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Commercial (1990s) Original hand inked and handpainted cel with laser background of Inspector Clouseau from a commercial, using the Pink Panther-characters. |
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PINK PANTHER (1960s) Production drawing of the Pink Panther. Show 17-Sequence 25-Scene 27. The famous character of the Pink Panther was created by the animation talents of David DePatie and Friz Freleng. In 1964, filmdirector Blake Edwards commissioned titles for "The Pink Panther" (starring Peter Sellers, David Niven and Claudia Cardinale) from the DePatie-Freleng studio, the new studio born from what had once been Warner Bros. The titles were as well received as the film, and United Artists offered to distribute a series of shorts featuring the pink cat. The first episode, "The Pink Phink", won an Academy Award in 1964. The director was veteran Friz Freleng, who later entrusted Hawley Pratt and others with the direction of over one hundred further episodes. These episodes all have the curious recurrence of the word pink in their title. The Pink Panther is perhaps the last of the old-fashioned animated heroes. |
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PINK PANTHER (1960s) Production drawing of the Pink Panther. Show 22-Sequence 01-Scene K15-Nr.28. |
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PINK PANTHER (1970s) Key-setup of the Pink Panther and the man with the moustache (does anybody know his name?). Show 7 - Sequence 36 - Nr.11 & 12 - Background 34. I don't know the title of this cartoon, so I would be very grateful if someone could solve that mystery for me. The setup also has an overlay of the pole and platform, from which the Pink Panther is jumping, and I also have the two matching drawings of the Pink Panther and the man. |
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PINK PANTHER (1970s-1980s) Production-cel of the Pink Panther. This setup has two cels: the one of the Pink Panther is hand-inked (in pink ink!), the one of the man is xeroxed. You can clearly see the difference. Oh, how I love those hand-inked lines!! Again, I have no idea of the title of this particular show, so please contact me if the image rings a bell... |
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THE SMURFS (1988) Original hand-painted production cel of two Smurfs from the television-series produced by the Hanna-Barbera Studios, in cooperation with Lafig S.A. Based on the characters by Peyo and Yvan Delporte. Animation director: Ray Patterson. This cel was given to Kees de Bree at the Hanna-Barbera Studios, when he visited them during the making of a TV-show about cartoons. In reviewing the inklines I've come to believe this might be a publicity-cel. The inklines are just too nice, and as far as I know all Smurfs production-cels are xeroxed. The Smurfs are originally called "Schtroumpf" in Flemish, where they appeared in a Belgian comic strip as early as 1957. The Hanna-Barbera series won an Emmy Award and was the highest rating Saturday-morning show in eight years. I combined this cel with the handpainted background below. To see this combination, click HERE. |
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THE SMURFS (1980s) Original hand-painted production background of a Smurfs cottage, with an overlay of the grass, the window and the bench. Here you can see the background with the overlay. Television-series produced by the Hanna-Barbera Studios, in cooperation with Lafig S.A. Based on the characters by Pierre 'Peyo' Culliford and Yvan Delporte. I matched this background with my Smurfs cel. |
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MR.MAGOO (1960s) Key production-drawing of Mr.Magoo from a General Electric Lightbulb TV-commercial. I've always wanted artwork featuring this popular UPA-character, and these drawings from this commercial are a bargain compared to original UPA artwork. (Once I'll have enough money to buy anything I want...) Quincy Magoo, better known as Mr.Magoo, was one of UPA's most popular characters. Animator John Hubley is credited as the principal creator of Magoo, who's voice was done by Jim Backus. One Magoo-film, "Trouble Indemnity" (1950) was nominated for an Academy Award. |
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WOODY WOODPECKER (1980s) Production-drawing of Woody Woodpecker in a phone booth, with colour notations and a Walter Lantz stamp. Scene 26 - Nr. 12. Woody Woodpecker debuted in an Andy Panda film, titled "Knock Knock" (1940). Six months after the release of that film Woody had a solo career in his own series. Woody Woodpecker represented a new kind of cartoon character; he was an agressor who tormented his fellow ceatures, not because they provoked him, but because he enjoyed it. Woody was always ready to toss off a wisecrack, peck somebody on the head or let loose his maniacal laugh ("Ah-ha-ha-HA-ha!") Another 'mystery-cartoon' for me, so if anybody knows the title, I'd appreciate it. |
