"Duck Tales" - Mike Royer Commerical Art

More from "Duck Tales".....

What appears on the screen may be only the tip of the iceberg when it comes to animation artwork. There is a huge amount of material of original art that is developed for commercial, licensed use.  Here are some pieces drawn by the creative Mike Royer....

Citrus World Concept Art

"Launchpad" Art

Here's some background on Mike from his web site (MikeRoyer.com):

Drawn to Southern California, spring 1965, by the lure of a career in Comic Art, Mike spent his first 14 years in comic books, comic strips, and TV animation. Beginning as RUSS Manning's assistant on MAGNUS, ROBOT FIGHTER and TARZAN comic books (at the end of their working relationship Mike lettered and inked the last 6 months of Russ's TARZAN syndicated Sunday strip and the first 4 months of the daily and Sunday syndicated STAR WARS, late 1970s) and then inking and pencilling for Western Publishing (Gold Key). Mike inked such West Coast talents as Sparky Moore, Mike Arens, Paul Norris, and Doug Wildley.

His drawing asignments were on TARZAN, SPACE GHOST, coloring books, puzzles, etc. for Western and doing layout on network animation series like SPIDERMAN. At Gold Key he wrote/adapted and drew SPEED BUGGY, BUTCH CASSIDY AND THE SUNDANCE KIDS, TARZAN, MAGNUS, and designed and executed covers for Hanna-Barbera TV ADVENTURE HEROES, etc. Mike contributed to James Warren's CREEPY, EERIE, and VAMPERELLA magazines and began drawing the comic panel CRUSIN' record album covers (over 2 dozen to date), many of which he's scripted.

For East coast firms, Mike inked artists Don Heck, Steve Ditko, Ramona Fraden and others, but during this period he is best known to comic fans for his decade as letterer/inker for legendary Jack Kirby at National and then Marvel.

From late Spring 1979, Mike spent the next 14 years on staff with the Walt Disney Company in the creative department of their Consumer Product/Licensing division, addressing the areas of book publishing, comic books and strips, and all forms of themepark and licensed merchandise as a character artist/product designer, performing as idea man, concept and final line artist, and sometime inker.

At Disney, Mike designed and art directed the DICK TRACY and 3-D ROCKETEER comic book Music Company read-alongs. He created the "new look" that launched the massive WINNIE THE POOH licensing program in late 1993. Featured in a 43 minute video "How To Draw Pooh" sent to over 40 licensees, Mike takes no small amount of pride in the fact that POOH soon (and still) outsold Mickey Mouse worldwide.

June 1993 Mike left his staff position to spend the next 7 years full time free lancing for The Disney Store's creative group, becoming their "Main POOH Man" and creating 3-D products utilizing Disney characters.

Since Spring 2000 Mike has functioned as an Art service doing pencil work on a wide variety of projects, including creating character Orthographic Turns and environment "floor plans" for computer game animators, DIGIMON products, on screen icons for FOX FAMILY CHANNEL and FOX KIDS NETWORK, READER RABBIT work books, RESCUE HEROES toy packaging, etc.

Spring 2001 found Mike and Laurie, his lovely wife and concept collaborater, returning to his birth state, Oregon, settling in Medford, and in the process returned to his career roots. And in the last few years he's found time to ink such luminaries as Steve Rude and Eric Larsen, to name a couple. Mike continues to create Disney character art for limited edition collector pin sets and does "recreations". He strongly believes that his passion, attention to detail and accuracy, and his commitment to integrity will keep him at the board for a long time to come.

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

From “Duck Tales” (circa 1989).  On thin tracing paper. Suggestions for a variety of items that could be sold to kids in the Duck Tales theme. For Citrus World. Gyro, Scrooge, Webby, Launchpad, Doofus. Done by Mike Royer. [Item: 17-3/4"W x 14"H]  SeqID 0036

From “Duck Tales” (circa 1989).  An excellent watercolor of Launchpad running in his flight suit. Signed by Mike Royer. [Image: 8-9/16"W x 10-3/8"H]  SeqID 0035

"Do You Have Any Castles" (1938) [Series] - Watercolor Concept

Here's a nice concept watercolor from Schlesinger/Warner.  The films, however, were well crafted.  To me, it seemed that many of the cartoons of this period had similar character design -- regardless of studio. This is a watercolor concept of several characters.  The color in vivid, character depiction is good, the sight gag of the musicians of different heights using the same bow was clever.  Just a great piece of colorful whimsy for the walls...

