Original Production Animation Cel of Br'er Fox and Br'er Rabbit from "Song of the South," 1946

 

Original hand painted and hand inked production animation cel of Br'er Fox and Br'er Rabbit from "Song of the South," 1946, Walt Disney Studios; Numbered 82 in ink lower right; Set on a lithographic background; Size - Br'er Fox & Br'er Rabbit: 5 x 7 1/4", Image 9 x 12"; Unframed.

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

This sensational hand-painted and hand-inked production cel captures a memorable moment between Br’er Rabbit and Br’er Fox from Walt Disney’s 1946 live-action/animated musical film Song of the South. The scene depicts the clever Br’er Rabbit being held by the ears as Br’er Fox excitedly shakes his hand, believing that he has finally devised the perfect punishment. “Briar Patch! I’m glad I thought of that! Yes, indeed! I’m sho’ am glad I thought of that!” Br’er Fox declares after being persuaded by Br’er Rabbit to throw him into the very briar patch that Br’er Fox believes his enemy fears.

Of course, the scene represents one of Br’er Rabbit’s most famous tricks. By pretending to dread being thrown into the briar patch, Br’er Rabbit manipulates Br’er Fox into believing that the idea was entirely his own. This 16-field cel wonderfully captures the humor and energy of the animated sequence, with Br’er Fox’s triumphant expression contrasting perfectly with Br’er Rabbit’s apparent distress—and his secret confidence that the fox has fallen directly into his trap.

Released by RKO Radio Pictures in 1946, Song of the South was produced by Walt Disney and was Disney’s first feature film to use live actors as a framework for animated sequences throughout the story. The film was based on the Uncle Remus stories collected by Joel Chandler Harris and featured the adventures of the anthropomorphic Br’er Rabbit and his adversaries, Br’er Fox and Br’er Bear. Uncle Remus, portrayed in the film by James Baskett, served as the storyteller who introduced these folktales.

Joel Chandler Harris created the character of Uncle Remus in 1876 and began publishing the stories as a serial series. Harris wrote that his purpose was to “preserve in permanent shape those curious mementoes of a period that will no doubt be sadly misrepresented by historians of the future.” The stories became enormously influential in American popular culture. President Theodore Roosevelt famously praised Harris, saying, “Presidents may come and presidents may go, but Uncle Remus stays put. Georgia has done a great many things for the Union, but she has never done more than when she gave Mr. Joel Chandler Harris to American literature.”

Because of the film’s depiction of Black former slaves and race relations in Reconstruction-era Georgia, Song of the Southhas been controversial since its original release. A number of critics, both at the time of its premiere and in later decades, have described the film as racist. Consequently, Song of the South has never been released in its entirety on home video in the United States.

Br’er Fox is the fast-talking, sly fox who is always attempting to trick and trap the seemingly helpless—but endlessly resourceful—Br’er Rabbit. With his red fur, sharp teeth, yellow-green hat, pale shirt, forest-green vest, and green trousers, he is one of the film’s most visually recognizable animated characters. His confidence and enthusiasm are frequently his undoing, particularly when dealing with Br’er Rabbit. One of his most memorable declarations comes when he believes he has finally succeeded: “I GOT ’im! I got the little rabbit! I sure’s got ’im! Heh heh heh! I got the little rabbit this time for sure!”

Br’er Fox was animated by two of Disney’s legendary animators, Marc Davis and Ollie Johnston, and was voiced by James Baskett, who also starred in the film as Uncle Remus. In recognition of his performance as the famous storyteller, Baskett received an Honorary Academy Award, making him the first Black male performer to receive an Oscar.

Song of the South is also notable for its ambitious combination of live-action filmmaking and traditional animation. Its song “Zip-a-Dee-Doo-Dah” won the 1947 Academy Award for Best Song and became widely associated with Disney and popular culture. The film also inspired Disney’s famous log-flume theme park attraction, Splash Mountain.

This exceptional production cel preserves a wonderfully expressive moment from one of Disney animation’s most historically significant and visually distinctive—and controversial—films. Capturing the classic personalities and comic interplay of the ever-resourceful Br’er Rabbit and the perpetually outwitted Br’er Fox, the cel represents a memorable example of the craftsmanship and character animation of the Walt Disney studio during the 1940s.

