Original Production Animation Cel of Lafayette from "The Aristocats," 1970

 

Original hand painted production animation cel of Lafayette from "The Aristocats," 1970, Walt Disney Studios; Set on a lithographic background; Numbered 40 in ink lower right; Walt Disney Seal lower left; Size - Lafayette: 5 1/2 x 8 1/4", Image: 11 x 15 1/4"; Unframed.

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

This original hand-painted production cel captures a delightfully comic moment from "The Aristocats," Walt Disney Productions' 1970 animated feature. The cel depicts Lafayette, the bumbling Basset Hound, caught in a moment of confusion and alarm as he crawls low to the ground on all fours, his long ears trailing in the dirt and his tail flung straight up in agitation. His wide, startled eyes and open mouth capture him mid-exclamation, seemingly blurting out his now-famous line, "It's them shoes! It's them shoes again!" as he becomes entangled in Edgar the butler's oversized boots, which have slipped onto his back paws. The nighttime countryside setting is rendered in rich, moody blues, with silhouetted haystacks and trees framing the muddy farmyard where the scene unfolds, evoking the rural French setting Edgar stumbles into after abandoning the cats. In the lower corner, the cel bears the "Original Hand-Painted Movie Film Cel" Walt Disney Productions certification seal, authenticating it as a genuine piece of animation history.

"The Aristocats" holds a special place in Disney history as the last film project personally approved by Walt Disney before his death in late 1966; the film would not reach theaters until Buena Vista Distribution released it on December 11, 1970. Based on a story by Tom McGowan and Tom Rowe, the film is voiced by a talented cast including Eva Gabor, Hermione Baddeley, Phil Harris, Dean Clark, Sterling Holloway, Scatman Crothers, and Roddy Maude-Roxby. Set in Paris in 1910, the plot follows Madame Bonfamille's decision to leave her fortune, including her mansion, jewels, and treasures, to her beloved cats rather than to her conniving butler, Edgar Balthazar. Upon overhearing this news, Edgar panics, muttering to himself, "I'll be gone, no oh no... they'll be gone," and hatches a plan to drug the cats' milk with sleeping tablets before spiriting them away in a covered basket aboard his motorcycle, dumping them far from the safety of the city.

Lafayette and his hound companion Napoleon were both brought to life by legendary Disney animator Frank Thomas, whose comedic timing gave the pair their memorable slapstick charm. Originally intended for just a single scene, the dogs proved so popular with story artists that a second sequence was developed, one that sends Edgar back into the French countryside to retrieve his lost umbrella and bowler hat, only to run afoul of the two farm dogs once again. This cel appears to capture Lafayette in the midst of that very chase, his confusion over Edgar's discarded footwear driving him into a frenzy as he tries to alert Napoleon to the intruder's presence. Voiced respectively by Pat Buttram and George Lindsey, Napoleon and Lafayette left such an impression that their voice actors would go on to share the screen again in "Robin Hood" as the Sheriff of Nottingham and Trigger the vulture guard, and once more in "The Rescuers" as the villainous Luke and Deadeye.

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

Original Production Animation Cels of Taran and Gurgi from "The Black Cauldron," 1985

 

Original hand painted production animation cels of Taran and Gurgi from "The Black Cauldron," 1985, Walt Disney Studios; Set on lithographic background; Production numbers in ink and Walt Disney seal lower right; With original Walt Disney certificate; Size - Taran & Gurgi: 6 1/2 x 6 1/2", Image 10 x 15 3/4"; Unframed.

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

This original production cel of Taran and Gurgi from The Black Cauldron (1985) beautifully captures the unlikely friendship at the heart of the film. Taran is shown carrying Gurgi through the dark, rocky landscape of Prydain, perfectly reflecting their evolving relationship from reluctant companions to devoted friends. Gurgi’s shaggy appearance and expressive face provide a wonderful contrast to Taran’s youthful, determined expression.

