"Water Babies" (1935) [1 of 3] - Color Model Sheet

Here is a great image of the Babies riding two fish. Good image size. Good action. And a great example of color direction.

Color Model Sheet

----- DATABASE NOTES -----

From “Water Babies” (1935). The Babies (#40) are riding two fish coming out of the water. Some color direction on the sketch. [Image: 11-3/16"H x 8.5"H; Frame: 19-5/8"W x 16.5"H] Acquired 1990. SeqID-0145

"Water Babies" (1935) [2 of 3] - Pan Sketch

Here is a very nice pan sketch of the Babies riding a swan. This is the type of sketch that makes a wonderful addition to Baby's New Room... Sorry about the redish tint...

Pan Pencil Sketch

----- DATABASE NOTES -----

From “Water Babies” (1935). A very large pan sketch of the Babies riding swans. Extremely detailed and finely drawn. [Image: 22.5"W x 8.5"H; Frame: 30-3/4"W x 16-3/4"H] Acquired 1987. SeqID-0144 8/16/2005

"Melody Time: Little Toot" - Note From Author's Daughter

A short time ago, I posted two items (Storyboard 1 and Storyboard 2) from "Little Toot." In those postings, I noted that the story reminded me of my own struggle to win the attention of my father.

Recently, I received this unexpected email:

Hi there, Bob,

Loved finding your blog with the pastel design sketches from "Melody Time" and "Little Toot".

My dad was Hardie Gramatky and I know he would have loved that the story of a child (tug) trying to please his dad resonated with you too.

Linda Gramatky Smith

I really had not done too much research into the background of Little Toot and I was amazed at what I found! While Little Toot was a large part of Gramatky's work, his artwork is fascinating.

(Copies of Gramatky's artwork are from the California Waltercolor website.)

What struck me, as I looked at the paintings, was that the images look like the digital images I take when I over-expose to pull out shadow detail. An extremely interesting and identifiable style...


I would strong suggest that you take a moment to check out the Gramatky web site written by his daughter Linda. I found the site well designed and Linda mentioned that her son deserves all the credit.

And you should check out Jeff Pepper's post 2719 Hyperion on Gramatky...

By the way, last year a new version of "Little Toot" was released featuring restored artwork. I've put in my order for five copies.

Here is an example of Gramatky's nautical art from the 1930's that shows some of the elements that were later found in Little Toot...


Linda's note was yet another wonderful, an unexpected, benefit I've encountered after starting this "blog." I wanted to use this space to personally thank her for taking the time to look at some of the items on this site and in sending me a note...

"Water Babies" (1935) [3 of 3] - Pencil Sketch

"Water Babies" is a great example of a Disney style of characterization that lasted for a fairly short period of time. You can see elements of these characters in "Little Mermaid" and other underwater cartoons.

"Water Babies" Pencil

----- DATABASE NOTES -----

From “Water Babies” (1935). Sea characters all marching. The octopus is the drum major. Circa 1932? 2-hole. [Item: 12"W x 9.5"H] Acquired 1998. SeqID-0385

"Three Blind Mouseketeers" (1936) [1 of 4] - Pencils from Ingeborg Willy Scrapbook

Here are some great scraps from "Three Blind Mouseketeers" that were in the Ingeborg Willy Scrapbook (see Archive on the right).

A fantastic background effect piece and a wonderful shot of the three of them...


Love the shoes...



----- DATABASE NOTES -----

From “Three Blind Mouseketeers” (1936). Ingeborg Willy Scrapbook

"Three Blind Mouseketeers" (1936) [2 of 4] - Pencil of the Three Mouseketeers

It's nice to have something from the "Three Blind Mouseketeers." The "one for all and all for one" attitude may have been one of the reasons for the name being used for the "Mouseketeers Club."