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BUGS BUNNY (1964) Production cel of Bugs Bunny from a Kool Aid commercial by Tex Avery. The cel is beautifully hand-inked (as with most cels from commercials) and is totally in black and white. Artwork from commercials is so much more affordable than the original vintage cels from the cartoons, that sometimes I decided to go for the bargain. Bugs Bunny is without question Warner Bros' most popular character. It's almost impossible to say who created Bugs Bunny originally; he is the son of many fathers. Directors Tex Avery, Bob Clampett, Friz Freleng, Chuck Jones, Bob McKimson and Frank Tashlin, voice artist Mel Blanc, designer Charlie Thorson, writers Warren Foster, Mike Maltese and Tedd Pierce and more than a dozen animators all contributed to his development. |
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MIGHTY MOUSE (1988) Hand-inked and hand-painted publicity cel of Mighty Mouse is his classic pose, signed by Ralph Bakshi. Mighty Mouse was originally called Super Mouse, bnut Paul Terry changed the character's name in February 1944 for reasons that are not entirely clear. DC Comics, which owned the Superman character, may have objected. In 1988 Raplh Bakshi revived the Terrytoons character of Mighty Mouse in a new show on ABC I found this cel just one week after I bought an original background from the "Ghostbusters" TV-series. They are a perfect match! To see this combination, click HERE. |
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YELLOW SUBMARINE (1968) Original hand-inked and hand-painted production cel of Ringo from this animated feature starring The Beatles. Director: George Dunning. Designs: Heinz Edelmann. Studio: King Features Studios in England. "Yellow Submarine" is a unique product of its time and remains a stunning example of the unlimited potential of animation. When The Beatles, having starred in several live action films, turned to animation, their popular song Yellow Submarine seemed an ideal basis. The three most important people in creating the film were executive producer Al Brodax, who transformed the song into a motion picture script, George Dunning, who directed it, and graphic artist Heinz Edelmann, who designed the films distinctive and flamboyant appearance. Often considered as an alternative to the realism of the Disney films, "Yellow Submarine" employed brilliant colors and surrealistic designs, using a variety of techniques, including still photographs, rotoscoping, cutouts and live-action film. The strength of the film lies mainly in its musical appeal and visual inventiveness, rather than in its drama; the film is quite long for an animated feature, and its storyline simple. This cel of Ringo shows the appealing simpleness of the film. It was shown at an exhibition of Pop Memorabilia at the Brabants Museum, called "Pop in beeld", in Den Bosch (Holland) in 1998. |
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HEAVY METAL (1981) Original hand-painted two-cel pan set-up with matching drawing of Taarna as she watches the Barbarian Leader approaching her. From the Taarna Sequence of the film. "Heavy Metal", inspired by the adult-orientated comic book of that name, was an attempt to reach a young adult audience. Segments of the episodic feature were produced by animation studios from around the world, supervised by Gerald Potterton, who previously worked on such films as "Animal Farm" and "Yellow Submarine". The result was an omnibus that linked eight individual episodes, four from the magazine ("Soft Landing", "Den", "Captain Sternn" and "So Beautiful & So Dangerous"), four original ("Harry Canyon", "Neverwhere Land", "B-17" and "Taarna"), with a common thread ("Grimaldi"). An army of 1,000 animators and support personnel (based in five cities: New York, Los Angeles, London, Ottawa and Montreal) would bring the stories to life. Production began in August 1980 and continued over an eleven month period. Backed by a massive $6 million promotional campaign, "Heavy Metal" opened in 600 theatres on August 7th, 1981. By the end of its domestic theatrical run, it had grossed over $20 million. |
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HEAVY METAL (1981) Original two-cel set-up of the Corvette from the title sequence of this feature. The car is a photograph which has been cut to the outline; the smoke behind it is airbrushed. |
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LITTLE NEMO (1991) Original hand-painted production cel with color print background. I also have the matching drawing. Director: William T.Hurtz. Little Nemo holds the key to Nightmareland while his pet squirrel Icarus is on his shoulder. A nice cel of the lead character from this wonderful and very imaginative feature, made in the style of the early Disney classics. Though the film was not very succesful during its theatrical release, I love it very much. It has all the fun and scary stuff that a good animated feature should have, and the full animation is just wonderful. William Hurtz was an assistant to the legendary Art Babbitt, and worked on such Disney features like "Pinocchio" and "Fantasia". |
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ONCE UPON A FOREST (1993) Original hand-painted production cel of Russell the Hedgehog from this Hanna-Barbera feature, directed by Charles Grosvenor. Three friends, Abigail the wood mouse, Edgar the mole and Russell the Hedgehog, take off on an exciting but dangerous journey to find help for their young friend Michelle, who has become seriously ill from toxic fumes caused by a chemical spill. |