The Black Cauldron, Disney’s 25th animated feature, was produced by Walt Disney Feature Animation in association with Silver Screen Partners II and released on July 24, 1985. Directed by Ted Berman and Richard Rich, it was loosely based on the first two books of Lloyd Alexander’s The Chronicles of Prydain. The film was Disney’s first animated feature released with a PG rating, the first to use Dolby Stereo, and incorporated early computer-generated imagery. With a reported $44 million budget, it earned only $21.3 million domestically and became a major financial disappointment for Disney. It was not released on home video until 1998.

The characters were animated by artists including Andreas Deja, who worked extensively on Taran and Gurgi. Deja was part of the younger generation of Disney animators who helped give the film its distinctive character animation. Grant Bardsley provided Taran’s voice, portraying his youthful ambition and growing maturity, while John Byner voiced Gurgi with his distinctive, comic delivery. Taran's famous self-description, “I'm an assistant pig keeper,” humorously reflects his humble beginnings.

Taran initially dreams of becoming a great hero, while Gurgi desperately wants a friend. Their relationship changes dramatically during the quest to destroy the Black Cauldron. Gurgi ultimately sacrifices himself to save Taran, declaring, “Gurgi not let his friend die.” Taran then willingly gives up his magical sword to have Gurgi restored to life, demonstrating that he has learned true heroism is found in friendship and sacrifice rather than glory.

As a piece of Disney animation art, this cel is especially appealing because it depicts that important bond between the two characters. Taran may begin the film wanting to become a hero, but it is his friendship with Gurgi that ultimately makes him one.

#BlackCauldron #TheBlackCauldron #Disney #WaltDisney #Taran #HornedKing #Creeper #OllieJohnston #DonBluth #TheHornedKing #CauldronBorn #FairFolk #Cauldron #LloydAlexander #Gurgi #Disney #WaltDisney #untitledartgallery #animation #Cel #animationcel #productioncel #productiondrawing #Disneyanimation #art #artwork #Gwythaints #FflewddurFflam #Fflewddur #PearlBailey #Dallben #Prydain #animationdrawing #masterbackground #JohnHurt #animationbackground #Eidilleg #Doli #Eilonwy

Original Production Animation Cels of Mickey Mouse as The Prince and Pauper from "The Prince and the Pauper," 1990

 

Original hand painted production animation cels of Mickey Mouse as both The Prince and Pauper set on a lithographic background from "The Prince and the Pauper," 1990, Walt Disney Studios; Disney seal lower right; Production numbers in ink lower right corners; With original Walt Disney Certificate of Authenticity; Size - Mickey Mouse as Prince & Pauper: 4 x 8 3/4", Image 10 1/2 x 16"; Unframed.

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

These two original hand-painted animation cels feature Mickey Mouse in both of his dual roles—the Prince and the Pauper—from Walt Disney’s The Prince and the Pauper (1990), capturing the memorable moment when the two look-alike characters meet for the first time. The scene is the turning point of the story: after Mickey is mistakenly admitted into the palace, the Prince discovers that the impoverished young mouse standing before him looks exactly like him. The visual contrast between the two is especially charming, with Mickey still dressed as a humble beggar while the Prince appears in his royal attire. Their identical appearance sets in motion the extraordinary identity exchange that drives the remainder of the featurette.

During their first conversation, the Prince tells Mickey, “I must thank you for saving my life.” When Mickey is surprised, the Prince explains, “I was about to die of boredom when you interrupted me from my lesson.” He then describes the burdens of royal life—breakfast, lessons, fencing, and endless banquets—and admits, “Oh, how I envy your freedom.” When the two see their identical reflections, the Prince suddenly realizes the possibilities: “Yes! What a grand idea. Don’t you see? It’ll be perfect!” He proposes that they exchange places for a day, telling Mickey, “I’ll take your place in the streets of London, and you shall be the Prince!” The cels beautifully capture the excitement and wonder of this pivotal first encounter. 

The Prince and the Pauper, 1990 is an animated featurette produced by Walt Disney Feature Animation and inspired by Mark Twain’s classic story. Directed by George Scribner, it features Wayne Allwine providing the voice of Mickey Mouse in both the Prince and Pauper roles. Released on November 16, 1990, it played theatrically before Disney’s newly released feature The Rescuers Down Under. It is particularly significant in animation history as Disney’s final theatrical production to use the traditional ink-and-paint and camera process, immediately before the studio's transition to the digital CAPS system. 