#SongoftheSouth #BrerBear #BrerFox #BrerRabbit #TarBaby #MarcDavis #OllieJohnston #EricLarson #JoelChandlerHarris #UncleRemus #JamesBaskett #ZipaDeeDooDah #cel #productioncel #animation #animationart #Disney #WaltDisney #untitledartgallery #animationdrawing #productiondrawing #animationcel #laughinplace #laughingplace #thelaughingplace #JohnnyLee #HankPorter

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, green, blue, and graphite pencils; Numbered 85 lower right, and used during the production of "The Sorcerer's Apprentice" sequence of "Fantasia," 1940, Walt Disney Studios; Size - Mickey Mouse & Shadow: 3 3/4 x 8", Sheet 10 x 12"; Unframed.

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

This exceptional original production drawing depicts Mickey Mouse in one of the most iconic sequences from Walt Disney’s Fantasia (1940), as Mickey races toward the sorcerer Yen Sid’s magical hat resting on a table. Captured in a dynamic, full-figure pose, the drawing conveys the energy, movement, and mischievous determination that define Mickey’s unforgettable performance as the Sorcerer’s Apprentice.

Released by Walt Disney Productions on November 13, 1940, Fantasia was Disney’s third full-length animated feature and one of the most ambitious productions in the history of animation. Story direction was handled by Joe Grant and Dick Huemer, with production supervision by Ben Sharpsteen. The film brought together eight animated segments, each set to classical music conducted by Leopold Stokowski. Seven selections were performed by the Philadelphia Orchestra, while The Sorcerer’s Apprentice was recorded with an ad hoc studio orchestra. Music critic and composer Deems Taylor served as Master of Ceremonies, introducing each segment in live-action sequences.

The origins of Fantasia can be traced directly to The Sorcerer’s Apprentice, which was initially conceived as a Silly Symphony intended to restore Mickey Mouse to prominence. By 1938, Mickey’s popularity had begun to decline, and Disney envisioned the short as a showcase for a dramatically improved version of the character. As production costs grew beyond what the short could reasonably earn on its own, Walt Disney expanded the concept into a feature-length presentation that would combine animation with great works of classical music.

The Sorcerer’s Apprentice was based upon Johann Wolfgang von Goethe’s famous 1797 poem of the same name. In the Disney adaptation, Mickey takes the role of the inexperienced apprentice who uses his master’s magic to animate a broom and make it carry water. When the spell spirals disastrously out of control, the sorcerer returns and brings the chaos to an end. Mickey never speaks a word during the sequence, yet his personality, ambition, frustration, fear, and determination are communicated entirely through animation and music. The segment would become perhaps Mickey Mouse’s most celebrated screen role and was the only segment from the original Fantasia to be reprised in Fantasia 2000 (1999).

The Mickey seen in Fantasia was also the product of a remarkable artistic transformation. In 1935, Los Angeles-born animator Fred Moore redesigned Mickey, replacing the earlier construction based largely on simple circles with a more appealing pear-shaped body, expressive pupils, white gloves, and a shorter nose. Moore animated Mickey in the 1938 short The Brave Little Tailor, one of the last major appearances of the earlier “pie-eyed” design. For Fantasia, the pie eyes disappeared completely, and Moore’s redesigned Mickey became the foundation of the character’s official appearance for generations to come.

More than 1,000 artists and technicians contributed to Fantasia, producing more than 500 animated characters. The film represented an extraordinary synthesis of animation, music, design, and technology. Its soundtrack was recorded across multiple audio channels and reproduced through Disney’s groundbreaking “Fantasound” system, making Fantasia the first commercial motion picture presented with stereophonic sound. The film initially toured as a theatrical roadshow in thirteen American cities. Although critically acclaimed, its enormous production and exhibition costs, combined with the loss of the European market during World War II, prevented it from turning a profit on its initial release. Subsequent reissues altered, removed, and restored portions of the original picture and soundtrack.

The Fantasia sequence itself was conceived as a visual interpretation of classical music. Among the film’s other celebrated segments is The Nutcracker Suite, featuring selections from Pyotr Ilyich Tchaikovsky’s ballet and transforming the changing seasons into a succession of magical images populated by fairies, fish, flowers, mushrooms, leaves, and dancers. Fantasia ultimately became recognized not simply as an animated film, but as a landmark in the marriage of animation and classical music.

Today, Fantasia is regarded as one of the greatest achievements in American animation. In 1990, the film was selected for preservation in the United States National Film Registry by the Library of Congress for being “culturally, historically, or aesthetically significant.” It was ranked No. 58 on the American Film Institute’s 1998 100 Years...100 Movies list and was named the fifth-greatest animated film in the AFI’s 10 Top 10. Adjusted for inflation, Fantasia remains among the highest-grossing films in American box-office history.