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FERNGULLY - THE LAST RAINFOREST (1992) Hand-painted multi-cel setup with color laser background, featuring Crysta, Pips and some fairies. This feature was directed by Bill Kroyer. Production 804 - Sequence 33 - Nr. 61. The setup is made of 6 levels of 16-field cels. Crysta on on a different level, so is Pips, and so are the fairies. The wings of all of them are also on seperate cel-levels, as they were 'half-exposed' in the film, so you could see through them. The film, which is set in Australia, has an ecological message, just as "Once upon a Forest", and was one of the most succesful non-Disney features. A sequel has also been made. Music for the film was performed by Sheena Easton, Elton John, Johnny Clegg, Tone Loc, and Raffi among others. |
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GREASE (1978) Original hand-painted cel of a hand with a comb, from the opening title sequence of the film with John Travolta and Olivia Newton-John. With a signature of the animator: John Wilson. Though the title sequence is not very spectacular, and not even animated great, I still like this cel very much, because "Grease" holds so many memories for me. This particular cel appears quite long in the sequence, as they moved it around to suggest John Travolta combing his hair (after the word Grease materialized and dripped down on it). I also have a copy of the storyboard for the title sequence. |
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LE ROI ET L'OISEAU (1980) Production-drawing of the king from this French feature by Paul Grimault, released earlier in 1950 under the title "La Bergère et le Ramoneur" (Mr. Wonderbird), but finished and re-released under the title "Le roi et l'oiseau" (The King and Mister Bird) in 1980. Winner of the prestigious prize Delluc. This is one of the finest French animated features ever made. It is in full animation, and has wonderful backgrounds. Material from this film is hard to find; if anyone can help me find a cel from this wonderful feature I would be most grateful... |
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ASTERIX & OBELIX (1970s) Two handpainted cels of the lead characters of a series of French feature films. Asterix and Obelix (especially the comic books) are very popular in Europe. I haven't been able to find out yet from what feature these cels are. |
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THE JETSONS MEET THE FLINTSTONES (1987) Key-setup of Fred Flintstone and George Slate from this Hanna-Barbera television special. Production 40-7, background 53/SM-102, cels #675 and 676. "The Flintstones" premiered on ABC in 1960 and scored an immediate hit. It resembled a domestic sitcom with a prehistoric setting, the town of Bedrock, 10,000 B.C. "The Jetsons meet the Flintstones" was one of many two-hour specials made by Hanna-Barbera, and combined characters from The Flintstones with characters from their also very popular series The Jetsons. |
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GULLIVER'S TRAVELS (1939) Hand-inked and kand-painted limited edition cel (1992), titled "King Little of Lilliput". This is cel number 60, from an edition size of only 125, made by Toon Art, Inc. and the Omniscope Company Inc. The cel was created from actual artwork used during production of this wonderful animated feature, which was made during the most creatice priod at the Fleischer Studios. It bears an official Max Fleischer facsimile signature and the Fleischer Studios seal. "Gulliver's Travels" was one of only two cartoon features ever made by the innovative Fleischer Studios, creators of the memorable Betty Boop, Popeye and Superman cartoons. "It's a Hap-Hap-Happy Day" went one of the songs from the film's Oscar-nominated score, and to view this film is a happy experience indeed; with its wonderful "full animation", it has become one of my all time favorites. For the lead character of Gulliver there was an early suggestion to have Popeye play the part, but the Fleischers discarted that idea in favor of the realism of rotoscoping, a process invented by Max Fleischer. A radio contest was held to find the live actor who would portray Gulliver and be "traced" by the rotoscope. The eventual choice was radio announcer Sam Parker. |
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MR.BUG GOES TO TOWN (1941) Production-drawing of Grasshopper Hoppity, Swat the Fly and Smack the Mosquito from this second feature by the Fleischer Brothers. Nr. 84A. This film is also known as "Hoppity Goes to Town", the title used during its European release. "Mr.Bug goes to town" is an animated feature which is a merry and moving mix of innovative animation, engrossing characters, compelling storytelling, buoyant music and enduring charm. Despite critical acclaim, this classically animated cartoon never recovered from the disastrous box office receipts on its opening day - December 7th, 1941, Pearl Harbor Day. |
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CINEMATIC Original hand-painted multi-cel set-up with key production background from the leader of this MTV-show. Cel with arm, torch and lightbeam was made later and signed by the animators: Russell Brooke and Mark Gravas. Studio: Brooke Edwards. I bought this setup at an auction held at the Holland Animation Film Festival in 1994. When I saw the leader of this MTV-show, I noticed that in the setup that I bought, the arm of the boy holding the torch was missing (and so was the torch and the lightbeam). I wrote a letter to the studio who produced the film, and though they didn't have that cel anymore, they created it especially for me. They even included the lightbeam, which was originally made in special-effects, and only half-exposed, as to appear transparent. On top of that, they also had the chief animators sign the cel. One can imagine how delighted I was when my setup was finally complete. |