Watercolor Concept

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

“Do You Have Any Castles” (1938).  A Leon Schlesinger Studios production. Also known as “Have You Got Any Castles” as a re-issue.  Watercolor concept of characters.  [12”W x 12”W]  SeqID-1219  11/2/2005

IMDB: Another entry in the "books come alive" subgenre, with possibly more books coming alive than any other. We begin with some musical numbers, notably the various pages of Green Pastures all joining in on a song, The Thin Man entering The White House Cookbook and exiting much fatter, and The House of Seven (Clark) Gables singing backup to Old King Cole. The Three Musketeers break loose, become Three Men on a Horse, grab the Seven Keys to Baldpate, and set the Prisoner of Zenda free. They are soon chased by horsemen from The Charge of the Light Brigade and Under Two Flags and beset by the cannons of All Quiet on the Western Front. All this disturbs the sleep of Rip Van Winkle, who opens Hurricane so that everyone is (all together now) Gone with the Wind.  Written by Jon Reeves {jreeves@imdb.com}

The globe on the cover of Pearl Buck's book "The Good Earth" requests blessings for people in his family, including "Papa Leon and Uncle Ray." This is in reference to Leon Schlesinger, who was the executive producer of the Warner Brothers Looney Tunes/Merrie Melodies cartoons up until 1944, and Raymond Katz, Schlesinger's brother-in-law, who also worked in the cartoon studio.

"Fantasia" (1940) [Series] - Concept Oil Painting

More "Fantasia" items in the Cowan Collection...

This is a fantastic piece. What attracted me to the piece was its dark and sinister mood -- very different from the water color pieces that are in our collection.  In fact, this piece has to be displayed in a very bright location so the viewer can see the tremendous shadow detail.  I'm afraid photographs don't do a very good job of capturing the extraordinary artistic work...

One individual mentioned that it may have been done by Tom Codrick (I'm not sure about the spelling), but I don't have any verification of that fact...

Fantasia Oil Painting (click to enlarge)

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

From “Fantasia” (1940).  The Sorcerer's Apprentice sequence.  An oil painting of the stairs leading to the Sorcerer's lair.  Dark, mysterious.  Note: Perhaps drawn by Tom Codrick. [ From Sotheby's: Walt Disney color study from "Fantasia," 1940.  The oil on paper is a conceptual study of the Sorcerer's lair from The Sorcerer's Apprentice sequence, inscribed "Prod 2004 Seq. 004", matted.  9.5x11.5 ]  Sotheby's auction 7491.  [Item: 17-3/4"W x 16"H]  SeqID-0714

"Fantasia" (1940) [Series] - Pencil Concept of Pegasus

More postings from the Cowan Collection's "Fantasia" holdings...

I've always thought this was a great concept for one of the younger Pegasus characters.  Good character development.  And a somewhat unexpected movement -- although I've seen horses scratch behind their ears in exactly the same way.  Nice inclusion of the stream and willows...


My notes indicated that he was called "Peter," but I wasn't sure.  I did a quick search and found this interesting link:

Peter was retroactively named after his popularity grew from the release of "Fantasia." As such, several Peter Pegasus shorts were planned and went into pre-production in the early 1940s, including one titled "Peter Pegasus" as a segment to "Invitation to Dance" which would have also brought back the dancing mushrooms from the "Nutcracker" segment of "Fantasia." The basic plot involved a series of misadventures after sneaking out of his nest, including following a family of ducks a la "The Ugly Duckling," and accidentally disturbing an angry bee. It never progressed beyond the storyboard. As they say, "If wishes were horses..." (sigh). Recently, another "Baby Pegasus" was introduced in the film "Hercules" (June 27, 1997) as the Hero's childhood playmate who grows up to become his faithful companion. This one was formed from the clouds by Zeus, and is not known for his intelligence, but loyalty certainly counts. The only occasions I can think of where Disney used a winged horse was in "Donald Duck" #27 (Jan. 1953) in a tale called "The Flying Horse," where Donald, $crooge and the Nephews encounter a mechanical one. An inventor trades Donald the metal horse for Uncle $crooge's helicopter and later reneges. Another time was in the time travel tale in "Uncle Scrooge" #75 (June 1968), where Gyro, Uncle $crooge, and Huey, Dewey & Louie tavel to ancient Greece during "The Battle of Marathon" (hence the title of the story) and an ancient inventor has likewise created a mechanical winged horse which carries them all from the battlefied to safety, before they return to the present. And finally the "real" Pegasus appeared in "Super Goof #34 (June 1975) in "The Golden Apple-Picker" when the evil Emil Eagle tests his Fantasy-Fact Fixer gizmo which transports him, Clarabelle, Super Goof and Pegasus (who had followed him from a previous attempt), through a portal to the Garden of Hesperides of ancient Greek myth.

Pencil Concept (click to enlarge)

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

Graphite concept sketch of Peter Pegasus during the Pastoral Symphony sequence from “Fantasia” (1940).  [12Wx9.5H]

"Fantasia" (1940) [Series] - Lee Blair Ben Ali Gator and Hyacinth Hippo Pencil Concept

More postings of items in the Cowan Collection from "Fantasia"...

This is a great piece!  Super expressions!  As I've mentioned before, I try to collect images that represent key moments in the film and/or images that capture the essence of a character.  This is a good example.

Note: Thanks for the corrections. I first wrote "Les" Blair and have corrected it to "Lee" Blair.  I appreciate it...