Wayne Allwine (1947–2009) was the voice of Mickey Mouse for 32 years, the longest tenure of any actor to perform the role. He succeeded Jimmy MacDonald, who had taken over from Walt Disney in 1947, and continued as Mickey’s voice from 1977 until his death in 2009. Allwine was married to Russi Taylor, the voice of Minnie Mouse, whom he married in 1991. After Allwine's death, Mickey's official voice was taken over by Bret Iwan. Disney itself notes Allwine's 32-year tenure and his work on The Prince and the Pauper. 

The story begins in England, where a good king has fallen seriously ill. Taking advantage of the king's weakness, the ruthless Captain Pete terrorizes the kingdom and steals from its people. Meanwhile, Mickey, Goofy, and Pluto struggle to survive as beggars. After Pluto chases a sausage into the palace, Mickey follows him and is mistakenly identified as the Prince.

Inside the palace, Mickey meets the real Prince and the two discover that they are identical. The bored Prince proposes that they exchange identities, telling Mickey that he can simply act like a royal while he enjoys freedom outside the palace. “You’ll do fine, Mickey,” the Prince assures him. “Why, you’re looking more royal already.”

The switch quickly becomes complicated. Mickey struggles with royal duties while the Prince discovers the suffering caused by Captain Pete and his soldiers. After the king dies, Pete forces Mickey to continue posing as the Prince, even threatening Pluto. The real Prince is captured but eventually escapes with the help of Goofy and Donald. During the coronation, the Prince confronts Pete, who is defeated, and Pluto ultimately recognizes the true Mickey. The rightful Prince becomes king and, with Mickey and Goofy at his side, rules England with “justice and compassion for all.”

These cels are particularly desirable as a paired presentation of Mickey's two identities, representing the central visual conceit of the featurette and one of its most important scenes. Beyond their character appeal, they also document an important moment in Disney animation history—the very end of the studio's traditional hand-painted cel era.

#MickeyMouse #ThePrinceandthePauper #Disney #WaltDisney #PrinceandPauper #Goofy #DonaldDuck #OllieJohnston #DonBluth #MarkHenn #DanHaskett #JohnLasseter #JohnMusker #GeorgeScribner #Disney #WaltDisney #untitledartgallery #animation #Cel #animationcel #productioncel #productiondrawing #Disneyanimation #art #artwork #WayneAllwine #RussiTaylor #Pluto #HoraceHorsecollar #ClarabelleCow #Pete #PegLegPete #animationdrawing #Pauper #keysetup #animationbackground #KingofEngland

Original Production Animation Cel of Lafayette from "The Aristocats," 1970

 

Original hand painted production animation cel of Lafayette from "The Aristocats," 1970, Walt Disney Studios; Set on a lithographic background; With hand painted right leg & paw cel; Size - Lafayette: 5 x 6", Image: 6 x 14 3/4"; Unframed.

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

This original hand-painted production cel captures Lafayette, the lovable and easily distracted Basset Hound from Walt Disney’s The Aristocats, in one of the film’s wonderfully comic encounters with his companion Napoleon. Lafayette is shown in a relaxed but alert pose, his long brown ears falling dramatically along either side of his face as he looks toward Napoleon. His raised paw and open, smiling expression perfectly convey the character’s amiable, somewhat bewildered personality. The blue-toned French countryside background provides a striking contrast to Lafayette’s white-and-brown coloring, while the visible painted texture and bold hand-inked outlines preserve the distinctive appearance of traditional Disney animation.

The cel comes from the memorable exchange between the two motor vehicle-chasing hound dogs. Lafayette dismisses Napoleon’s suspicion by observing, “Oh, shucks, Napoleon, that ain't nothin' but a little old cricket bug.” Napoleon insists, “It's squeaky shoes approachin'!” Lafayette counters, “Aw, cricket bugs don't wear shoes!”, prompting Napoleon's emphatic “Hush yer mouth!” The comedy of the sequence depends upon the contrast between Napoleon's intense suspicion and Lafayette's more easygoing nature. This cel captures Lafayette at precisely the sort of moment that makes the character so appealing: friendly, expressive, and utterly unconcerned with Napoleon's increasingly urgent warnings.