Director's Drawing: Three Blind Mouseketeers

----- DATABASE NOTES -----

From “Three Blind Mouseketeers” (1936). Pencil sketch of the Three Blind Mouseketeers. "83 84 85 86" "83" Looks like they're yelling, holding swords up high. Director's drawing. [12"W X 10”H] Acquired 2000. SeqID-0490
Reference: Similar image in Encyc of WD Animated Characters pg. 78.

"Three Blind Mouseketeers" (1936) [3 of 4] - 2nd Generation Model Sheet

Here is another 2nd generation sheet. This time of Captain Cat (or "Katt" in some publications).

Note the references in the upper right...

2nd Generation Model Sheet

----- DATABASE NOTES -----

From “Three Blind Mouseketeers” (1936). An early photocopy of the Captain Cat model sheet. This phrase (Mouseketeers) became the name for the people in the Mickey Mouse Club. [14”Wx11”H] Acquired 1993. SeqID-0136
The reference books spell it "Katt," but the model sheet spelling is "Cat."

"Three Blind Mouseketeers" (1936) [4 of 4] - 2nd Generation Model Sheet

Over the years, a number of copies of the original model sheets have been made. In some cases, there is some value in these copies -- especially the 1st generation "spirit" sheets. In the Studio, they used an early form of photographic development that used ultraviolet light and a variety of chemicals. When I worked for a city water department during the 1960's the same process was used to make copies of pipeline location survey sheets. Here is an early Xerox-type copy of 1st-generation "spirit" copy.

Comparative Size Model Sheet

----- DATABASE NOTES -----

From “Three Blind Mouseketeers” (1936). A stat model sheet showing comparative sizes. Seller: "Probably second generation model sheet.” Comparative model sheet. "Models S-36" "Prod 769-32" [14”Wx11”H] Acquired 2000. SeqID-0491

"The Worm Turns" (1937) - Color Pencil Storyboard

When I saw this image, I thought the detail was fantastic. I don't know what the formula is (left of hand).

Color Pencil

----- DATABASE NOTES ------

From “The Worm Turns” (1937). A color pencil sketch of Mickey’s hand and a book of potions that make someone brave. Mickey's hand in the picture. "Courage Builder" at the top of the page. [12”W x 9”H] SeqID 0150

"Wynken, Blynken And Nod" (1938) [1 of 3] - Courvoisier Simulated Mulitplane

Here is a series on "Wynken, Blynken And Nod" (1938)

This is one of the most interesting Courvoisier items -- a set-up that simulated the layers in a multiplane camera.

The picture includes a glass foreground, a cel, another glass layer with several stars and a final painted background. Very nice. The item is a little small and you have to get close to actually see the multiplane effect.

Courvoisier Multiplane Simulation

----- DATABASE NOTES -----

From “Wynken, Blynken And Nod” (1938). Simulated Multiplane layout. Cel and painted background produced by Courvoisier Galleries from “Wynken, Blynken and Nod” (1938). [Image: 6-1/8"W x 5-3/4"H. Frame: 8-3/4"W x 8.25"H] SeqID-0279 8/3/2005

"Wynken, Blynken And Nod" (1938) [2 of 3] = Courvoisier

During this time, I think there were some exceptional work done by the Courvoisier Galleries. Here's one with some great attention to the background clouds

Courvoisier

----- DATABASE NOTES ------

From “Wynken, Blynken and Nod” (1938). Wynken looks at a cloud that looks like a sheep. In a cut out, "From Wynken, Blynken and Nod." Back of picture has Courvoisier Galleries (San Francisco) sticker. "This is an original painting on celluloid, actually used in the Walt Disney Production of... It is one of a selected few that have been released to art collectors. The remainder have been destroyed." A Silly Symphony film directed by Graham Held. [Image: 7-3/16"W x 6-9/16"H. Insert: 4"W x 5”H; Frame: 15"W x 14.5"H] SeqID-0151 8/3/2005

"Wynken, Blynken And Nod" (1938) [3 of 3] - Pencils From Ingeborg Willy Scrapbook

Here are some interesting pencils from the Ingeborg Willy Scrapbook (See references in the Archives Section). They are nice, full images and a great image of the boat. By the way, notice how the mast was changed to give more of an impression of the pressure of the wind filling the sail...

