Original Production Animation Cel of Perdita, Lucky, and Puppy from "One Hundred and One Dalmatians," 1961

Original hand painted production animation cels of Perdita, Lucky and another Puppy from "One Hundred and One Dalmatians," 1961, Walt Disney Studios; Set on a lithographic background; With original Art Corner Certificate sticker verso; Size - Perdita, Lucky, & Puppy: 5 x 7", Image: 9 1/2 x 12"; Unframed.

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

"I'm tired and I'm hungry and my tail's froze...and my nose is froze and my ears are froze. And my toes are froze." - Lucky

"One Hundred and One Dalmatians" ("101 Dalmatians"), is a 1961 full length animated feature film by Walt Disney Productions. It was adapted from Dodie Smith's 1956 novel of the same name. It stars Rod Taylor as the voice of Pongo and Cate Bauer as the voice of Perdita; with Betty Lou Gerson as the voice of the evil and villainous Cruella de Vil. The animation of all the characters from the film was quite extraordinary.

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

Original hand painted production animation cel of Perdita without the background.

 

 

Original hand painted production animation cel of Lucky and a Puppy without the background.

The animator Ub Iwerks had been experimenting with Xerox photography to aid in animation process. By 1959 he had modified a Xerox camera to transfer the drawings by the animators, directly onto animation cels. The process would preserve the spontaneity of the penciled drawings but eliminate the inking process, thus saving time and money. However, the limitation was that the camera was unable to deviate from a black scratchy outline, and the resulting cels lacked the fine lavish quality of hand inking.

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

Original Art Corner Certificate sticker.

Perdita was also animated by Ollie Johnston, and she was voiced by Lisa Davis and Cate Bauer. Lisa Davis (who also voiced Anita) recorded about a third of the film as Perdita, but got married and moved to New York. So for the balance of the film, Perdita was voiced by Cate Bauer. It is unknown which actress recorded which lines.

 

Lucky is one of Pongo and Perdita's fifteen puppies and he almost passed away soon after birth; but fortunately was revived by Roger Radcliff. Anita, Roger, and Nanny gave him the name Lucky because of his fortuitous survival. As he grew older, Lucky loved to watch television and he often sat directly in front of the set.  He also lived up to his given name as he seemed to avoid tough circumstances just by sheer luck. Lucky was voiced by child actress Mimi Gibson.

This is a fantastic original production animation cel setup of Perdita, Lucky, and a Puppy walking through the snow, all three dogs are eyes open, and are full figure. A beautiful piece of original Walt Disney artwork that is perfect for any animation art collection!

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Original Production Animation Drawing of Tramp from "Lady and the Tramp," 1955

Original production animation drawing of Tramp in graphite, green, and red pencils from "Lady and the Tramp," 1955, Walt Disney Studios; Numbered 8 in pencil lower right; Size - Tramp: 4 3/4 x 3 1/2", Sheet 12 1/2 x 15 1/2"; Unframed.

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

"Lady and the Tramp" (released on June 22, 1955) is a full length featured animated film produced by Walt Disney and released by Buena Vista Distribution. The film was the 15th in the Walt Disney Animated Classics series, and it was the first animated feature filmed in with the CinemaScope widescreen film process. The film was based on the story "Happy Dan, The Whistling Dog" by Ward Greene and tells the story of a female American Cocker Spaniel named Lady who lives with a refined, upper-middle-class family. Lady meets a male stray mutt named Tramp and they embark on many exciting and romantic adventures.

 

One evening in 1937, Disney story man Joe Grant invited Walt Disney over to his house for dinner and ended up showing Disney a drawing he had made of his pet Springer Spaniel, who was named Lady. Walt loved the drawing and suggested that Joe make a storyboard out of it, which he did and the plan to create a new animated film, simply titled "Lady." The story that was pitched ended up being too simplistic to Walt Disney's taste, and the project was put on hold until about 20 years later; when "Lady and the Tramp" was put into production.

Initially Tramp was called Homer and although he was first conceived as Lady's suitor, he ended up as her ex-dog pound mate in the initial 1943 storyboard pitch. A few years after that version was scrapped, Walt Disney read a story called "Happy Dan the Cynical Dog" in Cosmopolitan Magazine and decided that this was they type of character that was needed to enhance the film. Although Walt wanted his new character to be called Tramp, the animators feared that audiences would take offense in such a name, due to the word's sexual connotations that had been popularized by the song "The Lady Is A Tramp." The animators first called the character Rags, then Bozo; before Walt insisted that that name Tramp would be acceptable.