Original production artwork from The Sorcerer’s Apprentice is particularly desirable because of the importance of Mickey’s role and the sequence’s place in animation history. This drawing is especially appealing for its large, expressive image of Mickey in motion and dressed in his apprentice’s robe. The sweeping lines, construction marks, color indications, and production annotations provide an intimate view of the animation process and reveal how the character’s gesture and movement were developed by Disney’s artists.

The drawing retains the spontaneous quality of a working animation document rather than the polished appearance of a finished reproduction. Its energetic pose captures Mickey at a pivotal moment in the action, making it both an important piece of Disney animation history and a visually striking example of the draftsmanship behind Fantasia.

Few Disney characters have had a role as culturally significant as Mickey’s in The Sorcerer’s Apprentice. With no dialogue, he carries an entire dramatic sequence through movement, expression, and music. This original production drawing captures that artistry at its source: Mickey Mouse, transformed by Fred Moore and brought to life by Disney’s legendary animation team, at the height of one of the most ambitious and influential animated films ever produced.

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

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

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

Original Key Setup of hand painted production animation cels of Bilbo, Thorin, Balin, Bard, and Eleven Men of Lake-town from "The Hobbit," 1977

 

Original hand painted production animation cels of Bilbo, Thorin, Balin, Bard, and Eleven Men of Lake-town from "The Hobbit," 1977; Rankin/Bass Productions; Set on a key original hand painted master production background; Size - Fifteen Characters: 6 1/2 x 10 1/4", Image 8 x 10 1/2", Background 8 x 10 1/2"; Unframed.

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

Rankin/Bass Productions occupies a special place in the history of American animation. Founded by Arthur Rankin Jr. and Jules Bass in the early 1960s, the studio became famous for its highly distinctive television specials, especially its beloved holiday classics such as Rudolph the Red-Nosed Reindeer and Frosty the Snowman. Their productions were known for memorable music, richly stylized character designs, and a warm storybook quality that made them instantly recognizable. While many people primarily associate the studio with Christmas programming, Rankin/Bass also made important contributions to fantasy animation, most notably through their adaptations of J.R.R. Tolkien’s works. 

The Hobbit (1977) is perhaps one of Rankin/Bass’s most admired fantasy films. Produced as an animated television special, it adapted Tolkien’s 1937 novel into a concise yet remarkably faithful 78-minute film. The story follows Bilbo Baggins, Gandalf, Thorin Oakenshield, and the company of dwarves on their quest to reclaim the Lonely Mountain from Smaug. What makes this version so memorable is its visual atmosphere: watercolor-like backgrounds, expressive character designs, and creatures that feel both whimsical and unsettling. The animation itself was produced by Topcraft in Japan, giving the film an “anime-influenced” visual richness far beyond many American TV productions of its era. 

Musically, The Hobbit is also deeply associated with the Rankin/Bass style. Songs such as “The Greatest Adventure” and the haunting goblin songs help drive the narrative in a way that feels very much in line with the studio’s holiday specials. Rather than simply retelling the plot, the music reinforces the mythic and fairy-tale tone of Tolkien’s world. The voice cast is equally notable, with Orson Bean as Bilbo and John Huston as Gandalf lending the film a sense of gravitas and warmth. For many viewers, this version was their first introduction to Middle-earth long before Peter Jackson’s live-action films. 

Three years later, Rankin/Bass returned to Tolkien with The Return of the King (1980), an animated television film that served as a sequel to The Hobbit. Unlike Peter Jackson’s later trilogy, this film adapts only the final volume of The Lord of the Rings, omitting the events of The Fellowship of the Ring and The Two Towers except for a brief recap at the beginning. This gives the film a compressed and somewhat episodic structure, moving quickly through Frodo and Sam’s journey to Mount Doom and the climactic destruction of the Ring. 

Although The Return of the King is often viewed as less successful than The Hobbit, it remains fascinating as part of Rankin/Bass’s Tolkien legacy. The film retains the studio’s signature musical storytelling and visual style, with memorable sequences such as the orc marching song “Where There’s a Whip, There’s a Way.” Its framing device, with Bilbo hearing the tale retold in Rivendell, gives it an almost ballad-like structure. While critics and even Arthur Rankin himself later regarded it as less effective, the film has nonetheless earned a nostalgic following among fans of classic animation and Tolkien adaptations. 

