the Ant was painted all red. This allowed for the two characters to clearly stand out on the brightly colored backgrounds. Another production element was the jazzy musical score that was directed by Doug Goodwin. He assembled a group jazz session musicians to perform the opening/closing credits and the musical cues; and for the first time in animated cartoon history all six of the musicians received on screen credit.

This is a wonderful cel of The Ant; and he is full figure and eyes open. A very rare and beautiful piece of animation artwork, perfect for any collection!

#PinkPanther #ThePinkPanther #Storyboard #DepatieFrelengEnterprises #Depatie-Freleng #TheInspector #TheAntandtheAardvark #TijuanaToads #TexasToads #HootKloot #Misterjaw #RolandandRattfink #TheDogfather #TheBlueRacer #CrazylegsCrane #ThePinkPantherShow #FrizFreleng #untitledartgallery #cel #animation #animationcel #animationdrawing #productioncel #productiondrawing #productionbackground #cartoon #DavidHDePatie #DavidDePatie #BlakeEdwards #HenryMancini

Original Production Animation Cel of The Ant from "The Ant and The Aardvark," 1970-71

Original hand painted production animation cel of The Ant from "The Ant and The Aardvark," 1970-71, Depatie-Freleng Enterprises; Set on a lithographic background; Size - Ant: 1 1/2 x 1 1/4", Image 10 x 12"; Unframed.

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

DePatie-Freleng Enterprises, (1963-1981) was an American animation company that was based in Burbank, California. It produced theatrical cartoons, animated series, commercials, film title design sequences, and television specials; but was most known for The Pink Panther film titles and cartoon shorts, as well as the Dr. Seuss cartoon adaptations made for CBS and ABC. The company was founded by two former Warner Bros. Cartoons employees, director/composer/producer Friz Freleng and executive David H. DePatie. Although Freleng and DePatie were no longer working for Warner Bros., they were able to lease the former Warner cartoons studio, complete with equipment and supplies, for only a few dollars each year.

Original production animation cel of The Ant.

Director Blake Edwards contacted DePatie-Freleng and asked them to design a panther character for Edwards's new film, The Pink Panther; and they would also produce the animated titles for the film. The opening titles were hugely popular and soon DePatie-Freleng contracted with United Artists to produce a series of cartoon shorts featuring the Pink Panther. The first entry in the Pink Panther series, The Pink Phink, was directed by Freleng; and won the studio its only Academy Award in 1964. In 1967, DePatie-Freleng would receive another Academy Award nomination for The Pink Blueprint. The studio created over 100 Pink Panther shorts for both theatrical release and television through 1980.

Henry Mancini composed "The Pink Panther Theme" for the live action films, which was also used in the cartoon series. Doug Goodwin composed the show's opening title music, while William Lava and Walter Greene composed music scores heard throughout the cartoons; many of which were derivations of Mancini's composition.

Close up of the original production animation cel of The Ant.

The Pink Panther theatrical series of cartoons became the basis of a Saturday morning television series, The Pink Panther Show. The series (1969-1980) also included cartoons of The Inspector; and eventually The Ant and the Aardvark, Tijuana Toads (a.k.a. Texas Toads), Hoot Kloot, Misterjaw, Roland and Rattfink, The Dogfather, and two Tijuana Toads spinoffs: The Blue Racer and Crazylegs Crane. It was produced by Mirisch Films and DePatie-Freleng Enterprises, and was broadcast on two American television networks: from September 6, 1969 to September 2, 1978, on NBC; and from September 9, 1978 to September 1, 1980, on ABC (as The All New Pink Panther Show). After nine years on NBC, the Pink Panther moved to ABC in 1978 and was titled The All New Pink Panther Show, where it lasted one season before leaving the network realm entirely. The ABC version of the series featured sixteen episodes with 32 new Pink Panther cartoons, and 16 featuring Crazylegs Crane.

Over its 11 years on various television networks, The Pink Panther Show had a variety of names:
The Pink Panther Show (1969–1970)
The Pink Panther Meets the Ant and the Aardvark (1970–1971)
The New Pink Panther Show (1971–1974)
The Pink Panther and Friends (1974–1976)
It's the All New Pink Panther Laugh-and-a-Half Hour-and-a-Half Show Introducing Misterjaw (1976–1977)
Think Pink Panther (1977–1978)
The All New Pink Panther Show (1978–1980)

The Ant and The Aardvark cartoon shorts center on a blue aardvark (voiced by John Byner who was impersonating the comedian Jackie Mason) trying to catch and eat a red ant named Charlie (also voiced by John Byner but impersonating Dean Martin). The Aardvark's trunk sucking was the sound of a vacuum cleaner. The series was enormously popular, but only 17 shorts were every produced. Unique techniques were employed for the series, including making the Aardvark and his clothing (shorts and t-shirt) all one color blue; and the Ant was painted all red. This allowed for the two characters to clearly stand out on the brightly colored backgrounds. Another production element was the jazzy musical score that was directed by Doug Goodwin. He assembled a group jazz session musicians to perform the opening/closing credits and the musical cues; and for the first time in animated cartoon history all six of the musicians received on screen credit.

This is a wonderful cel of The Ant; and he is full figure and eyes open. A very rare and beautiful piece of animation artwork, perfect for any collection!