Close up of the original production animation drawing of Tramp.

Tramp is a very laid-back dog and acts more like a kid. He's flirtatious and has history of having had a multitude of girlfriends; and he's known for his street smarts, able to both avoid dog catchers and deal with junkyard dogs. However, he dreams about living with a family and in a loving home. Tramp was animated by Ollie Johnston, Milt Kahl, and Wolfgang Reitherman who animated the rat fight scene.

Larry Roberts (1926 - 1992) was an American voice actor and comedian who was most active in the 1950s. Although he was well known for his role in the 1950s TV series Lights, Camera, Action!, he is best remembered for his role of the voice of Tramp.

This is a wonderful full figure original production drawing of Tramp with both his eyes and mouth open. A great addition to any animation art collection!

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

Original Matching Production Animation Drawings of Captain Hook and The Rope Ladder from "Peter Pan," 1953

Original matching production animation drawings of Captain Hook in red, green, and graphite pencils and the Rope Ladder in graphite and blue pencils from "Peter Pan," 1953, Walt Disney Studios; Numbered 140 and A11 in pencil lower right; Production numbers stamp on the Captain Hook drawing lower left; Size - Captain Hook: 6 3/4 x 9 3/4", Rope Ladder: 4 x 15 1/2", Both sheets 12 1/2 x 15 1/2"; Unframed.

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

"Ha ha ha, you wouldn’t dare fight old Hook man to man. You’d fly away like a cowardly sparrow." - Captain Hook

The author J. M. Barrie first used Peter Pan as a character in a section of the adult novel "The Little White Bird" in 1902. He returned to that character with his stage play entitled "Peter Pan, or The Boy Who Wouldn't Grow Up," which premiered in London on December 27, 1904. The play ran until 1913, and it was later adapted by Walt Disney for the animated feature film entitled, "Peter Pan," in 1953.

Original production animation drawing of Captain Hook.

Close up of the original production animation drawing of Captain Hook.

Captain James Bartholomew Hook was initially designed by Milt Kahl animated by legendary Frank Thomas and Wolfgang Reitherman. Hook voiced by Hans Conried who was also the voice of George Darling, which is consistent with the roles of "Peter Pan" for the stage. Conried was a well known actor including roles on "I Love Lucy" where he played an English tutor as well as playing the character Wrongway Feldman on "Gilligan's Island." His voice was so distinctive and so memorable that he was perfect for the role of Captain Hook; as he had a wonderful way of conveying both the rough gruff pirate role as well and the sly calculating villain.

From Disney animator Andreas Deja:
"Many of you would agree that Captain Hook is one of Frank Thomas' best creations. To some Frank is the best animator who ever lived. - He used live action reference for a number of his characters. In this case it was character actor Hans Conried who provided the voice and acting reference for Hook. Frank was very critical about the way other animators used live action. To him the acting ideas were all you needed, but you still had to pass judgement on the footage and interpret what the actor gave you. His animation never has that roto, floaty feel to it. For one thing Frank was way too talented and smart to let that happen."

Original production animation drawing of the rope ladder.

Frank Thomas's first sketches of Captain Hook were much more menacing than the final product. Walt Disney felt the character was going to be too frightening for children and so Thomas toned down his drawings. The result is a wonderful character with comic overtones, and is one of the favorite male villains in the Disney film world. Also of note is that Captain Hook has also made more appearances in visual media than any of the Disney film Villains, combined!

This is a fantastic set of key matching production drawings from the final battle between Captain Hook and Peter Pan aboard the pirate's ship "Jolly Roger." Hook has both eyes open and a wickedly evil smile. He is armed with his sword and hook, as he pursues Peter Pan onto the rope ladder rigging of the ship; daring Peter to face him. The key matching production animation drawing of the rope ladder is very rare and a great addition to the Captain Hook drawing. As Hook climbs up the rope ladder he says to Peter Pan, "Ha ha ha, you wouldn’t dare fight old Hook man to man. You’d fly away like a cowardly sparrow." A rare and important set of drawings and a great addition to any art collection!