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WHEN I GROW UP I WANT TO BE A TIGER (1996) |
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TEENAGE MUTANT NINJA TURTLES (1991) |
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THE ADVENTURES OF SONIC THE HEDGEHOG (1993) Original hand-painted cel with laser background of Sonic from the leader of the DIC television-series "The Adventures of Sonic the Hedgehog", based on the Sega-logo-icon. Produced by DIC Animation City, Sega of America and Bohbot Communications. A friend of mine (a Dutch actor whose name I won't reveal) is a total Sonic fanatic. He even has the little creature tattood on his shoulder. When he heard that cels of this character existed, he immediately wanted to have one. I got him his first cel (he has several now), and started to like the little cartoon character so much, that I decided to buy one for my own collection too. |
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THE ADVENTURES OF SONIC THE HEDGEHOG (1993) Original hand-painted cel of Sonic from the DIC television-series "The Adventures of Sonic the Hedgehog", based on the Sega-logo-icon. |
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TUMBLEWEED TEX (1990's) Original hand-painted background of a small Western town from the Hanna-Barbera "What a Cartoon"-special. Production HOO 615-94075 - background 7. I know very little about this cartoon. I only saw it once on television, and this was before I owned this background painting. It just might be the nicest original cartoon background I have in my collection; the use of colours, the detail... it's just wonderful. I combined the background with a cel from the Avery-cartoon "Deputy Droopy", which you can see on the Avery-page. |
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THE REAL GHOSTBUSTERS (1988) Original hand-painted background from this television-series, produced by DIC Enterprises. I did some small restoration on this background myself, and was sort of pleased with what I did. The background is very detailed. Because of the "birds-eye-view", I matched the background with a publicity cel of Mighty Mouse. |
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UNKNOWN PRODUCTION Original hand-painted background from an unknown production. Anyone out there who recognizes it? Tell me from what cartoon it is and you win an original cel with matching drawing. I matched the background with a Pink Panther cel. |
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PLAYBOY FEMLIN (1969) Hand-inked and hand-painted black-and-white cel of the Femlin from the "Playboy after Dark" television series. The Femlin character was originally created and designed by Leroy Neiman. I love those vintage black-and-white cels very much. |
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UNKNOWN PRODUCTION (1950's) Production cel of a little girl from an unknown UPA production. I'm still searching for the title and year of production of this cartoon. The cel is just inked and not painted; a method used frequently by the UPA Studios to save time and money. Their backgrounds were very simple and stylish in those days. |
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THE OOMPAHS (1952) Layout drawing from this cartoon which was released on January 24th, 1952 as part of the Jolly Frolic sries directed by Robert Cannon. "The Oompahs" is an effective metaphor for the conflict between parental aspirations and a child's career ambitions. It uses the theme of classical music versus Jazz to portray tensions within a musical family of instruments. |
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THE OOMPAHS (1952) Layout drawing from this cartoon which was released on January 24th, 1952 as part of the Jolly Frolic sries directed by Robert Cannon. |
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THE SUITCASE Hand-inked and hand-painted production cel with key production background from this Russian animated short, designed by Nadya Mikhailova and directed by Alexander Garlenko. Notice the superb use of colors in this key setup. Only the suitcase is yellow, everything else is brown. When I bought this setup the cel was stapled to the background. Apparently the Russians are fairly new to animation art conservation... Luckily I was able to restore cel and background. I know very little about the film, have never seen it and even don't know the year in which is was made. If there is anybody out there who could provide me with more info, I would be most grateful. |
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PROVINCIAL SCHOOL (1992) Hand-inked and hand-painted multi-cel set-up with key production background from this Russian animated short, directed by Ivan Maximov. He also signed his name Max on the back of the background. I think this is one of the finest examples of Russian animation. The characters are just so non-Disney and the image so crazy, that it has become one of the highlights of my animation art collection. |
