Fantasia 2000
Released: December 17, 1999
During the summer of 2000, I remember walking into Sotheby’s showroom in New York wondering what animation would captivate my attention and interest. The new century had barely begun and much like the film portrayed a new animation direction, unbeknownst to me at the time changes were on the horizon that would take my career in a whole new direction.
This summer auction was a familiar experience and I once again had a chance to visit with my friend, Dana Lang who had accompanied me to numerous Disney sales in the years before. She was excited to see art from the film Tarzan which was also up for sale. We both explored Sotheby’s gallery sharing our thoughts about each piece, likes and dislikes and ultimately developing our personal bidding strategies. Prior to my arrival, I had done some extensive research on the file regarding what background scenes Disney pulled from the Archive to sell and how they had composited then in the framed art in Sotheby's showroom. It was not uncommon at the time for Disney to pair up cels from different scenes with an original background to improve the overall value of the final artpiece sold. Before I purchase any contemporary art, I always like to know if the cel offered is key to the background, how many times the backgrounds appears in the film, if the scene had been published in other media (books, publicity) and does the image portray the essence of the story from the film. When buying at auction, it is also important to know the provenance, production history and makeup of the animation art.
Throughout the session, both Dana tried to pickup a piece but unfortunately we walked away from Tarzan emptied handed. We were seemingly outbid by either a Japanese couple in front of us or another just behind. Both of whom managed to purchase around 15% of the total auction lots for export to Japan. By our guess, this auction was stronger than usual with prices for pieces exceeding high estimates.
After the Tarzan session was over, Dana had to head back home on Long Island to attend a family matter. Even though I was very interested in Tarzan, my real wish was to pickup something from Fantasia 2000. The next session started after a short break for dinner and just after the audience settled in for round two, much to our surprise, Sotheby’s introduced a very special guest. Roy Disney, Walt’s nephew, came up to the podium to address the crowd about the art and the film, and personally invited everyone (and guest) who was successful on a Fantasia 2000 lot to meet him for drinks in the Sotheby’s boardroom. Now the challenge was on the in room!
Fortunately for me and because I had more money from having not purchased something from Tarzan, I could focus on a special piece from this session. During the viewing I had been eyeing the setups of the whales from the Pines of Rome sequences and I particularly liked lot 167 of the Father whale. What really struck me about this setup was the way Disney studio prepared cel setup. It is one of the most detailed cels I have ever seen with the special effects and barnacles on the humpback portrayed by the painting techniques from the ink & paint studio. As you can imagine I was thrilled when I was the top bidder on the piece below!
Original Key Master Setup, three cel setup with background, gouache on celluloid, watercolor on
crescent board
Animator: Studio Unknown
Sequence 10, Scene 51.1
crescent board
Animator: Studio Unknown
Sequence 10, Scene 51.1
Also while looking around during the viewing the one cel setup that really caught my eye was lot 164, which was the very first lot of the evening session. The baby whale set against a beautiful composition of 6 cel levels of icebergs reflecting light was a stunning pan setup. I remember walking up to it and being captivaed by the colors and beauty of the scene. If there was one piece I was really wanted it was this one. However, I gave it my best shot and it was not meant to be.
Original Key Master Setup, seven cel setup with background, gouache on celluloid, watercolor on crescent board
Animator: Studio Unknown
Background Artist: Barry Atkinson
Sequence 10, Scene 36
Fast forward a number of years and Fate often has a fun way of surprising. I was offered this piece a few years later and was lucky enough to make a deal to purchase it. Pieces from this sequence are rare as only six production setup were sold by Disney through Sotheby's.
Oh! I should mention that meeting Roy in the Sotheby's boardroom was quite a personal thrill. As mentioned earlier in his announcement, Roy Disney invited all successful bidders to a meet and greet over drinks. When I was successful on the painting of the Father Whale, I gentleman from his staffed promptly approached me after bidding and handed a personal invitation signed by Roy. Mr Disney was particularly fond of his efforts and that of studio with this film and really wanted to meet the fan base and share stories. I particularly remember walking up to Mr. Disney and introducing myself and which I was purchased. We exchanged a few thoughts about the Pines of Rome sequence and he stated that this one his favorite sequence. I told him that being from Alaska, Humpback Whales are special animal up North and quite beautiful creatures. He thought it was wonderful that one of these pieces was making it ways up to Alaska. After sharing more stories and meeting some new collectors, I called it a successful day. I just wish my friend Dana had been there to be my guest.
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