Scrapbook Pencils

------ DATABASE NOTES -----

From “Wynken, Blynken And Nod” (1938).

"Ye Olden Days" (1933) - Mickey & Minnie Pencils

I found these two images of Mickey and Minnie that I just love... Just super!

We didn't cut the sheets, but framed them in circular cut-outs to highlight the intimate nature of the images. The second sheet, with Mickey and Minnie behind the fan, is really fun -- the lips almost touching, etc.

Mickey & Minnie Pencils

The problem with the framing was that the images ended up in the wrong order. I thought the image of Mickey and Minnie behind the fan should have been on the bottom, with the two of them looking at each other on the top... One of these days, I'll fix it...


----- DATABASE NOTES -----

From “Ye Olden Days” (1933). Two images of Mickey and Minnie framed in circular cut-outs. 2-hole paper. (Top): Excellent image. 2-hole paper. NOTE: "109” in lower right. (Bottom): Slight crease upper left. Notes: "88" lower right. A Mickey Mouse film directed by Bert Gillett. [Item: 2 @ 12"W x 9.5"H. 2-Hole; Cut out: Oval 6”W x 5”H; Frame: 18”W x 23.5”H] SeqID-0051 7/27/2005

"Superman" (1943) [1 of 3] - Pen and Ink Signed by Joe Shuster

This is a fantastic Superman pen and ink signed by Joe Shuster. There are a couple of unique elements here.

First, the size. By 1976, Shuster was almost totally blind but his blindness started many years earlier. Shuster compensated for has failing eyesight by drawing his boards quite large. Here, his Sunday page was drawn on 2-20"x14" boards instead of one.

Second, the strip includes one of the most famous Superman quotes -- Perry White: "Sometimes I almost think Clark Kent is Superman -- But of course that's ridiculous... Isn't it?"

Third, it's signed by Joe Shuster. As the story goes, Shuster tended to shy away from the public (due to his desire to keep his failing eyesight private). Evidently, there was a contest won by a young Superman fan andFirst Prize was this Sunday page. The youngster actually went to Shuster's office and was able to get Shuster to sign it for him.

Fourth, it has all many of the prime characters in it: Superman, Lois Lane, Perry White and Clark Kent.

Two 20"x14" Panels Signed by Joe Shuster

Here is what the finished product looked like in the Sunday Mirror.

The Sunday Mirror Sunday Page

Here is how the two pages were framed...


I've always been struck by the story of Superman's development and how Superman's creators failed to realize any significant financial reward for their efforts -- was was the case with many of the early cartoonists.

Here's some of the story about Shuster from Wikipedia:

Joseph Shuster was born in Toronto, Ontario, the son of Jewish immigrants. His father Julius, an immigrant from Rotterdam, South Holland, the Netherlands, and his mother Ida, who had come from Kiev in Ukraine, were barely able to make ends meet. As a youngster, Shuster worked as a newspaper boy for the Toronto Daily Star and, as a hobby, he liked to sketch. He had one sister, Jean Peavy. One cousin is comedian Frank Shuster of the Canadian comedy team Wayne and Shuster.

When Joe Shuster was 10, his family moved to Cleveland, Ohio. In Cleveland, Shuster attended Glenville High School and befriended his later collaborator, writer Jerry Siegel, with whom he began publishing a science fiction fanzine. The duo broke into comics at Major Malcolm Wheeler-Nicholson's National Allied Publications, the future DC Comics, working on the landmark New Fun — the first comic-book series to consist solely of original material rather than using any reprinted newspaper comic strips — debuting with the musketeer swashbuckler "Henri Duval" and the supernatural crime-fighter strip Doctor Occult, both in New Fun #6 (Oct. 1935).