Together, these two films demonstrate how Rankin/Bass could move beyond holiday nostalgia and successfully bring epic fantasy to television audiences. Their adaptations remain important not only as Tolkien films but as landmarks in animation history, bridging American storytelling sensibilities with Japanese artistry through Topcraft’s work. For many fans, they represent a uniquely dreamlike and folkloric vision of Middle-earth that still holds charm nearly fifty years later.

The Hobbit (1977) is a landmark animated adaptation of J.R.R. Tolkien’s beloved fantasy novel, produced by Rankin-Bass and animated by the Japanese studio Topcraft. The film introduced generations of viewers to Middle-earth through its distinctive visual style, memorable songs, and faithful presentation of the novel’s central themes of adventure, friendship, and the corrupting influence of greed. Topcraft’s contribution to the production is especially significant in animation history, as the studio would later evolve into companies that included Pacific Animation and the future Studio Ghibli. The film’s richly painted backgrounds, credited to Hidetoshi Kaneko and Minoru Nishida, helped create a vivid and atmospheric version of Tolkien’s world despite the constraints of television animation.

The original hand painted production animation cel setup captures a pivotal moment in the story at approximately the 50:12 mark of the film. In this scene, Bard and Thorin Oakenshield forge an alliance in Esgaroth, better known as Lake-Town. Thorin declares, “What help we can offer will be yours, and we trust to your gratitude when the dragon Smaug is killed and your kingdom is regained!” The statement reflects the mutual interests of the dwarves and the people of Lake-Town, both of whom hope to benefit from the defeat of Smaug and the restoration of prosperity to the region. This alliance serves as an important narrative step toward the climactic events surrounding the Lonely Mountain.

The image itself provides an excellent example of the artistry involved in traditional cel animation. In the foreground, Bard stands prominently on the left side of the composition, addressing Thorin and the dwarves. His confident posture and raised arm emphasize his leadership role among the people of Lake-Town. Opposite him stand Thorin and members of his company, including the figure of Bilbo Baggins visible between the dwarves. The arrangement of the characters visually reinforces the diplomatic nature of the scene, with the two groups facing one another as they negotiate their shared future. The gathered townspeople in the background further suggest that this is a public and significant occasion.

Particularly striking is the original Key Master background, painted in gouache on board. The artwork depicts the wooden walkways and buildings of Lake-Town stretching into the distance beneath a softly colored sky. The architecture creates depth and perspective, drawing the viewer’s eye through the settlement toward the horizon. The background also includes the Lonely Mountain looming beyond the town, a constant reminder of the dwarves’ ultimate destination and the dragon Smaug’s presence. The careful rendering of the environment demonstrates the skill of the background artists and contributes greatly to the film’s immersive fantasy atmosphere.

As a piece of animation history, this setup is especially noteworthy because it consists of four original hand-painted cels displayed over their original production background. Such complete setups are considerably rarer than individual cels, as animation elements were often separated or discarded after filming. The artwork preserves a key dramatic moment from one of the most celebrated animated fantasy films of the twentieth century. Beyond its value as a collectible, the cel offers insight into the craftsmanship behind The Hobbit and serves as a tangible connection to a production that helped shape the visual legacy of Tolkien’s work on screen.

#RankinBass #RankinBassProductions #ArthurRankinJr #JulesBass #ClassicAnimation #AmericanAnimation #AnimationHistory #HolidaySpecials #RudolphTheRedNosedReindeer #FrostyTheSnowman #TheHobbit1977 #TheReturnOfTheKing1980 #Tolkien #JRRTolkien #MiddleEarth #BilboBaggins #FrodoBaggins #SamwiseGamgee #Gandalf #Topcraft #AnimeInfluence #FantasyAnimation #AnimationCel #VintageAnimationArt #StorybookStyle #MountDoom #Mordor #Nostalgia #CollectibleCel #EpicFantasy

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

Original hand-painted production animation cels of Ursula, Flotsam and Jetsam; used during the production of "The Little Mermaid," 1989, Walt Disney Studios; Placed on lithographic background; The Walt Disney Company Seal lower right; With Walt Disney Certificate; Size - Ursula, Flotsam & Jetsam: 7 1/2 x 10", Image 10 3/4 x 16 1/2"; Unframed.

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

Released in 1989, The Little Mermaid marked a major turning point for Disney animation and became the 28th entry in the Walt Disney Animated Classics series. Produced by Walt Disney Pictures and animated by Walt Disney Feature Animation, the film premiered in theaters on November 17, 1989. Based on the beloved fairy tale by Hans Christian Andersen, the story follows Ariel, a young mermaid princess who dreams of becoming human and exploring the world beyond the sea.