The Aristocats, released in 1970, was an animated feature film produced and released by Walt Disney Productions. It was the last film project to be approved by Walt Disney himself, who died in late 1966, before the film was finally released to theaters by Buena Vista Distribution on December 11, 1970. The film featured the voice talents of Eva Gabor, Hermione Baddeley, Phil Harris, Dean Clark, Sterling Holloway, Scatman Crothers, and Roddy Maude-Roxby. Based on a story by Tom McGowan and Tom Rowe, the film follows a family of aristocratic cats and their struggle to return home after their greedy butler attempts to eliminate them so that he can inherit their mistress's fortune.

The story takes place in Paris in 1910, where Madame Bonfamille tells her lawyer, Georges Hautecourt, that she intends to leave her stocks, bonds, mansion, treasures, jewels, and entire fortune to her beloved cats rather than to her butler, Edgar Balthazar. When Edgar overhears this plan, he realizes that the cats could outlive him and prevent him from ever receiving the inheritance. His solution is to put sleeping tablets into the cats' milk and, once they fall asleep, transport them far from Paris in a covered basket attached to his motorcycle. Edgar's journey through the French countryside ultimately brings him into the path of Napoleon and Lafayette.

Napoleon, a Bloodhound, and Lafayette, a Basset Hound, were both animated by legendary Disney animator Frank Thomas. The dogs were initially intended to appear in only one scene, but the sequence proved so successful that a second scene was developed involving Edgar's return to the countryside to retrieve his umbrella and bowler hat. Their scenes became some of the film's most memorable pieces of comic animation, with Thomas exploiting the enormous difference between Napoleon's imposing Bloodhound physique and Lafayette's low-slung, long-eared Basset Hound design.

Lafayette was voiced by George Lindsey, while Napoleon was voiced by Pat Buttram. The pairing was particularly effective because both performers brought distinctive Southern-inflected comic personalities to the characters. Buttram and Lindsey would later reunite in Disney's Robin Hood, with Buttram voicing the Sheriff of Nottingham and Lindsey voicing Trigger, the vulture guard. They teamed up once again in The Rescuers, providing the voices of Luke and Deadeye.

As a piece of Disney animation art, this Lafayette cel is especially charming because it showcases the character's personality through his expressive face and distinctive pose. His enormous ears, loose-limbed posture, and cheerful expression are immediately recognizable, while the beautifully painted countryside setting places him within the atmosphere of the film's French rural sequences. Together with the complementary Napoleon artwork, the cel represents the wonderfully eccentric canine duo whose brief appearances became an enduring highlight of The Aristocats.

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

Original Production Animation Cel of Napoleon from "The Aristocats," 1970

 

Original hand painted production animation cel of Napoleon from "The Aristocats," 1970, Walt Disney Studios; Set on a lithographic background; Numbered 33 in ink lower right; Size - Napoleon: 6 1/4 x 10", Image: 10 1/2 x 14"; Unframed.

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

This original hand-painted production cel captures Napoleon, the gruff, easily excitable Bloodhound from Walt Disney’s The Aristocats, in one of the film’s wonderfully comic encounters with his companion Lafayette. Napoleon is shown in a characteristically expressive pose, lounging beneath an umbrella with his long ears hanging down, Edgar's bowler hat perched atop his head, and his face set in a wonderfully suspicious, slightly irritated expression. His raised paw and extended hind leg add to the loose, physical comedy of the scene, while the beautifully painted blue background and tree trunk establish the French countryside setting. The cel preserves the distinctive hand-inked and hand-painted qualities of traditional Disney animation, with the carefully articulated lines giving Napoleon an enormous amount of personality.