 

#Tinkerbell #PeterPan #Disney #WaltDisney #animationcel #animationdrawing #productioncel #productiondrawing #Smee #MrSmee #captainhook #cel #animation #animationart #hansconried #frankthomas #jollyroger #pirate #untitledartgallery #Neverland #MarcDavis #WolfgangReitherman #WendyDarling #DisneyCel #CaptainHook

Eyvind Earle Original Concept Painting of Prince Phillip and Samson from "Sleeping Beauty," 1959

Eyvind Earle original concept painting of Prince Phillip and Samson from "Sleeping Beauty," 1959, Walt Disney Studios; Gouache on board; Signed Eyvind Earle lower right; Size - Concept Painting: 6 x 15"; Unframed.

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

"I wanted stylized, simplified Gothic. Straight, tall, perpendicular lines like Gothic cathedrals... I used one-point perspective. I rearranged the bushes and trees in geometrical patterns. I made a medieval tapestry out of the surface wherever possible. All my foregrounds were tapestry designs of decorative weeds and flowers and grasses. And since it is obvious that the Gothic style and detail evolved from the Arabic influence acquired during the Crusades, I found it perfectly permissible to use all the wonderful patterns and details found in Persian miniatures. And since Persian miniatures had a lot in common with Chinese and Japanese art, I felt is was OK for me to inject quite a bit of Japanese art, especially in the close-up of leaves and overhanging branches."
- Eyvind Earle describing working on "Sleeping Beauty"

"Sleeping Beauty" is a Walt Disney animated full length feature film and was based on "The Sleeping Beauty" by Charles Perrault and "Little Briar Rose" by The Brothers Grimm. The film was the sixteenth in the Walt Disney Animated Classics series, and it was released to theaters on January 29, 1959 by Buena Vista Distribution. This was to be the last Disney adaptation of a fairy tale for many years, both because of its initial mixed critical reception, and because of it's under performance at the box office. The Walt Disney studio did not return to the fairy tale genre until 30 years later, with the release of "The Little Mermaid" in 1989.

"Sleeping Beauty" was directed by Les Clark, Eric Larson, and Wolfgang Reitherman, under the supervision of Clyde Geronimi. The story was written by Joe Rinaldi, Winston Hibler, Bill Peet, Ted Sears, Ralph Wright, and Milt Banta. The film's musical score and songs, featuring the Graunke Symphony Orchestra, was under the direction of George Bruns. Arrangements and/or adaptations were derived from numbers from the 1890 "Sleeping Beauty Ballet" by Pyotr Ilyich Tchaikovsky. In addition, Igor Stravinsky's music compositions were also adapted into the film. "Sleeping Beauty" was the first animated film to be photographed in the Super Technirama 70 widescreen process, as well as the second full-length animated feature film to be filmed in anamorphic widescreen; following "Lady and the Tramp" four years earlier. In select first-run engagements, the film was presented in Super Technirama 70 and 6-channel stereophonic sound.

When Walt Disney began to plot out the scenes for "Sleeping Beauty" he told sequence director Eric Larson, "What we want out of this is a moving illustration. I don't care how long it takes." Disney had begun to take critism for his recent films being flat and devoid of artistic design. Walt Disney made a descion to return to the illustrative and lush design of his early films such as "Snow White" and "Pinocchio." "For years and years I have been hiring artists like Mary Blair to design the styling of a feature, and by the time the picture is finished, there is hardly a trace of the original styling left. This time Eyvind Earle is styling "Sleeping Beauty," and that's the way it's going to be!" said Walt Disney during a meeting.

Eyvind Earle (1916-2000) was an American artist, author, and illustrator and he was hired by the Disney Studio in 1951 as an assistant background painter. He worked on several production including "For Whom the Bulls Toil," "Toot, Whistle, Plunk and Boom," "Peter Pan," "Working for Peanuts," "Pigs is Pigs," "Paul Bunyan," and "Lady and the Tramp." However he most noted for providing the complete art direction including, styling, backgrounds, and colors for "Sleeping Beauty."

Earle was thrilled with the "Sleeping Beauty" assignment and a key influence for the film was the early 1413 illuminated manuscript "Tres Riches Heures de Jean, Duc de Berri," and illustrative devotional volume that included Psalms, prayers and a calendar of Church feasts. It was from this book that Earle developed his color pallet; the rich lapis lazuli blue of the knight's banners, the yellow-green of Maleficent's flames, and the shell pink and paler blue of Aurora's gown. Another inspiration were the modern painters of the early 20th century such as Matisse, Cezanne, Klee, Modigliani, and Picasso. The "Sleeping Beauty" characters and backgrounds were to be painted flat, with bold colors and highly stylized. The result was absolutely stunning and the film garnered praise from both the world public and highbrow art critics, who had rarely acknowledged even the existence of animation as an art form.