Siegel and Shuster used an early version of the character that would become Superman in short stories and in a 1933 comic-strip proposal. In 1938, after that proposal had languished among others at National, editor Vin Sullivan chose it as the cover feature for National's Action Comics #1 (June 1938). The following year, Siegel & Shuster initiated the syndicated Superman comic strip.

When Superman first appeared, Superman's alter ego Clark Kent worked for the Daily Star newspaper, named by Shuster after the Toronto Daily Star, his old employer in Toronto. According to an interview he gave a few months before his death, he modeled the cityscape of Superman's home city, Metropolis, on that of his old hometown. When the comic strip received international distribution, the company permanently changed the name to The Daily Planet.

In the same interview, Shuster stated that he modeled the look of Clark Kent after both himself and movie star Harold Lloyd, and that of Superman after Douglas Fairbanks Sr. He modeled Lois Lane after Joanne Carter, the woman who would later marry Jerry Siegel

Shuster became famous as the co-creator of one of the most well-known and commercially successful fictional characters of the 20th century. National Allied Publications claimed copyright to his and Siegel's work, and when the company refused to compensate them to the degree they believed appropriate, Siegel and Shuster, in 1946, near the end of their 10-year contract to produce Superman stories, sued National over rights to the characters. They ultimately settled the claim for $94 000 after the court ruled against them — but that the rights to Superman had been validly purchased by the publisher when they bought the first Superman story. After the bitter legal wrangling, Shuster and Siegel's byline was dropped by DC comics.

In 1947, the team rejoined editor Sullivan, by now the founder and publisher of the comic-book company Magazine Enterprises where they created the short-lived comical crime-fighter Funnyman. While Siegel continued to write comics for a variety of publishers, Shuster largely dropped out of sight.

Shuster continued to draw comics after the failure of Funnyman, although exactly what he drew is uncertain. Comics historian Ted White wrote that Shuster continued to draw horror stories into the 1950s. In 1964, when Shuster was living on Long Island with his elderly mother, he was reported to be earning his living as a freelance cartoonist; he was also "trying to paint pop art — serious comic strips — and hope[d] eventually to promote a one-man show in some chic Manhattan gallery". At one point, his worsening eyesight prevented him from drawing, and he worked as a deliveryman in order to earn a living. By 1976, Shuster was almost blind and living in a California nursing home.

In 1967, when the Superman copyright came up for renewal, Siegel launched a second lawsuit, which also proved unsuccessful.

In 1975, Siegel launched a publicity campaign, in which Shuster participated, protesting DC Comics' treatment of him and Shuster. In the face of a great deal of negative publicity over their handling of the affair (and due to the upcoming Superman movie), DC's parent company Warner Communications reinstated the byline dropped more than thirty years earlier and granted the pair a lifetime pension of $20,000 a year plus health benefits. Joe Shuster died in Los Angeles, California in 1992.

----- DATABASE NOTES -----

From Siegel & Shuster’s “Superman” (1943) -- Pen & Ink Sunday page signed by artist Joe Shuster a few years before he became blind. Matching color printed page. Jerry Siegel & Joe Shuster “Superman” Sunday page. This not only has Superman, but Lois Lane, Perry White and Clark Kent in it as well. [Frame: 29”W x 37”H; Images: 2 @ 20”W x 13.5”H -- Sunday color: Frame: 16”W x 20”H; Image: 9.5”W x 13.5”H] Acquired 2004. SeqID-1147 Updated: 7/27/2005

"Superman" (1941) [2 of 3] - Stat Model Sheet Ok'd by Dave Fleischer

This early stat Superman model sheet is a little different because it's focus is only the head positions. The large head positions makes it a very striking piece.

If you have had a chance to watch any of these early Superman cartoons, the images along the bottom page are wonderful examples on Superman's "almost smile" that shows up in all the films.