The moment comes from the dogs' hilarious exchange as they attempt to determine what is approaching them: “Oh, shucks, Napoleon, that ain't nothin' but a little old cricket bug.” Napoleon responds, “It's squeaky shoes approachin'!” When Lafayette protests, “Aw, cricket bugs don't wear shoes!”, Napoleon emphatically snaps back, “Hush yer mouth!” The humor comes from the wonderfully mismatched personalities of the two motor vehicle-chasing hounds: Lafayette is the more easygoing and skeptical Basset Hound, while Napoleon is perpetually ready to sound the alarm. The artwork captures precisely the kind of exaggerated expression and body language that made their brief appearances among the film's most memorable comic sequences.

The Aristocats, released in 1970, was an animated feature film produced and released by Walt Disney Productions. It was the last film project to be approved by Walt Disney himself, who died in late 1966, several years before the film's completion. The finished picture was released to theaters by Buena Vista Distribution on December 11, 1970. The film featured the voice talents of Eva Gabor, Hermione Baddeley, Phil Harris, Dean Clark, Sterling Holloway, Scatman Crothers, and Roddy Maude-Roxby.

Based on a story by Tom McGowan and Tom Rowe, the film centers on a family of aristocratic cats living in Paris. In 1910, Madame Bonfamille tells her lawyer Georges Hautecourt that she intends to leave her stocks, bonds, mansion, treasures, jewels, and entire fortune to her beloved cats rather than to her butler, Edgar Balthazar. When Edgar overhears the plans, he realizes that the cats could outlive him and prevent him from ever receiving the inheritance. His sinister solution is to drug the cats' milk with sleeping tablets and secretly transport them far from Paris in a covered basket attached to his motorcycle.

Napoleon and Lafayette encounter Edgar during these events, becoming an unexpected obstacle to his plans. Their pursuit of motor vehicles—particularly Edgar's motorcycle—provides some of the film's most entertaining slapstick. The contrast between Napoleon's imposing Bloodhound appearance and Lafayette's long-eared, more tentative Basset Hound personality makes the pair especially effective. In this cel, Napoleon's expressive eyes, drooping ears, oversized nose, bowler hat, and exaggerated pose exemplify the broad yet carefully controlled character animation that defines the sequence.

Both dogs were animated by Frank Thomas, one of Disney's legendary Nine Old Men. Napoleon and Lafayette were originally intended to appear in only one scene, but the sequence proved successful enough that a second scene was developed, involving Edgar's return to the French countryside to retrieve his umbrella and bowler hat. Napoleon was voiced by Pat Buttram, while Lafayette was voiced by George Lindsey. The two performers would later reunite in Disney's Robin Hood, with Buttram voicing the Sheriff of Nottingham and Lindsey providing the voice of Trigger the vulture guard, and again in The Rescuers, where they voiced Luke and Deadeye.

As a piece of Disney animation history, this cel is particularly appealing because it represents one of the film's distinctive supporting characters rather than its central feline cast. Napoleon's wonderfully exaggerated design and Frank Thomas's expressive animation give the artwork an immediate sense of motion and personality. The combination of the original painted cel, the unmistakable 1970 Disney character design, and Napoleon's comic pose makes this a charming representation of one of The Aristocats' most memorable canine characters.

#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 cel of Gandalf with the matching original production animation drawing from "The Lord of the Rings," 1978

 

Original hand painted production animation cel of Gandalf from "The Lord of the Rings," 1978, Ralph Bakshi; Production numbers in ink lower cel edge; Set on a lithographic background; With the matching original production animation drawing in graphite and blue pencils; Production numbers in pencil bottom edge; Size - Gandalf: 7 1/4 x 7 1/4", Image 9 x 12 1/2", Drawing 10 1/2 x 12 1/2"; Unframed.

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

 

This striking hand-painted production cel captures one of the most iconic moments in Ralph Bakshi’s 1978 animated adaptation of J.R.R. Tolkien’s The Lord of the Rings, as Gandalf the Grey makes his final stand against the Balrog known as Durin’s Bane deep within the Mines of Moria. With his sword raised in one hand and his staff held aloft in the other, Gandalf is rendered in a powerful, commanding pose, his determined expression conveying the gravity of the confrontation. The dramatic gesture beautifully complements his defiant declaration: “I’m a servant of a secret fire! You cannot pass!” The cel’s rich blues and carefully defined linework give Gandalf an imposing presence, while the dark, textured Moria setting heightens the sense of danger surrounding him.

