Pegasus Family

Fantasia

Released:  November 13, 1940

It should be no surprise that another piece from Fantasia has made it to my blog.  Fantasia was a feast for the eyes by combining the best that animation had to offer with some of the best classical music popular at the time.  With music from Bach’s Pastoral Symphony, Disney created a story from the mythology of centaurs, unicorns and flying horses.

                                Original production cel setup, gouache on celluloid, Courvoisier watercolor background
                                on paper with original Courvioisier certificate (shown right)

                                Supervising Animators:  Don Towsley and Harry Hamsel

                                Acquired:  May 18, 2008

In this production cel setup, Pegasus’ partner  and their children carefully make a landing into a lake near the Elysian fields.   This piece displays intricate line work and exacting detail so typical of art from Fantasia.  The multiple cel setup shows the action in the scene complete with water effects as the baby pegasi make their splash landing.  Paired with a watercolor background similar to the original used in the film, this piece comes with its Courvoisier certificate as sold in the early 1940’s, most typically for around $20 to $25 back then.

Several years back when I first started collecting animation art, I met a gentleman by the name of Jeff Lotman on one of my auction trips to New York.  Mr. Lotman had been known in the animation art community as one of the powerhouse collectors having started in the 70’s and taking an interest in preservation.  He also had published two key books on animation art, cataloging all animation sales from when the auction houses starting selling art in 1984 to 1993.  These books compiled a wealth of information on what pieces were sold, prices and provenance.   Upon studying his books over the years, I remembered seeing an almost identical cel setup selling for $28,600 at Christie’s East in New York on November 8, 1988.  I had wished and hoped that someday I would come across a cel setup similar to this one.  After years of searching, I stumbled upon an offbeat auction house that was selling a similar setup.  Needless to say I purchased the piece as birthday present to myself in 2005.  Cel setups from this scene are very rare.  In the 25 plus years i have been collecting, I have only ever two of these setups.  This is truly a rare and incredible find.

                                                         Original concept painting, watercolor on paper

                                                         Artsit:   Campbell Grant

                                                         Acquired:  May 15, 2011

A few years ago, I also stumbled upon a concept painting that surely was utilized in the development of this sequence. Painted by Campbell Grant who worked at the studio from 1934 to 1946.  He originally began as an animator at the studio and progressed with Joe Grant working in the Character Model Department.  He also voiced the part of Angus MacBadger in the Adventures of Ichabod and Mr. Toad in 1949.  I love this simple water color painting that sets how the background artists were to visualize this scene.  If you watch the film, you will see how one idea leads to another to get to the final screen shot.

  

  

Simba & Zazu - Hear me roar!!!

The Lion King

Released:  July 15, 1994

One of my favorite artists from Disney’s contemporary era is Chris Sanders.  You may not recognize him on the street or he may not be the subject of the latest tabloid gossip, but some of his stories and characters are quite memorable.  In a throwback to Disney’s simpler design ideas of the 1950’s and perhaps influenced by Mary Blair mixed with a bit of Ken Anderson, the Lion King takes a unique animation style turn with the song and dance number, “I want to be king.”  Here the young Simba, sings to the world his feelings for wanting to be king and takes us on a journey through his eyes in a very colorful, bold and symbolic African style.  Nala of course is along for ride and adds to the fun of it all.

                                           Original concept painting, watercolor and ink on board

                                           Concept Sketch Artist:  Chris Sanders

                                           Background Artist :  Chuck Volmer

                                           Original concept painting, watercolor and ink on board

                                           Concept Sketch Artist:  Chris Sanders

                                           Background Artist :  Chuck Volmer

Depicted here are two wonderful concept story paintings setting the scene for how the animators and artists needed to portray a free-spirited childlike sensibility on the screen.  Setting the pace with modern Disney angle, Chris Sanders designed these paintings with energy and fun in mind.  His nature to “round out” characters and their environments creates a safe place for the film to express the right emotion.   The drawing for the first painting can be seen in Christopher Finch's book, "The Art of the Lion King" on page 40.

Painted by Charles Volmer, the bold patterns and colors lay the groundwork for the musical number in decidedly African flare.  All of these elements blend together to make this sequence fun, energetic and entertaining from the child's perspective.  As seen here, Simba greets Zazu with his mighty roar and begins his “mane” event.