When "Sleeping Beauty" was released to the public in 1959, it was heralded as six years in the making. However, work actually began in 1951, and so it took eight years to complete, with Earle painting all the key backgrounds. Earle also created painting progression boards which provided a visual storyboard of how he would, for example paint a bush. Although he was given painting assistants, he would go on to either paint or touch up every single background in the film. While a normal background for a Disney feature film may take a day to paint, an Earle key background for "Sleeping Beauty" could take up to ten days.

This is a wonderful original concept painting of Prince Phillip on his horse Samson, surrounded by the ruins of Maleficent's Castle, by Walt Disney artist Eyvind Earle. "Sleeping Beauty" is widely regarding as the most beautiful of the Walt Disney vintage full length feature film and a large share of this praise goes to Eyvind Earle. This hand painted and hand signed artwork would be a great addition to any animation art collection!

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Original Production Animation Cel of Merlin from "The Sword In The Stone," 1963

Original hand painted production animation cel of Merlin from "The Sword In The Stone," 1963, Walt Disney Studios; Set on a lithographic background; Numbered 121 in ink lower right; Size - Merlin: 7 3/4 x 5 3/4", Image 11 x 14 1/2"; Unframed.

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

"The Sword in the Stone," 1963 is the 18th full length feature film produced by Walt Disney and it was released on December 25, 1963 by Buena Vista Distribution. The film was based on the novel of the same name, that was first published in 1938. It was later republished in 1958 as the first book of T. H. White's tetralogy "The Once and Future King." It was to be the final Disney animated film released before Walt Disney's death on December 15, 1966. The songs in the film were written and composed by the Sherman Brothers, who would become very famous for their future work on later Disney films including; "Mary Poppins," 1964, "The Jungle Book," 1967, and "Bedknobs and Broomsticks," 1971.

Original production animation cel of Merlin without the background.

Merlin is a very powerful wizard with a pet owl named Archimedes. He befriends and becomes the teacher of a 12-year old orphan named Arthur, who goes by the name of Wart. Merlin is first seen living in a forest cottage, and he believes in the philosophy of "Brain over Brawn." As a wizard, he is very intelligent, has a wide variety of powers, and is considered the most powerful wizard in the world. He has the ability to see into the future, and has the ability to shape-shift. Merlin was animated by Milt Kahl, Frank Thomas, and Ollie Johnston; and voiced by Karl Swenson who was an American theater, radio, film, and television actor.

This is a great original production animation cel of Merlin occurring after he transforms Wart into a fish. Wart asks "Merlin, am I a fish?" and Merlin responds, "Yes. Yes, yes, yes, yes, you are a fish… but if you don’t stop that flippity-flopping around… and get in the water, you won’t last long." This is a great full figure, eyes open image of Merlin as he tries to catch Wart as a fish and get him into the water. An absolutely wonderful piece of original animation artwork perfect for any collection!

#FrankThomas #OllieJohnston #Wart #madmadammim #swordinthestone #RickieSorensen #Excalibur #RichardReitherman #RobertReitherman #mim #madammim #merlin #arthur #kingarthur #disney #cel #animationcel #animationart #artcollecting #untitledartgallery #WaltDisney #THWhite

Original Production Animation Cel Setup featuring Ariel from "The Little Mermaid," 1989

 

Original hand painted production animation cels of Ariel, Barrel, and Special Effects from "The Little Mermaid," 1989, Walt Disney Studios; Set on a lithographic background; With Walt Disney Certificate; Disney seal upper right; Production numbers in ink lower right; Size - Ariel, Barrel, & Special Effects: 4 1/4 x 8 3/4", Image 9 1/2 x 13"; Unframed.

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

 "Don't worry, Ariel. We're gonna make it!" - Flounder

 

"The Little Mermaid," is an American animated musical fantasy film and the 28th film in the Walt Disney Animated Classics series. It was produced by Walt Disney Feature Animation and released by Walt Disney Pictures to theaters on November 17, 1989. The film was based on the Danish fairy tale of the same name by Hans Christian Andersen, which tells the story of a beautiful mermaid princess who dreams of becoming human. The film was written, directed, and produced by Ron Clements and John Musker; with music by Alan Menken and Howard Ashman. The voice cast includes: Jodi Benson, Christopher Daniel Barnes, Pat Carroll, Samuel E. Wright, Jason Marin, Kenneth Mars, Buddy Hackett, and René Auberjonois.