The original hand-painted production cel with matching animation drawing, offers an unusually tangible connection to the creation of Bakshi’s The Lord of the Rings. The film was theatrically released on November 15, 1978, and adapted The Fellowship of the Ring and the first half of The Two Towers. Although the planned animated continuation was never completed following the film’s disappointing reception, Rankin/Bass Productions subsequently produced The Return of the King in 1980, bringing an animated conclusion to Tolkien’s story. Bakshi’s film nevertheless remains one of the most distinctive and celebrated interpretations of Tolkien’s work, particularly for its groundbreaking visual approach.

At the center of that approach was Bakshi’s extensive use of rotoscoping, a technique in which live-action performances were filmed and then traced by animators to create remarkably fluid and realistic movement. The process allowed Bakshi to combine conventional hand-drawn and hand-painted animation with imagery derived from live-action performances, producing the unusual visual quality that the film’s publicity famously promoted as “the first movie painting.” Rather than asking his actors to exaggerate their performances as was common in animation, Bakshi instructed them to play their roles straight and then used the rotoscoped footage as the foundation for the animated action. The resulting realism was particularly effective in large-scale sequences involving armies, battles, and crowds of characters.

Ralph Bakshi (b. 1938) is a producer, animator, writer, actor, and painter, although he is perhaps best known for directing independent and adult-oriented animated and live-action films. He began his professional career at the Terrytoons cartoon studio as a cel polisher before advancing to animator and eventually director. In 1967, he moved to the animation division of Paramount Pictures, and the following year established his own studio, Bakshi Productions. The studio’s debut feature, Fritz the Cat (1972), became the first animated feature to receive an X rating from the Motion Picture Association of America and went on to become an enormous independent success. Between 1972 and 2015, Bakshi directed ten feature films, including Wizards (1977), The Lord of the Rings (1978), American Pop (1981), Fire and Ice (1983), and Cool World (1992). His television work likewise included projects such as Mighty Mouse: The New Adventures and the anthology series Spicy City.

Bakshi had been familiar with Tolkien’s writing for years and made several attempts to bring The Lord of the Rings to animation before finally securing financing from producer Saul Zaentz, in collaboration with United Artists. The screenplay was written by Peter S. Beagle from an earlier draft by Chris Conkling, and the film featured voice performances by William Squire, John Hurt, Michael Graham Cox, and Anthony Daniels. It was also among the earliest animated features presented with Dolby Stereo sound. Bakshi’s ambitious adaptation attempted to convey the enormous scale of Tolkien’s world while retaining the immediacy and physicality of live-action filmmaking.

The complexity of that undertaking is reflected in Bakshi’s own description of the production: “The number of characters moving in a scene is staggering.” He recalled that some cels contained a thousand people and that the intricacy of the work could mean an artist produced only one cel in an entire week. That extraordinary production process makes surviving original cels and their corresponding animation drawings especially fascinating. Rather than simply being finished illustrations, they are individual pieces of the filmmaking process, preserving the artwork created frame by frame to bring Tolkien’s world to life.

This Gandalf cel is particularly compelling because it depicts the wizard at one of the defining turning points of the entire story. His raised sword and staff, surrounded by the darkness of Moria, visually reinforce his role as the Fellowship’s protector and his willingness to stand between his companions and an almost unimaginable supernatural threat. The cel therefore represents not merely a memorable image of Gandalf, but a remarkable piece of animation history from an ambitious film that helped redefine what animated fantasy could look like.

#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 

Original hand painted production animation cel of Gandalf with the matching original production animation drawing from "The Lord of the Rings," 1978

 

Original hand painted production animation cel of Gandalf from "The Lord of the Rings," 1978, Ralph Bakshi; Production numbers in ink lower cel edge; Set on a lithographic background with book lithographic overlay; With the matching original production animation drawing in graphite and blue pencils; Production numbers in pencil bottom edge; Size - Gandalf: 8 x 12 1/2", Image 8 3/4 x 12 1/2", Drawing 10 1/2 x 12 1/2"; Unframed.