Superman Model Sheet OK's by Dave Fleischer

----- DATABASE NOTES -----

From Fleischer/Famous Studios “Superman” (1941). A Fleischer Studios Superman stat model sheet showing the head sizes for Superman signed by Dave Fleischer. "Aug. 1941" "OK Dave Fleischer" [Item: 12"W X 11.25"H] SeqID-0527

"Superman" (1985) [3 of 3] - Wayne Boring Pen and Ink

Here's a nice Superman piece by Wayne Boring from 1985.

What makes the piece unique is the post-publication drawing of superman that Boring drew on the board. Mr. Boring signed the piece (lower right). I think Boring was a very gifted artist and I've always felt it was sad that he ended his career as a bank security guard...

Wayne Boring Pen & Ink from 1985

Here's the write-up on Boring from the Wayne Boring website:

Wayne Boring (who also used the pseudonym of "Jack Harmon") was born in Minnesota in 1905. His early flare for drawing led him to enroll in art schools, including the Minnesota School of Art and the Chicago Art Institute.

He began in the comic business in 1937 by ghosting detective strips by mail such as Slam Bradley, Spy and Dr.Occult for the studio of artist Joe Shuster and writer Jerry Siegel, who had joined DC (then called National Periodical Publications), the year before they created the character that would be known as Superman.
Boring was one of the earliest ghosts to work on the Superman comic strip, and would eventually take it over completely. He left Shuster's shop in 1942, after he was hired by DC to work for them directly. The following year Stan Kaye started inking Boring's pencils on a regular basis, which began an historic team-up that lasted almost two decades.

In 1948, when Siegel and Shuster had quit DC and launched a copyright lawsuit against them (which they would ultimately lose), the door was swung wide open for Boring. Siegel and Shuster's departure from National also coincided closely with editor Mort Weisinger's taking control of the Superman series back from Jack Schiff.

Also being one of the first artists to ever do a ghost job on the Superman comic itself, Boring's work soon grew so popular with the fans that he took over the character, drawing it throughout the decade of the late '40s, and '50s. In the early '60s most Superman duties were handed down to new Superman artist Swan.
While Boring's '50s version of Superman was being printed, the first run of The Adventures Of Superman TV series (1951-1957) began airing, which starred George Reeves, the greatest actor who will ever portray the Man Of Steel.

Boring's work is easily recognizable, being composed of well-applied influences of artists like Alex Raymond of Flash Gordon fame, meshing with his own highly stylized sci-fi oriented artwork.

He was still working at DC in 1967 when he was dismissed during an all-out purge of several "old school" artists. That purge also included George Papp (creator of Green Arrow) and Sheldon Moldoff (creator of Green Lantern).

However, he still wasn't done yet, as he embarked upon more syndicated strip work, such as ghosting backgrounds for Hal Foster's epic Prince Valiant Sunday page from 1968 until 1972, as well as ghosting Sam Leff's Davy Jones strip.

For a short period after 1972, Boring even worked at Marvel on a few titles, ironically including Captain Marvel, which had once been embroiled in a lawsuit over its resemblance to the Superman comic (Captain Marvel's publisher, Fawcett, had lost).

But eventually Boring decided that was enough, and he left the comics field entirely. In his golden years he could still be found working, though, part-time as a bank security guard, before a heart attack claimed him in 1987.

His incredible decade-plus run on the Superman comic rivals even the great 1960s decade run by Jack Kirby on Fantastic Four for Marvel comics. His style easily managed to rise above the more cartoonish look of Superman co-creator Shuster and the more calculated and conservative line work of Swan.

As a result, Boring's work on Superman still remains the best version of the most popular character in comics history.

----- DATABASE NOTES -----

From “Superman” (1985) by Wayne Boring. A prison sequence, with Clark Kent dated 1/13/60 on reverse. On the front “Week 6”, “1-30” and “8150.” No syndicate indicated. Wayne Boring signed the strip and hand drew the additional Superman into the strip (“Wayne Boring Pampano Beach ‘85”). [Image: 19 7/16"W x 7-9/16"H. Frame: 28"W x 16.25"H] SeqID-0133 7/27/2005

"Susie, The Little Blue Coupe" (1952) - Cel of Susie

"Susie" was a great story. Thought you might like to see this piece. Not much, but it's nice to have it in the collection.