The film was written, directed, and produced by Ron Clements and John Musker, with unforgettable songs and score by Alan Menken and Howard Ashman. Its acclaimed voice cast included Jodi Benson, Christopher Daniel Barnes, Pat Carroll, Samuel E. Wright, Jason Marin, Kenneth Mars, Buddy Hackett, and René Auberjonois.

The Little Mermaid also holds an important place in animation history as the final Disney feature film to use traditional hand-painted animation cels. During development, Clements and Musker expanded the role of the story’s villain, Ursula, transforming her into one of Disney’s most iconic antagonists. The role went through several casting possibilities before its unforgettable final form emerged. Actress Beatrice Arthur was initially considered for the part but declined the role. Veteran stage actress Elaine Stritch later accepted it, though creative disagreements over the musical style ultimately led to her departure. The role was then given to Pat Carroll, whose theatrical and larger-than-life performance became legendary. Carroll famously described Ursula as “part Shakespearean actress, with all the flair, flamboyance and theatricality, and part used-car salesman with a touch of con artist.” Her commanding voice and wicked charisma defined the character and helped make Ursula one of the most memorable villains in Disney history.

The animation of Ursula was originally intended for legendary Disney animator Glen Keane. However, after hearing Jodi Benson perform “Part of Your World,” Keane became determined to animate Ariel instead. Ursula was ultimately assigned to Disney animator Ruben Aquino, who later described her as his favorite character he had ever animated. Aquino explained that he drew inspiration from Pat Carroll’s vocal performance, the story sketches, and extensive research into octopus movement to make Ursula’s motions feel fluid and convincing. He noted that Carroll’s extraordinary performance made the scenes feel as though they “almost animate themselves.”

Accompanying Ursula are her sinister henchmen, Flotsam and Jetsam, a pair of eerie green moray eels who slither constantly at her side. Their unusual eyes are especially striking: one eel has a yellow left eye and white right eye, while the other’s colors are reversed. Their names come from the nautical phrase “flotsam and jetsam,” meaning discarded or useless debris. The pair often speak in unison, finish one another’s sentences, and weave their bodies together in hypnotic motions. They also possess a magical ability to merge their glowing white eyes into a crystal-ball-like portal that allows Ursula to spy on the outside world from within her cavern. Both characters were voiced by Paddi Edwards, who also voiced Lucy the goose in 101 Dalmatians: The Series and Atropos in Hercules.

This remarkable animation cel setup comes from Ursula’s unforgettable musical number, Poor Unfortunate Souls, widely regarded as one of the highlights of the film. The scene features Ursula leaning dramatically toward Flotsam and Jetsam, who appear in full figure with their eyes glowing open as they listen to her scheme. At this moment, Ursula begins singing the opening lines of her signature song:

“I admit that in the past I’ve been a nasty,
They weren’t kidding when they called me, well, a witch.”

The sequence perfectly captures the theatrical charm, menace, and dark humor that made Ursula such an unforgettable Disney villain, while also showcasing the extraordinary artistry of Disney’s final era of hand-painted cel animation. A fantastic 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 #KennethMars #BuddyHackett #RenéAuberjonois #Flotsam #Jetsam #PaddiEdwards

Original Production Animation Cel of Sebastian and his Shadow from "The Little Mermaid," 1989

 

Original hand painted production animation cels of Sebastian and his matching Shadow set on a lithographic background from "The Little Mermaid," 1989, Walt Disney Studios; The Walt Disney Company Seal lower right; Size - Sebastian & Shadow: 6 1/2 x 7", Image 10 1/4 x 16 1/2"; Unframed.

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

Released in 1989, The Little Mermaid marked a triumphant return to musical storytelling for Disney animation and became the 28th film in the Walt Disney Animated Classics series. Produced by Walt Disney Pictures and animated by Walt Disney Feature Animation, the film premiered in theaters on November 17, 1989. Inspired by the classic Danish fairy tale by Hans Christian Andersen, the story follows Ariel, a spirited young mermaid princess who dreams of leaving the sea behind to become human.

The film was written, directed, and produced by Ron Clements and John Musker, with a celebrated musical score by Alan Menken and lyrics by Howard Ashman. Its talented voice cast included Jodi Benson as Ariel, Christopher Daniel Barnesas Prince Eric, Pat Carroll as Ursula, Samuel E. Wright as Sebastian, alongside Jason Marin, Kenneth Mars, Buddy Hackett, and René Auberjonois.