Original hand painted production animation cel of Special Effects, Barrel, and Ariel without the background.

There was more money and resources dedicated by the Walt Disney Studios to "The Little Mermaid" than any other Disney animated film in decades. Aside from its main animation facility in Glendale, California; Disney opened a satellite feature animation facility in Lake Buena Vista, Florida that was within the Disney-MGM Studios Theme Park at Walt Disney World. Their first projects were to produce an entire Roger Rabbit cartoon short, "Roller Coaster Rabbit," and to contribute ink and paint support to "The Little Mermaid." Another first for Disney films of recent years, was the filming of live actors and actresses for motion reference material for the animators. Broadway actress Jodi Benson (who was predominantly a stage actress when she was cast) was chosen to play Ariel, and Sherri Lynn Stoner, a former member of Los Angeles' Groundlings improvisation comedy group, acted out Ariel's key scenes.

Original Walt Disney Certificate of Authenticity.
 

The Little Mermaid's supervising animators included Glen Keane and Mark Henn on Ariel, Duncan Marjoribanks on Sebastian, Andreas Deja on King Triton, and Ruben Aquino on Ursula. Originally, Keane had been asked to work on Ursula, as he had established a reputation for drawing large powerful figures, such as the bear in "The Fox and the Hound," 1981 and Professor Ratigan in "The Great Mouse Detective," 1986. Keane however, was assigned as one of the two lead artists on the petite Ariel and oversaw the "Part of Your World" musical number. He jokingly stated that his wife looks exactly like Ariel "without the fins." The character's body type and personality were based upon that of Alyssa Milano, who was starring on TV's "Who's the Boss?". The effect of Ariel's hair underwater was based on footage of Sally Ride when she was in space; and scenes of Sherri Lynn Stoner in a swimming pool were used in animating Ariel's swimming. A challenge in animating Ariel were the colors required to show her in various changing environments, both under the sea and on land. By the end of the film, the animators required a total of 32-color models; not including costume changes. The sea-green color of her fin was a hue specially mixed by the Disney paint lab, and the color was named "Ariel" after the character.

"The Little Mermaid," 1989 was the final Walt Disney full length feature film that used hand painted animation cels. This is an outstanding original production animation cel setup from the end of the film when Ariel has discovered the Vanessa, whom Eric is about to marry onboard a ship, is actually Ursula in disguise. Ariel, hanging onto a floating barrel, and Flounder are racing to the ship hoping to arrive before the ceremony is concluded.  This multiple cel setup is from a very exciting part of the film and would be an absolutely spectacular addition to any animation art collection!

#TheLittleMermaid #LittleMermaid #Ariel #SherriLynnStoner #GlenKeane #MarkHenn #DuncanMarjoribanks #Sebastian #AndreasDeja #KingTriton #RubenAquino #Ursula #AlyssaMilano #PartofYourWorld #Disney #WaltDisney #Disneycel #cel #untitledartgallery #productioncel #productiondrawing #animation #animationart #animationcel #animationdrawing #JodiBenson #HansChristianAndersen #RonClements #JohnMusker #AlanMenken #HowardAshman #ChristopherDanielBarnes #PatCarroll #SamuelEWright #JasonMarin #PrinceEric #BuddyHackett #RenéAuberjonois #Flotsam #Jetsam

Original Production Animation Cels of Princess Ariel, Flotsam, and Jetsam from "The Little Mermaid," 1989

 

Original hand painted production animation cels of Ariel and Flotsam & Jetsam; Set on a lithographic background from "The Little Mermaid," 1989, Walt Disney Studios; Disney seal lower right; Production numbers in ink lower right; Size - Ariel and Flotsam & Jetsam: 8 1/4 x 12", Image 11 1/2 x 17"; Unframed.