#PinkPanther #ThePinkPanther #Storyboard #DepatieFrelengEnterprises #Depatie-Freleng #TheInspector #TheAntandtheAardvark #TijuanaToads #TexasToads #HootKloot #Misterjaw #RolandandRattfink #TheDogfather #TheBlueRacer #CrazylegsCrane #ThePinkPantherShow #FrizFreleng #untitledartgallery #cel #animation #animationcel #animationdrawing #productioncel #productiondrawing #productionbackground #cartoon #DavidHDePatie #DavidDePatie #BlakeEdwards #HenryMancini

Original Production Animation Drawing of J. Worthington Foulfellow (Honest John or The Fox) from "Pinocchio," 1940

Original production animation drawing in red, blue, green, and graphite pencils of J. Worthington Foulfellow (Honest John or The Fox) from "Pinocchio," 1940, Walt Disney Studios; Production stamp and numbered 53 in pencil lower right; Size - J. Worthington Foulfellow: 7 1/2 x 6", Sheet: 10 x 12"; Unframed.

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

"Pinocchio," 1940 was the second animated feature film produced by Disney, and followed on the success of "Snow White and the Seven Dwarfs." 1937. It was released to theaters by RKO Radio Pictures on February 23, 1940 and was based on the Italian children's novel "The Adventures of Pinocchio" by Carlo Collodi. The general plot of the film involves an old wood-carver named Geppetto, who carves a wooden puppet that he names Pinocchio. One night the puppet is brought to life by the Blue Fairy, who informs him that he can become a real boy if he proves himself to be "brave, truthful, and unselfish". Pinocchio's journey to become a real boy is challenged by his encounters with an array of scrupulous characters.

"Pinocchio" became the first animated feature to win an Academy Award; it won for both Best Music - Original Score and for Best Music - Original Song for "When You Wish Upon A Star." Most critics and audiences agree that "Pinocchio" is among the finest Disney features ever made, and one of the greatest animated films of all time. In 1994, it was added to the United States National Film Registry as being "culturally, historically, or aesthetically significant."

Close up of the original animation drawing of Foulfellow.

Due to the huge success of "Snow White," Walt Disney wanted more famous voice actors for "Pinocchio." He cast popular singer Cliff Edwards (who had made the first record selling over a million copies) as Jiminy Cricket. Disney also wanted the character of Pinocchio to be voiced by a real child. The role ended up going to twelve year old actor Dickie Jones, who had previously been in Frank Capra's enormous Hollywood hit, "Mr. Smith Goes to Washington."

Animation began in September 1938 and just as in "Snow White," live-action footage was shot for "Pinocchio" with the actors playing the scenes; which was supervised by Hamilton Luske. The animators then used the footage as a guide for their animation drawings by studying the human movement and then incorporating many of those poses and scenes. The title character was animated by Milt Kahl (initial design), Frank Thomas, and Ollie Johnston. "When I was doing Pinocchio," Johnston said, "I thought of the character being real, a living person, not a drawing."

Norm Ferguson (Fergy) was the animator responsible for bringing both J. Worthington Foulfellow (The Fox) and Gideon (The Cat) to life. Fergy is most remembered for his creation of Pluto, but his animation of both Foulfellow and Gideon was one of the true highlights of the film "Pinocchio." The inspiration for Foulfellow (also called Honest John) was the classic vaudeville acts; with the actor's overdone dialogue and skill at improvisations. Foulfellow was a very fast talking and persuasive Fox, who would not give poor Pinocchio time to think or respond before moving forward with his own plan to better himself, at the expense of his poor victim. Although dressed in a top hat, gloves, and a cape; all of his clothing is old, ragged, and with patches throughout.

Walter Catlett provided the voice of Foulfellow and endowed the character with a wonderful sophisticated style, that added to the level of sophistication to this petty criminal. Catlett had started is own career in vaudeville and new how to impart that style into his reading of Honest John. In addition, Walter Catlett's voice was also great for Fergy's animation; as it allowed for facial expressions and for mannerisms that enhanced the feel of Honest John. This combination was perfect and really helped in the development of a much more brilliant character, and one of the most entertaining in the film.

Close up of the production numbers.

This is a spectacular drawing of Honest John! The drawing is from the first encounter by Pinocchio with the fast talking Foulfellow; who when saying the word "theater," throws his cape dramatically behind him! A great addition to any animation art collection. The dialog for the scene is below:

Pinocchio: I'm going to school.

Foulfellow: School. Ah, yes. Then perhaps you haven't heard of the easy road to success.

Pinocchio: Uh-uh.

Foulfellow: No? I'm speaking, my boy, of the theater! Here's your apple.

[Hands Pinocchio the apple, eaten down to the core]

#Pinocchio #Foulfellow #HonestJohn #NormFerguson #WalterCatlett #JiminyCricket #CliffEdwards #BlueFairy #Geppetto #WaltDisney #Disney #untitledartgallery #animation #animationart #cel #animationdrawing #productiondrawing #DickieJones #MiltKahl #FrankThomas #OllieJohnston #CarloCollodi #SandyStrother #JoeGrant #HamiltonLuske #Givealittlewhistle