Disney devoted more money and resources to The Little Mermaid than it had to any animated feature in decades. In addition to its primary animation studio in Glendale, California, Disney opened a new satellite animation facility at the Disney-MGM Studios theme park in Lake Buena Vista, Florida. The Florida studio’s earliest work included producing the Roger Rabbit short Roller Coaster Rabbit and providing ink-and-paint support for The Little Mermaid. Another innovative step for Disney animation at the time was the use of live-action performers as motion-reference models for animators. Although primarily known as a Broadway performer, Jodi Benson was selected to voice Ariel, while actress and comedian Sherri Stoner performed many of Ariel’s scenes in live-action reference sessions to guide the animators.

The film also holds an important place in animation history as the last Disney feature to use traditional hand-painted animation cels. This painstaking process gave the film its rich, luminous visual style and marked the end of an era before Disney’s transition into digital ink-and-paint technology in the early 1990s.

Among the film’s most beloved characters is Sebastian, the red Jamaican crab who serves as King Triton’s court composer and reluctant guardian to Ariel. Voiced with warmth and comic brilliance by Samuel E. Wright, Sebastian became one of Disney’s most memorable side characters. Wright improvised the famous line, “Teenagers, they think they know everything. You give them an inch, they swim all over you!” Animators Duncan Marjoribanks, Tom Sito, and Will Finndeveloped Sebastian’s expressive personality, drawing inspiration from legendary entertainer Sammy Davis Jr..

Sebastian’s signature song, Under the Sea, became one of Disney’s defining musical numbers. Composed by Alan Menken with lyrics by Howard Ashman, the song was partly inspired by “The Beautiful Briny” from the 1971 Disney film Bedknobs and Broomsticks. Its lively Caribbean calypso sound reflected musical traditions originating in Trinidad and Tobago. Performed by Samuel E. Wright, “Under the Sea” won the Academy Award for Best Original Song in 1989 and later received the Grammy Award for Best Song Written for Visual Media in 1991.

Within the story, the song serves as Sebastian’s heartfelt attempt to persuade Ariel to remain under the sea and abandon her longing to become human and live with Prince Eric. Sebastian enthusiastically praises the carefree wonders of ocean life while humorously describing the hardships of the human world. Yet despite his efforts, Ariel remains consumed by her dreams of life on land, swimming away before the song even concludes.

The animation cel shown here comes from a memorable scene in which Ariel brushes her hair with a “dinglehopper” — a fork she believes to be a human grooming tool — while Sebastian anxiously sits nearby on a table. Frustrated and exhausted after trying to help Ariel succeed in the human world, Sebastian laments:

“This has got to be, without a doubt, the single most humiliating day of my life.”

After Ariel drifts off to sleep, Sebastian tenderly attempts to coach her on how to win Prince Eric’s affection, demonstrating how to bat her eyes and pucker her lips. Realizing she has fallen asleep during his instructions, he softens, blows out the candle beside her bed, curls up near her pillow, and quietly remarks:

“You are hopeless, child. You know dat? Completely hopeless...”

The scene perfectly captures the affectionate bond between Ariel and Sebastian — a relationship filled with humor, frustration, loyalty, and genuine love — and remains one of the film’s most charming and emotionally resonant moments. A wonderful 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 #KennethMars #BuddyHackett #RenéAuberjonois #Flotsam #Jetsam #UnderTheSea

Original Production Animation Cels of Napoleon and Lafayette from "The Aristocats," 1970

Original hand painted production animation cels of Napoleon and Lafayette from "The Aristocats," 1970, Walt Disney Studios; Each cel set on a lithographic background; Napoleon cel numbered 33 in ink lower right; Lafayette with hand painted right leg & paw cel; Size - Napoleon: 6 1/4 x 10", Image: 10 x 14"; Lafayette: 5 x 6", Image: 6 x 14 3/4"; Unframed

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

Disney’s The Aristocats (1970) holds a special place in the studio’s history as the final animated feature personally approved by Walt Disney before his passing in December 1966. Although Disney did not live to see its completion, the film was ultimately released to theaters by Buena Vista Distribution on December 11, 1970. The production reflects the elegance, warmth, and humor that characterized Disney animation during this era, blending refined visual design with memorable comic performances. The voice cast included Eva Gabor as Duchess, alongside Hermione Baddeley, Phil Harris, Dean Clark, Sterling Holloway, Scatman Crothers, and Roddy Maude-Roxby, all of whom helped give the film its distinctive charm.