Sorry about the reflections from the warped cel. Probably 20% of my cels have some warping like this.

Susie Cel

----- DATABASE NOTES -----

From “Susie, the Little Blue Coupe” (1952). Cel of Susie. “21” on cel. [12W x 10H] Acquired 2004. SeqID-1151 7/19/2005

Reference: Image of Susie on the street in “Treasury of Disney Animation” pg 261.

Harry Holt (2 of 2)

When I first started to "blog," I didn't know what to expect.

I've have been very surprised by some of the unexpected results from my postings -- some of the images in the Collection are now part of a Disneyland attraction, featured in several new books, used by other web sites (most provide a credit and several pass the images off as their own), and I've met a number of very interesting people from all corners of the globe.

A number of comments have come back as a result of my Harry Holt posting. It would seem that may folks trace the start of their collecting journey to Harry. And a number have expressed very warm feelings about their encounters with him.

I thought you might be interested in an email I received from Ross Anderson...

I enjoy reading your blog. Thank you for sharing items from your collection, but a special thank you for the research work and putting the items in context for us.

I remember seeing Harry Holt at WDW and thinking he was just another talented local crew member. I had no idea of his pedigree, which is only becoming available now…as a consequence of generous folks such as yourself. I found a photo I took of Harry back in 1991. In case you don't have one, you may want to include it in the file with his drawings.

Regards,

Ross Anderson, Brockville, ON Canada

You might be able to see some of the artwork he produced by enlarging the items on the wall.

I'm pretty sure this was taken at "Tony's" just inside the park -- which is were we picked up 1 of his items. It seems like we picked up the other drawing from another location, but I can't seem to remember which of the 2 or 3 other locations might have been his work area.

Ross, thanks so much for sharing your recollections we me -- and "Thanks" for letting me share your email and photo with those that read this blog....

Bob

Harry Holt [1 of 2] - Harry and the Meaning of Life

After posting the preceding item, I was driving to the drug store and started to think about how much time had passed between Mr. Holt's death, my post and the follow-up comments from many people about the impact he had made on their appreciation of animation.

I thought it was pretty amazing that these thoughts would surface at a later time. Mr. Holt may have had some idea that his interpersonal interactions and art would have some kind of impact, but my guess is that he would be surprised...

So, what kind of impact will we have after it is all said and done?

Will anyone remember us? Will more than a handful care for more than a handful of years?

There was a consultant that I hired to work with me and my company (he later became my COO). I remember having a beer after work and having the typical non-meaningful conversations that take place to fill in the empty sections between sips. I remember nothing about the conversation that took place, but I do remember the topic gradually wandered to headstones and those few words that are carved there. I have no idea what I said, but I was struck by his statement: "He helped others be all they could be." (This was before the commercial for the Marines aired).

It was one of those moments that took only a second, but stuck with me. I remember thinking that it was a pretty damn good "mission statement" (which, in looking back on it, may have been the subject of our discussion). It was short, easy to remember, and pretty clear. Overall, not a bad mission statement for life. Now, I don't know if this was original to Roy and, frankly, I really don't care. What was important was that Roy really lived his "mission statement" and I think that I'm a better person for it... I'll have to give Roy a call, but I'll bet you he won't remember the conversation.

A "thought rock" tossed into the pond sending ripples to all the little inlets and hidden places.

Years later, I was driving my 80 year-old father back to the airport for his flight to Shreveport, Lousiana after a week long stay at our Colorado home. Just the standard idle chat until he started to tell a story. Several months earlier, he started working at a grocery store in Shreveport sacking groceries. He didn't need the money. As he put it, instead of sitting around watching TV or reading a book, he wanted to "be with the living." As Dad unfolded his story, there was another sacker that he worked with and the two of them ate their "brown bag" lunches at the same time. Dad's co-worker was a young black fellow that had recently graduated from high school and started working at the grocery store. Over several weeks, Dad started to tell him about me.