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

This remarkable pairing captures Gandalf the Grey at one of the most ominous moments in Ralph Bakshi's animated adaptation of The Lord of the Rings. Shown seated and holding a dusty, discarded volume, Gandalf studies the book that reveals the tragic fate of the Dwarves of Moria. The accompanying dialogue—“It says, ‘We have barred the gates.’ And something about... the watcher in the water”—gives the image an unmistakable sense of foreboding, as the Fellowship begins to understand the terrible events that unfolded within the ancient Dwarven kingdom. The hand-painted production cel beautifully captures Gandalf's distinctive white hair, beard, and penetrating expression, while the matching animation drawing reveals the extraordinary underlying linework used to create the finished image.

The contrast between the finished cel and its corresponding drawing provides a fascinating glimpse into the animation process. On the original drawing, the character is rendered in delicate graphite lines, with the placement of Gandalf's facial features, hair, robes, hands, and book carefully established by the animator. The production cel transforms those lines into a fully realized screen image, adding the rich tones and dramatic shading that give Bakshi's interpretation of Middle-earth its distinctive visual character. Together, the pieces preserve both stages of the artistic process—from the animator's original design to the finished hand-painted image photographed for the film.

These incredible pieces come from The Lord of the Rings, Ralph Bakshi's ambitious 1978 animated adaptation of J.R.R. Tolkien's classic trilogy, theatrically released on November 15, 1978. The film adapted The Fellowship of the Ring and the first portion of The Two Towers, following the Fellowship of hobbits, elves, men, dwarves, and Gandalf on their perilous quest to destroy the One Ring in Mount Doom. Although Bakshi's planned continuation was never completed, the story was subsequently concluded in animated form by Rankin/Bass Productions with The Return of the King in 1980.

Bakshi's The Lord of the Rings remains one of the most visually distinctive interpretations of Tolkien's work, largely because of its groundbreaking and extensive use of rotoscoping. Publicity for the film famously described it as “the first movie painting,” reflecting Bakshi's unusual approach to combining live-action reference material with traditional hand-drawn and hand-painted animation. Actors performed scenes in live action, which were then traced and transformed by artists into animation, allowing for a remarkable degree of realism and complexity. This technique was especially effective in the film's massive battle sequences, but it also lends intimate scenes such as this one an unusual naturalism, visible in Gandalf's posture, facial expression, and subtle gesture as he reads the ominous words before him.

Ralph Bakshi's approach was rooted in his desire to move rotoscoping away from exaggerated cartoon performance and toward something much closer to realistic acting. As Bakshi explained, his actors were instructed to perform naturally rather than “like a cartoon,” producing what he described as a form of “rotoscope realism unlike anything that's been seen.” The complexity of this process was enormous, with some scenes containing hundreds—and reportedly even thousands—of animated figures. Yet this more intimate image of Gandalf demonstrates that the same painstaking technique could be equally effective when focused upon a single character and a moment of quiet dramatic tension.

Bakshi had been familiar with Tolkien's writing long before bringing The Lord of the Rings to the screen and had made several attempts to adapt the material before securing financing from producer Saul Zaentz and collaborating with United Artists. His film, directed from a screenplay by Peter S. Beagle based upon an earlier draft by Chris Conkling, featured the voice talents of William Squire, John Hurt, Michael Graham Cox, and Anthony Daniels. It was also among the early animated features presented in the Dolby Stereo Sound System, further emphasizing the ambitious scale of the production.

For collectors, this original hand-painted production cel with matching animation drawing offers a particularly compelling connection to one of the most memorable sequences in Bakshi's film. Gandalf's discovery of the abandoned book provides a haunting bridge between the Fellowship's journey and the destruction that has already taken place within Moria. The combination of the finished cel and original drawing not only preserves this dramatic moment from the film, but also offers a rare opportunity to appreciate the remarkable craftsmanship behind Bakshi's revolutionary vision of Middle-earth.

#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