Based on a story by Tom McGowan and Tom Rowe, the film centers on a family of pampered aristocratic cats living in Paris in 1910. Madame Adelaide Bonfamille, their wealthy and affectionate mistress, adores her beloved cats—Duchess and her three kittens, Toulouse, Berlioz, and Marie. In one of the film’s pivotal scenes, Madame informs her elderly lawyer, Georges Hautecourt, that she intends to leave her vast fortune—her mansion, jewels, investments, and treasured possessions—to the cats. Only after their passing is the remainder to go to her butler, Edgar Balthazar. Upon overhearing this shocking arrangement, Edgar becomes consumed with greed and panic, fearing that the cats may outlive him and prevent him from ever inheriting the estate.

Driven by this selfish ambition, Edgar devises a scheme to remove the cats from the picture entirely. He secretly places sleeping tablets in their evening milk, causing them to fall asleep. Once unconscious, he places them in a covered basket and transports them far into the French countryside on his motorcycle, abandoning them far from Paris. This sequence sets the adventure in motion, eventually leading to their encounter with the charismatic alley cat Thomas O’Malley, who helps guide them home.

This wonderful pair of animation cels comes from one of the film’s most delightful comedic interludes involving the two farm dogs, Napoleon and Lafayette. These characters were both animated by legendary Disney animator Frank Thomas, whose expressive character work brings their personalities vividly to life. Originally intended for only a single scene, the dogs proved so entertaining that the filmmakers expanded their role to include a second memorable sequence in which Edgar returns to retrieve his lost umbrella and bowler hat. Their scenes add a distinctly rural comic energy to the film and provide some of its most quotable dialogue.

In this scene, the proud and self-important bloodhound Napoleon listens intently and announces, “Lafayette! Lafayette! Listen.” The nervous and somewhat dim-witted basset hound Lafayette dismisses the sound, replying, “Oh, shucks, Napoleon. That ain't nothing but a little old cricket bug.” Napoleon, however, confidently insists, “It’s squeaky shoes approachin’.” When Lafayette protests that “cricket bugs don’t wear shoes,” Napoleon sharply responds, “Hush your mouth.” The humor lies in the contrast between Napoleon’s stern certainty and Lafayette’s anxious confusion, a classic comic pairing that Disney executes beautifully through voice acting and animation.

The cel itself wonderfully captures this dynamic. Napoleon is shown reclining with a commanding, almost suspicious expression, emphasizing his role as the self-appointed guardian of the farmyard. Below him, Lafayette’s eager, slightly bewildered face perfectly conveys his loyal yet comic subordinate role. Together, these characters became fan favorites, and their chemistry was so successful that voice actors Pat Buttram and George Lindsey would later reunite in Disney’s Robin Hood (1973) and The Rescuers (1977).

From an animation history perspective, this cel setup is a wonderful example of Disney’s character acting at its finest—subtle expressions, strong posing, and impeccable comedic timing that continue to make The Aristocats a beloved classic. A fantastic pair of Walt Disney cels perfect for any animation art collection!

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

Original hand painted production animation cels of the Fellowship of the Rings: Frodo, Sam, Merry, Pippin, Gandalf, Aragorn, Gimli, Boromir, and Legolas from "The Lord of the Rings," 1978

Original hand painted production animation cels of the Fellowship of the Rings: Frodo, Sam, Merry, Pippin, Gandalf, Aragorn, Gimli, Boromir, and Legolas from "The Lord of the Rings," 1978, Ralph Bakshi; Signed Ralph Bakshi in ink lower right; Production numbers in ink lower cel edges; Set on a lithographic background; Size - The Fellowship: 3 x 8 1/2", Image 9 1/2 x 12 1/2"; Unframed.

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

 

Ralph Bakshi (b. 1938) is a producer, animator, writer, actor, and painter; but is most known as a director of independent and adult-oriented animated and live-action films. He began his career at Terrytoons cartoon studio as a cel polisher, was eventually promoted to animator, and then director. In 1967 he moved to the animation division of Paramount Pictures and a year later started his own studio, Bakshi Productions. The debut feature film from the new studio was Fritz the Cat (1972) which was the first animated film to receive a X rated from the Motion Picture Association of America; it would go on to become the most successful independent animated film of all time. Between 1972 and 2015 he would direct ten feature films (six of which he wrote); the most famous being: Wizards (1977), The Lord of the Rings (1978), American Pop (1981), Fire and Ice (1983), and Cool World (1992). Bakshi was also involved in numerous television projects as director, writer, producer, and animator including: Mighty Mouse: The New Adventures, Cool and the Crazy, and the anthology series Spicy City.