From what I could tell, Dad's story centered around his concern whether I would be able to "make something of myself." My high school career wasn't too bright -- although I graduated in the top 25% of my class. I did work for several "rock" radio stations during my high school years earning minimum wage and a few 45's (when the stations had duplicate copies). He became more concerned when he received my first semester's grades from Colorado State University -- a 0.6 GPA! The only course I passed was Gym and I got a "D" in that course. I worked hard the next semester and my grades improved -- a 1.2 GPA. I should remind you that the 1.2 was just for that semester -- not the moving average... I finally got it together, graduated, picked up a Master's, taught at several universities, worked with NASA on the first two-way TV satellite project, became one of the first to experiment with satellite-based telemedicine, helped a number of healthcare chains start telecommunications programs. And then was laid off...

According to Dad's retelling, when I asked him for a $5,000 loan to start a new business he wrote the check, but didn't have much confidence that he would ever see the money again. Then he started to share with the young man how my company started to grow. How it made the Inc. Magazine "Top 100 Fastest Growing Private Companies" two years in a row. How, after 15 years, I sold the company for $58 million. And how his initial $5,000 (which became a 1% position) had, finally, "amounted to something."

Dad told me that the young man didn't show up for work the next day and he learned that the fellow had quit. The day after, Dad saw him cleaning out his locker and asked what was going on. According to Dad, the young black man told him that he always thought you had to be smart to get into college and to graduate. His teachers had told him that he wasn't smart enough for college so he never applied. But, after listening to Dad's telling of my tale he decided that college was more than just grades -- it had more to do with finding something that was really interesting to focus on. The young man went down to the University of Louisiana, Shreveport campus and found that not only were his grades and test scores more than adequate for admission, he stood a good chance of getting an athletic scholarship. With school starting in a few weeks, he was clearing out his locker and was going to spend the time at the library reading about potential vocations.

I was dumbfounded! Not because of Dad's assessment of my future. But because of two elements. First, it was a "throw away" story. Dad had been in the house for a week and there was never any mention of the story. It seemed like it was only told to fill the silence as we drove down the mountain toward the airport. Second, the story had value to the young man because of my poor grades until I found something I loved. If we didn't have that "down time" while going to the airport I never would have heard to story. At the time, I didn't ask Dad anything about the fellow. When I asked him about it a few years later, he couldn't remember the young man's name. So, it was almost an accident that I learned about this "ripple in the pond." AND it wasn't a ripple created by any direct contact by me -- more like "second-hand smoke."

I'm sure that Mr. Holt impacted many people in his daily interaction with Guests in the park. And the stories about him may also have unexpected impacts.

For me, the bottom line was very Karma-like. Having first-hand experience in how the pond can resonate, I try to create "positive ripples" whenever I can. I'm still not very good at it, but I hope I can create positive ripple more often than not. Any while it's not as elegant as Roy's headstone mission statement, it isn't too bad...

Bob

"A Kick In Time" (1940) - Sunky Model Sheet Signed by John Walworth

This was a nice little piece that I stumbled upon. At the time, most were interested in collecting Disney and not many were aware of Fleischer. I thought the angles were interesting (I had not seen many model sheets) and the expressions were great.

This was Walworth's second film. He worked on "Mr. Bug..." next, Casper and a host of other popular characters. Later, he was credited as designing a number of the toys found in Cracker Jack boxes...