Another fun little piece in the collection, is this concept drawing of young Simba with a quizzical surprise on his face.  I think this could be a piece by Andy Gaskill based upon the loose drawing style and the blue/black ink combo that I have seen in some of his other Lion King concepts, most notably his work story sketches and workbook drawings.  This piece was created during the production process and was perhaps posted on one of the many storyboards (as evidenced by the pin-holes in the corners) as the animators developed the look and feel of the characters.  If you know something about this drawing let me know.  

                                                      Original concept drawing, colored pencil and ink on paper

                                                      Attributed to Sketch Artist:  Andy Gaskill

                                           

A Little Diversion to SFO

April 5, 2013

Snow White Exhibit,
Walt Disney Family Museum,
San Francisco, CA

I thought I would share a little diversion I recently took this past couple of weeks ago to San Francisco, CA to see the Snow White exhibit on display at the Walt Disney Family Museum at the Presidio.  If you have never been to visit this museum, you are in for a real treat.  Walt's daughter, Diane Disney Miller founded this institution several years ago to house and share the personal story and incredible things about her father.   I visited the museum the first year it opened and was amazed at all the wonderful things on display.  The permanent collection includes the original Academy Awards presented by Shirley Temple to Walt Disney in 1937, a wonderful selection of Disney production artwork, Walt's backyard train - The Lily Belle, a unique scale model of Disneyland and more.

Several months back I learned that the Disney company in conjunction with the museum was planning to host an exhibit on Snow White in celebration of the film's 75th anniversary.   This exhibit opened in late 2012 and would run through April 14, 2013.   I just knew that I had to find time to go down for the weekend to see the exhibit before it closed.  When I arrived, I noticed the museum had expanded into an adjacent building on the campus and the complete Snow White collection was on display in this special gallery.  

As you walked into the exhibit gallery you are greeted by a wonderful selection of vintage/period lobby cards and movie posters as well as the Snow White Academy Awards.  Starting on the top floor you work your way through the story with pieces of original production art from the Museum's collection and other prominent collectors as well as the Disney Archives.   Early pieces included the Wicked Queen at the mirror (on loan from Stephen Ison) and concept drawings of Snow White cleaning and with some of her forest friends.  One particularly interesting piece included a concept piece of the Magic Mirror faces.  Production pieces from this sequence are incredibly rare and no animation cel setups of the actual mirror face is known to exist. 

As one continued into the exhibit, there were a number of great pieces from the scene where Snow White runs into the forest before heading downstairs.   A couple pieces to note include the drawings of the scary forest (to be explained in a later post) and the dramatic high note where Snow White is very expressive in single cel setup.

Moving downstairs, the exhibit continues with the story and one of the only known maquettes from the film is on display.  But wait there is not one but two of them!  Both of Dopey in a wood finish and a full color mock up.  They are simply beautiful.  I love to collect maquettes and it was a thrill to see one of the earliest in animation up close.  

Some other pieces of note, included a wonderful production background of the interior cottage scene with her forest friends, complete with an overlay, a wonderful background of the cottage exterior on loan from the Disney Archives and an even better key master setup of all seven dwarfs with production background on loan by Disney animator, Andreas Deja.  It was important to note that not all of the cel setups on display were actually production.  The Disney Archive had recreated several scenes from the original animation drawings and paired up with reproduced backgrounds in the exhibit.  This was due to fact that the original setups were becoming to fragile to travel and be on display.  However, there were a number of original backgrounds and original cel setups in the collection that more than made up for some of the reproduced works.

Next up was a section from one of my favorite scenes in the film, the Queen's transformation. Included in this section were some wonderful drawings of the Queen's hands as they change into that of an old hag.  I particularly liked the drawing of the her bony structure.  Also up for display was the chemistry of the magic potion being worked up.   As noticed throughout the exhibition, there were TV monitors allowing you to experience a part of the film while taking in the beautiful artwork.