Ralph Bakshi was very familiar with J.R.R. Tolkien's writing very early in his career and had made several attempts to produce The Lord of the Rings as an animated film before finally securing funding from producer Saul Zaentz; in collaboration with distributor United Artists. Bakshi's film The Lord of the Rings would be based on Tolkien's books The Fellowship of the Ring and the first half of The Two Towers. The story follows a group of hobbits, elves, men, dwarves, and a wizard who form a fellowship on their quest to destroy the One Ring (made by the Dark Lord Sauron) and ensure it's destruction in Mount Doom. The screenplay was written by Peter S. Beagle (based on an earlier draft by Chris Conkling). The film features the voice talents of William Squire, John Hurt, Michael Graham Cox, and Anthony Daniels; and it was one of the first animated films to be shown in the Dolby Stereo Sound System.

Publicity for The Lord of the Rings heralded it as "the first movie painting" which was created by "an entirely new technique of film making." This was accomplished through the extensive use of rotoscoping, a technique whereby scenes are first filmed in live-action but then later traced onto animation celluloids. The result is a blend between traditional cel painted animation and live action sequences.

"I was told that at Disney the actor was told to play it like a cartoon with all that exaggeration. In Lord of the Rings, I had the actors play it straight. The rotoscope in the past has been used in scenes and then exaggerated. The action becomes cartoony. The question then comes up that if you're not going to be cartoony, why animate?... It is the traditional method of rotoscoping but the approach is untraditional. It's a rotoscope realism unlike anything that's been seen. It really is a unique thing for animation. The number of characters moving in a scene is staggering. In The Lord of the Rings, you have hundreds of people in the scene. We have cels with a thousand people on them. It was so complex sometimes we'd only get one cel a week from an artist. It turned out that the simple shots were the ones that only had four people in them." — Ralph Bakshi

This is a wonderful animation cel setup depicting one of the most iconic moments from The Lord of the Rings: The Fellowship’s desperate retreat from the Watcher in the Water and their entrance into the Mines of Moria. What makes this piece especially compelling is that it captures all nine members of the Fellowship together in motion, which is relatively uncommon and highly desirable in production animation artwork.

The cel setup shows the Fellowship rushing from right to left into the dark interior of Moria. Emerging from the doorway behind them is the twisting tentacle of the Watcher in the Water, whose attack forces them inside the mountain. The group appears to be arranged in a visually readable procession, with the hobbits Frodo Baggins, Samwise Gamgee, Meriadoc Brandybuck, and Peregrin Took leading near the left, while Gandalf follows centrally in his blue robes carrying his staff, serving as the visual anchor of the composition. Around him are Aragorn and Boromir clustered defensively with Gimli and Legolas running in the rear. This arrangement beautifully conveys the urgency of the moment, with the hobbits being hurried to safety while the warriors guard the group from the pursuing threat.

The background is exceptional and contributes enormously to the mood of the scene. The interior of Moria is rendered in Bakshi’s signature palette of cool blue-greens and shadowy purples, creating a sense of ancient mystery and dread. Particularly striking are the staircase on the left, which hints at the labyrinthine passages ahead, and the ominous stone face carving that lends the hall a sense of dwarven grandeur and antiquity. The threshold behind the Fellowship, framed by the twisting tentacles of the Watcher in the Water, intensifies the drama by marking the transition from the immediate danger outside to the deeper, unknown darkness within.

From a collector’s standpoint, this is an especially strong cel setup because it combines all nine members of the Fellowship, a major narrative moment, a monster element, and a complete background within a single composition. Group shots featuring the entire Fellowship are particularly prized in Bakshi production art because they bring together the full ensemble cast in a single storytelling image. More than just a cel setup, this piece functions as a dramatic tableau—almost like a theatrical poster frame for the Moria sequence—capturing both motion and atmosphere in one memorable moment. A fantastic piece of film history and a standout for any animation art collection!

#RalphBakshi #BakshiAnimation #IndependentAnimation #AdultAnimation #AnimationLegend #FritzTheCat #Wizards1977 #BakshiStudios #TheLordOfTheRings1978 #RotoscopeArt #AnimationHistory #CultAnimation #FantasyArtFilm #AnimatedCinema #FireAndIce #AmericanPop #CoolWorld #AnimationPioneer #ExperimentalAnimation #UndergroundAnimation #AnimatedFantasy #AnimationArtCollector #ClassicAnimation #CinematicArtistry #VisionaryDirector #AnimationInnovation #FilmHistory #HandDrawnCinema #BakshiLegacy