Spunky Model Sheet Signed by Walworth

----- DATABASE NOTES -----

From “A Kick In Time” (1940). A pastel model sheet of Spunky signed by John Walworth (1914-1992), one of the animators on the film. Directed by Dave Fleishcer. Fleischer Studio stamp. Note: “Fleischer Studios (Spunky)”; Signed: “John Walworth '38” By the way, Walworth designed many of the toy surprises found in boxes of Cracker Jack candy. [Image: 12-7/8"W x 5-11/16"H; Frame: 23"W x 17-3/4"H] Acquired 1990. SeqID 0005 Updated: 5/18/2008

"Society Dog Show" (1939) [1 of 2] - Pencil of Mickey

This is a nice full image of Mickey with a little color direction thrown in.

Good view of the face. Nice "eyebrows." Eyes have great character. His "pinky" on the hand holding the bottle is extended -- a very nice touch. Chest extended. Leaning forward a little. Very good...

Mickey in His Own World

----- DATABASE NOTES -----

From “Society Dog Show” (1939). Mickey, with eyes closed, is smelling the perfume he's about ready to put on Pluto and holding a sprayer. Notes: "21"; "Z"; Color direction. On back = "23" [12”W x 10”H] Acquired 1995. SeqID-0229 8/15/2005

"Society Dog Show" (1939) [2 of 2] - Pencil of Judge and Pluto

This pencil was an early purchase. A nice overall image, which was fairly inexpensive at the time.

Judge and Pluto Pencil

----- DATABASE NOTES -----

From “Society Dog Show” (1939). The Judge is disgusted when Pluto licks him. #51. Acquired 1987. SeqID-0132

"Ferdinand the Bull" (1938) [1 of 2] - Cel, Background and Pencils

This was an interesting set that I picked up. The cels of Ferdinand and flowers on a Production Background and two pencils that show the same scene.

Ferdinand Cels on Production Background

Photoshop Combination of the Two Pencils

When I first posted this (again, I'm doing some re-grouping), Hans Perk wrote me:

It is indeed rare to have the drawings to the cell setup. In this case, the animation of Ferdinand is according to the draft attributed to the very Milt Kahl you mention as Ferdinand's voice. The initials on the clean-up are HK, which maybe could be Hal King, who was born June 5th., 1913, started work at Disney July 20th., 1936, worked most of his life as animator, retired August 28th., 1973 and passed away in Laguna Beach at the age of 73 on October 28th., 1986. I believe I read somewhere that Pete Docter is working on a book about him, which is high time.

----- DATABASE NOTES -----

From “Ferdinand the Bull” (1938). Cel of Ferdinand mounted on a production background and also includes the identical pencil sketch of Ferdinand and the flowers. In this image, Ferdinand has his nose up and there is an image of the flowers below. A film directed by Dick Rickard. [Image: 10 7/16"W x 9-3/8"H] Acquired 1997. Cel SeqID-0268.
Seller’s comments: I’ve seen only one other example in which there is a 100% match between the pencil sketches and the cel.

"Ferdinand the Bull" (1938) [2 of 2] - Ferdinand Pencil

Here is a nice pencil as Ferdinand starts to inhale...

Ferdinand Smelling Flowers

While looking through a few books, I found similar images in Thomas & Johnston's book and in Canemaker's as well. Upon closer inspection, Thomas & Johnston and Canemaker used the same image. I think their image of Ferdinand is better than the one I have, but this is a pretty good image.

Thomas & Johnston Book

From “Ferdinand the Bull” (1938). Ferdinand drawn by Milt Kahl.
Thomas, Frank & Johnston, Ollie. Too Funny for Words. NY: Abbe Ville Press, 1987. ISBN 0-89659-747-4. Page 214 See SeqID 0046

Canemaker Book

From “Ferdinand the Bull” (1938). Artist: Ham Luske. Page 99. Canemaker, John. Treasures of Disney Animation Art. NY: Abbeville Press, 1982. ISBN: 0-89659-581-1. See SeqID 0046


----- DATABASE NOTES -----

From “Ferdinand the Bull” (1938). Very good pencil pose of Ferdinand smelling a flower. Large image. A film directed by Dick Rickard. [Image: 11-5/16"W x 8-7/8"H] Acquired 1991. SeqID-0046 8/3/2005