Rounding out the story, the exhibit then showcased a fantastic concept piece of the Old Hag offering Snow White an apple by Gustav Tenggren.  I had never seen this concept piece before and in particular this one by Tenggren was striking with the somewhat realistic looking Snow White offset by the very grotesque appearance of the Queen.  The piece was placed somewhat high up on display but it worked well to present this key scene in the movie.  Tenggren was known for his storybook quality in illustration and it clearly shows through in this very graphic stylized piece.  I loved it, and can understand why they used it in their marketing materials.

As you wondered to the end of the exhibit it continued with the story of the Dwarfs chasing the Old Hag to her demise and the finale for the film.  Of particular note where some wonderful black and white thumbnail layouts by Ken O'Connor of the Old Hag and Dwarfs. I loved the dramatic styling with using just two colors.  I also particularly noticed how some of the better key master setups were displayed in a special plexi-box that really allowed for a better visual experience and without the need for a frame.  This is something I am interested in doing for pieces in my own collection and I hope to explore more in the future.  

All in all I thoroughly enjoyed this exhibit and what it offered.  There were a number of art pieces that I had not seen before and it is a great thrill to discover something new through seeing the art up close.  So, if you did not get an opportunity to see the exhibit, there is a second chance.  This exhibit is on it way to the Norman Rockwell Museum in Stockbridge, MA opening June 8 and closing October 7.  To learn more about it, check out their webpage.

Here comes Casey Jr!

Dumbo 

Released: October 23, 1941                 

Ever since I was little boy, I was always fascinated with planes, trains and automobiles.  I loved playing with models, matchbox cars and any toy that allowed me to build and imagine a world different than my own.  Model railroading was a natural extension of my personality and fortunately, Santa understood this and treated me to some electric trains at Christmas.   Growing up, I had a lot of fun building these miniature worlds in HO scale in my bedroom and after college, I rediscovered this love for model trains one day when I picked up a magazine called Garden Railways.  Combining my love for gardening and being outside during the comfortable Alaska summers, it seemed liked a natural combination to put a miniature train in my background.  The creative thinking behind my animation hobby found its way into the backyard with a garden train that encompasses nearly 14 scale miles of track in a natural setting with over 100 bonsai trees.   Not only can I escape with my art but I can also escape to the back yard!

Scenes from my train garden during the summer.

This wonderful concept painting carries that love of trains into my art collection in the house.  On a trip to California to attend an animation sale along with my good friend Debbie Weiss, I was fortunate enough to be top bidder on this watercolor concept piece of Dumbo’s Casey Jr.  I love the simplicity of this painting and it has a prominent place near the exit of my home out to the train garden.

                Original concept painting, watercolor on 12 field watercolor paper

                Artist:  Studio Artist, Unknown
                Acquired:  April 28, 2002

Animated up by one of Disney’s “Nine Old Men”, Ward Kimball who was also a train buff, Casey Jr portrayed the playful side of circus life.   Painted in watercolor on 12 field paper, this concept piece depicts one of the final scenes of the film.  Casey Jr is wearing a floral wreath to support the happy ending when Dumbo has finally made it to the big top as the star attraction.  The artist designed the look of one of the final scenes in the film and the use of bright and bold colors shows how Disney wanted to capture the storybook quality through the use of watercolor to convey the happy ending.

                                            Original photostat modelsheet, print of paper

                                            Artist  Ward Kimball
                                            Acquired:  April 12, 2011

Much later after acquiring the concept I stumble upon a this wonderful model sheet depicting Casey Jr in very playful action as reference for the studio animator's working on the film.   As mentioned Ward Kimball played a big part in designing the look of Casey Jr.  and this model sheet shows the his expressive drawings.   This comes complete with a studio stamp where you will notice that Joe Grant approved this reference on February 12, 1940. 

Ugly Duckling & Wilbur

The Ugly Duckling and Goofy & Wilbur

Released:  March & April, 1939

Starting in 1938, Walt Disney contracted with Guthrie Courvoisier of San Francisco to market animation art from Snow White.  For the first time, the general public could own some of the incredible artwork that was being created in the Disney studios.  Most of the vintage animation art from 1937 to 1946 that we see today for sale in the secondary art market, was a direct result of this unique effort from Courvoisier Galleries.  Had this relationship not occurred, it remains highly likely that much of the animation art today would have been either destroyed, recycled or simply lost.  Thanks to Courvoisier’s insight, the modern animation art collector can aspire to discover some wonderful art from Disney’s earliest years.