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

 "Of course, I always was a girl with an eye for a bargain. The daughter of the great sea king is a very precious commodity." - Ursula

 

"The Little Mermaid," is an American animated musical fantasy film and the 28th film in the Walt Disney Animated Classics series. It was produced by Walt Disney Feature Animation and released by Walt Disney Pictures to theaters on November 17, 1989. The film was based on the Danish fairy tale of the same name by Hans Christian Andersen, which tells the story of a beautiful mermaid princess who dreams of becoming human. The film was written, directed, and produced by Ron Clements and John Musker; with music by Alan Menken and Howard Ashman. The voice cast includes: Jodi Benson, Christopher Daniel Barnes, Pat Carroll, Samuel E. Wright, Jason Marin, Kenneth Mars, Buddy Hackett, and René Auberjonois.

There was more money and resources dedicated by the Walt Disney Studios to "The Little Mermaid" than any other Disney animated film in decades. Aside from its main animation facility in Glendale, California; Disney opened a satellite feature animation facility in Lake Buena Vista, Florida that was within the Disney-MGM Studios Theme Park at Walt Disney World. Their first projects were to produce an entire Roger Rabbit cartoon short, "Roller Coaster Rabbit," and to contribute ink and paint support to "The Little Mermaid." Another first for Disney films of recent years, was the filming of live actors and actresses for motion reference material for the animators. Broadway actress Jodi Benson (who was predominantly a stage actress when she was cast) was chosen to play Ariel, and Sherri Lynn Stoner, a former member of Los Angeles' Groundlings improvisation comedy group, acted out Ariel's key scenes.

Original Walt Disney Certificate of Authenticity.
 

The Little Mermaid's supervising animators included Glen Keane and Mark Henn on Ariel, Duncan Marjoribanks on Sebastian, Andreas Deja on King Triton, and Ruben Aquino on Ursula. Originally, Keane had been asked to work on Ursula, as he had established a reputation for drawing large powerful figures, such as the bear in "The Fox and the Hound," 1981 and Professor Ratigan in "The Great Mouse Detective," 1986. Keane however, was assigned as one of the two lead artists on the petite Ariel and oversaw the "Part of Your World" musical number. He jokingly stated that his wife looks exactly like Ariel "without the fins." The character's body type and personality were based upon that of Alyssa Milano, who was starring on TV's "Who's the Boss?". The effect of Ariel's hair underwater was based on footage of Sally Ride when she was in space; and scenes of Sherri Lynn Stoner in a swimming pool were used in animating Ariel's swimming. A challenge in animating Ariel were the colors required to show her in various changing environments, both under the sea and on land. By the end of the film, the animators required a total of 32-color models; not including costume changes. The sea-green color of her fin was a hue specially mixed by the Disney paint lab, and the color was named "Ariel" after the character.

Flotsam and Jetsam are a pair of slender green moray eels. Their eyes are odd and notable as one is yellow for one and the other opposite is white for the other. The eels are named after the phrase flotsam and jetsam which means "useless or disregarded objects". Flotsam and Jetsam speak in unison, they finish each other's sentences, and are constantly entwining their bodies. They can also merge their white eyes to form a single crystal ball; which creates a portal through which Ursula can view the outside world while still within her cave. Both eels were both voiced by Paddi Edwards, who also was the voice of Lucy the goose in "One Hundred and One Dalmatians: The Series" and Atropos the Fate in "Hercules."

"The Little Mermaid," 1989 was the final Walt Disney full length feature film that used hand painted animation cels. This is an outstanding original production animation cel setup of Princess Ariel, Flotsam, and Jetsam. The setup is from the end of the film when The Little Mermaid, Ariel is being used as leverage by Ursula as she tries to bargain with King Triton into self sacrifice, after Ariel fulfills her contract with the evil Sea Witch. This is a very large cel image spanning an incredible seventeen inches long. A absolutely spectacular addition to any animation art collection!

#TheLittleMermaid #LittleMermaid #Ariel #SherriLynnStoner #GlenKeane #MarkHenn #DuncanMarjoribanks #Sebastian #AndreasDeja #KingTriton #RubenAquino #Ursula #AlyssaMilano #PartofYourWorld #Disney #WaltDisney #Disneycel #cel #untitledartgallery #productioncel #productiondrawing #animation #animationart #animationcel #animationdrawing #JodiBenson #HansChristianAndersen #RonClements #JohnMusker #AlanMenken #HowardAshman #ChristopherDanielBarnes #PatCarroll #SamuelEWright #JasonMarin #PrinceEric #BuddyHackett #RenéAuberjonois #Flotsam #Jetsam