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Exhibits
  • Original Walt Disney Production Cel on Pan Production Background from Pluto's Dream House (1940)

    We are pleased to offer an original Walt Disney Production cel on Pan Production Background from Pluto’s Dream House (1940) featuring Mickey Mouse and Pluto.

    Before Aladdin graced the Big Screen, it looks like his magic lamp or a distant genie cousin made his way in this cartoon short. Here, Mickey decides to build Pluto a new house and while he breaks ground, Pluto digs out a magic lamp. In it is a genie who follows Mickey's command in building a grand of a dog house for Pluto. However, when Mickey's radio goes haywire, the genie follows every command it hears on the radio, creating chaos for Pluto.

    In this scene, the paintbrush that has been enchanted by the magic lamp is painting the dog house-- and Pluto. Curious and amazed by the mischievous magic paint brush, Pluto gets a little too close to the action. The brush is not concerned with Pluto being in the way and paints all over him, leaving his silhouette against the side of the dog house.

    Like all Disney characters, Pluto went through a bit of changes in his early character development. When reflecting on the legacy of the lovable canine character, Walt Disney said “Yet through all these great moments I think I can safely say Pluto hasn’t changed a bit. He’s still the same unaffected, simple-minded mutt he’s always been.” Own a piece of animation history today! $3,995 framed.

    • Original Production Drawing of Gertie the Dinosaur by Windsor McCay (1914)

      We are pleased to offer an original production drawing of Gertie the Dinosaur by Windsor McCay. Created in 1914, Gertie was the first film to use animation techniques such as keyframes, registration marks, tracing paper, the Mutoscope action viewer, and animation loops. It influenced the next generation of animators such as the Fleischer brothers, Otto Messmer, Paul Terry, and Walt Disney. McCay was open about the techniques that he developed, and refused to patent his system, reportedly saying, "Any idiot that wants to make a couple of thousand drawings for a hundred feet of film is welcome to join the club."

      McCay conferred with the American Historical Society in 1912, and announced plans for "the presentation of pictures showing the great monsters that used to inhabit the earth". He spoke of the "serious and educational work" that the animation process could enable. McCay was concerned with accurate timing and motion; he timed his own breathing to determine the timing of Gertie's breathing, and included subtle details such as the ground sagging beneath Gertie's great weight. McCay consulted with New York museum staff to ensure the accuracy of Gertie's movements; the staff were unable to help him find out how an extinct animal would stand up from a lying position, so in a scene in which Gertie stood up, McCay had a flying lizard come on screen to draw away viewers' attention.

      McCay's work, grounded solidly in his understanding of realistic perspective, presaged the techniques featured in Walt Disney's feature films. Disney paid tribute to McCay in 1955 on an episode of Disneyland. The episode, "The Story of Animated Drawing", gave a history of animation, and dramatized McCay's vaudeville act with Gertie. Own a piece of animation history today! $9,995 framed.

      • Original Walt Disney Lady and the Tramp Limited Edition Cel, Prelude to a Kiss

        We are pleased to offer an original Walt Disney limited edition lithograph  “Prelude to a Kiss” featuring Lady, Tramp, Tony and Joe. The spaghetti scene in Lady and the Tramp — in which two dogs from different sides of the tracks nuzzle over a plate of noodles— is hailed as not only the most iconic scene in Lady and the Tramp, but also is considered to be one of the most iconic romantic kiss scenes in cinema history.

        In this scene, Tramp bring’s Lady to “a special place for a special occasion.” Tony and Joe set up a little table with a candle and table cloth in the alley. Tony says that they've ordered spaghetti with extra meatballs. Joe protests and says "Tony, dogs don’t talk!" Tony yells back “He’s a talking to me!” Joe concedes "Okay! You're the boss...He's a talkin to you!" After serving the spaghetti, Tony and Joe begin to sing the famous song “Bella Note,” while Tramp and Lady have their spaghetti noodle smooch.

        As unbelievable as it sounds, the spaghetti kiss scene was cut from the film’s first storyboards by Walt Disney himself. He wanted the dogs to have human emotions, of course, but thought fine dining might be pushing it. “Walt wasn’t convinced that that would be a very clean-cut scene,” animator Disney Studio archivist Steve Vagnini said. As you can imagine, if you have two pets and they eat a plate of spaghetti, it’s hard to envision that being too graceful.“ If you’ve ever looked up videos on Youtube of dogs recreating this scene in real life, you can see this for yourself. 

        Animator Frank Thomas was against Walt's decision and animated the entire scene himself without any lay-outs. Walt was impressed by Thomas's work and how he romanticized the scene and kept the scene in the film! Own a piece of animation history today! $3,495 framed.

        • Peanuts Animation Art Limited Edition Lithograph Auugghhhh...

          “AUUGGHHHH…” Charlie Brown exclaims as he flies through the air after Lucy tricks him yet again and takes away the football. Lucy would pull this prank on Charlie Brown in the Fall of every year in the original comic strip. The gag is symbolic of the funny friendship between Lucy and Charlie Brown and has become one of the most iconic scenes of the entire Peanuts series.

          The woman who inspired the character of Lucy, Louanne Van Pelt, was a neighbor of Charles Schultz. Her husband and Schultz were veterans of World War I and the couples would get together to play cards. Around that time, Schulz was honing his "Peanuts" comic strip and its cast of characters, led by Charlie Brown.

          "As I hear it, he would pull out a notepad and make notations about something my mother would say or do. He was just kind of amazed. My mom was a very eccentric and interesting character herself.” said her son, David Merrill. 

           "The 'Peanuts," I think, is something she actually felt bittersweet with... She wasn't very flattered, I believe, with the character that Charles Schulz withdrew from her actual personality. The narcissistic, kind of cruel, if she was always yanking that football from poor Charlie Brown's foot, making him land on his head all the time," Merrill says. "But she learned to live with it and was very pleasant about it just the same.”

          While Lucy often bullies and makes fun of characters like Charlie Brown, he still thinks of Lucy as a good friend and deep down, Lucy does have a fondness of him, with a couple of times that she said that "he's full of surprises.” Own a piece of animation history today! $1,895 framed.

          • Original Disney Four Production Cels on Color Copy Background from Sleeping Beauty featuring King Stefan and King Hubert

            We are pleased to offer  an original Walt Disney four Production Cel Set up on Color Copy Background from Sleeping Beauty featuring King Stefan and King Hubert.

            In this scene, King Stefan and King Hubert are celebrating the upcoming wedding of Prince Phillip and Princess Aurora. They rapidly gulp down mead brought out by The Lackey while boisterously singing a drinking song together. The two kings have very different personalities. King Hubert is rather jolly and boastful while King Stefan is rather reserved and dignified. These differences and the generous amounts of alcohol lead to a misunderstanding between the two. 

            King Hubert becomes angry at King Stefan due to a perceived slight against Prince Phillip. King Stefan feels he needs to give Princess Aurora some time to get ready for the wedding as it “may come as quite a shock.” King Hubert spits out the rest of his mead and exclaims “A shock! My Phillip, a shock?” It quickly escalates and they continue to throw insults back and forth at each other. “POMPUS? UNREASONABLE? En guarde sir!” King Hubert exclaims, using a fish as the primary weapon instead of sword. He flops the fish around and King Stefan grabs a shield. However, King Hubert comes to see the ridiculousness and hilarity of the scene and quickly makes up with his friend.

            In this four production cel set up King Stefan measures 8" tall and King Hubert measures 6" tall. Own a piece of animation history today! $995 framed.