This wonderful cel setup depicting the Ugly Duckling and Wilbur, showcases two vintage shorts in one animation piece.  The Ugly Duckling, released on April 7, 1939, became one of my favorite Disney animated shorts after re-discovering it while watching Lilo & Stitch in 2002.  This heartwarming story based upon Hans Christian Anderson’s tale, portrays the struggle of a young swan growing up as a duck only to discover that he is something more special.  This cel setup also features Wilbur from the animated short, Goofy & Wilbur, released on March 17, 1939.  Wilbur was the special pet of Goofy and focused on their escapades with fishing and all the things that could ultimately happen or go wrong.

Courvoisier cel setup, gouache on trimmed celluloid and watercolor on paper

Artist:  Various Studio, unknown

Acquired:  January 18, 2008

Cels were often trimmed to the outline of the character by the studio and paired with an original watercolor background created for sale that was similar to the production background.  In this cel setup, a studio artist paired two shorts together into one piece from artwork that was available at the time.  Here you have the Ugly Duckling and Wilbur interacting in a wonderful relationship set against a watercolor background of a scene similar to one in the Ugly Duckling.  I love the warmth and charm this cel setup conveys, as the Ugly Duckling finally seems to find a friend in Wilbur.  Additionally, the studio would also often emboss on the actual cel the words "Walt Disney Prod" and issue a special sticker often applied to back of the frame to further certify the authenticity of the piece.

Neverland Island - Return to Neverland!

Return to Neverland

Released:  February 15, 2002

As might guess from my earlier post, I particularly love the idea and though of what it might be like to visit a place like Neverland.  From the moment your eyes start to view this painting your mind starts it’s journey to this magical place.  Neverland Island, that mythical place from the J.M. Barrie’s Peter Pan stories, is a wonderful world that every boy dreams of going to or attempts to build in the backyard. 

                        Original production background, watercolor on 25 field board

                        Artist:  John Kleber

                        Sequence 7, Scene 48

                        Sequence 26, Scene 26

                        Acquired:  February 7, 2002

This bright and colorful background painting shows the magical island with all of its familiar spots that Peter Pan and the Lost Boys have fun discovering.  From the Indian Encampment to Mermaid Lagoon, you can quickly travel the island visiting all these places.  This wonderful production background was created for the feature film Return to Neverland released to theaters in 2002.  Set years later during World War II, Wendy has grown up and now finds herself with a daughter Jane who is too practical for her age and no longer believes in Peter Pan.  The stage is set for her to discover what really lies out there at the second star to the right.

Researching one evening on the internet I ran across an artist blog for Adrian Thatcher, an Emmy award winning director/artist who had worked this film.  From that blog I was able to strike up a conversation and learn a little more.  He had worked for Disney in Canada on the art direction and layout for the film and shared his stories of how Return to Neverland production moved through the animation process.  Having seen his original layout drawing for another production background in my collection, he mentioned that the film was started in Toronto, but ultimately completed in both the Tokyo and Sydney Disney studioes.  This film was truly an international effort with the art having moved around the globe on several occasions.   This painting was originally created as color concept by well known American Illustrator, John Kleber and because it was so well liked the directors ended up using it in the film.  

Painted with gouache on illustration board, this painting is huge in terms of animation art.  Measuring 19 high by 25 inches wide, this painting allowed the animator’s to travel into Neverland during two key scenes of the film.  The sheer size of the painting when you see it up close really captures your attention and let’s your mind to take the journey there.  Because of its size and scale of the landscape, this is one of my favorite pieces in the collection.  

When I learned that I was the lucky high bidder from the auction that Disney held on the internet, I had no idea that it would be so large and captivating with its presence!  Back in the early 2000's Disney used to hold special auctions as a way of promoting their films through eBay.  This painting is one of only 11 original production backgrounds that were sold to the public.  Even though this piece is from a contemporary film, it is beautifully executed and is a standout in the collection.  If you remember my earlier post on Mary Blair's original concept, this more contemporary piece carries the 1950's design theme in the present.  Simply beautiful.

Pines of Rome, Father & Baby Whale

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

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.