This image was featured in Mindy Aloff's book "Hippo In A Tutu" (pg. 113) and had this to say about the image: “A Lee Blair story sketch of Hyacinth Hippo being partnered enthusiastically in arabesque on pointe by Ben Ali Gator in 'Dance of the Hours.' Lee Blair was married to Disney inspirational artist Mary Blair.”  The Blair Connection was a result of Aloff's research and wasn't based on any information I had about the piece.

Lee Blair Pencil Concept

 

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

From “Fantasia” (1940), the Dance of the Hours sequence.  Pencil concept sketch of Ben Ali Gator is dancing with Hyacinth Hippo.  Notes: "WDP" stamp on lower right.  [Image: 10-5/8"W x 8"H; Frame: 16-7/8"W x 14-3/8"H]  SeqID-0168  8/3/2005

"Fantasia" (1940) [Series] - Orchid Girl Pastel

Items in the Cowan Collection from "Fantasia"...

This is one of the nicest pieces.  A large pastel on black paper image of the "Orchid Girl" from the Nictcracker Suite sequence.  I love the color -- which seems to really "pop" on the black paper.  And the white around the edges could not be displayed on any other background...

One of my notes says that this may have been drawn by Jules Engle (source: Mindy Aloff in ther book "Hippo In A Tutu").

Pastel of the Orchid Girl (click to enlarge)

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

From “Fantasia” (1940), the Nutcracker Suite sequence.  A pastel on black paper of the “Orchid Girl” dancing flower from The Nutcracker Suite sequence. Possibly drawn by Jules Engle (source: Mindy Aloff).  BACK: The Bonfoey Co., Cleveland, OH 216-621-0178.  [Image: 11-11/16"W x 9-5/8"H; Frame: 16-1/2"W x 17"H]  Acquired 2000.  SeqID-0712   Updated: 8/3/2005

NOTE: Image used in Mindy Aloff’s book “Hippo In A Tutu” (SeqID-1953), pg. 176. “A pastel sketch (possibly by Jules Engel) of the little Orchid Dancer for Fantasia’s ‘Nutcracker Suite’.”

"Fantasia" (1940) [Series] - Unicorn Model Sheet

More images of Fantasia items in the Cowan Collection...

This was an interesting piece.  A very large image of a Unicorn.  The image was trimmed and glued to one half of a file folder.  In addition, the approval stamp from the Character Model Department was glued to the file folder as well.  Probably the "JG" is Joe Grant.  I'm not sure about the "M.D." or "M.P." on the stamp.

Unicorn Model Sheet (click to enlarge)

 

 

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

From "Fantasia" (1940), the Pastoral Symphony sequence.  Original Conte' unicorn model sheet. Model cut out and glued to a file folder with notice from the Character Model Dept. Notes:  Original ink "OK by JG 11-1-39";  "M258-D"  "JG" stands for Joe Grant.  [Unframed Item: 11-3/4"W x 9"H]  Acquired 2000.  SeqID-0453  8/14/2005

"Fantasia" (1940) [Series] - Rite of Spring Watercolor Concept

More postings of Fantasia items in the Cowan Collection...




This is a GREAT concept piece! My son's favorite piece...!

Good action.  Good depth.  Stunning color -- much different than some of the typical subtle coloring seen in concept pieces.

"Rite of Spring" Watercolor Concept (click to enlarge)

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

From “Fantasia” (1940).  Spectacular watercolor concept painting from the "Rite of Spring" sequence showing a T-Rex and other Dinosaurs in a prehistoric jungle swamp.  SeqID-1231  8/1/2005

"Fantasia" (1940) [Series] - Charcoal Concepts (not used)

More postings of Fantasia related items in the Cowan Collection...


I have always enjoyed collecting pieces that never made it to the final movie. Here are two examples.

This was from an "underworld" sequence in the Night on Bald Mountain/Ave Marie portion of the film. Strong images and, I think, very dynamic! The use of shadow underscores the darkness of spirit. Some aspects reminded me of the statues on Easter Island.

Charcoal Concepts (click to enlarge)

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

From “Fantasia” (1940). From the Night on Bald Mountain/Ave Maria sequence. A set of two framed images. (1) Excellent charcoal concept piece of skeleton's dancing below the earth. Shadow of Chernabog on the wall. Dark feeling. Small, but superior in its detail and design. (2) The images resemble those found on Easter Island. The subterranean sequence was not used in the final film. [2 framed images @ Image: 5-1/4"W x 3-3/4"H. Frame: 12-1/8"W x 11-5/8"H] SeqID-0043 for both. 7/15/2005

"Fantasia" (1940) [Series] - Watercolor Concept

More postings of items in the Cowan Collection from "Fantasia"...


This is a great graphite and watercolor concept of what was called the "Bug Orchestra."

When I last posted this, I mentioned that the story (as it was told to me) was that there was a point when it was not clear that Stikowski would continue with the project and that some rough ideas were generated for an "alternative" to the orchestra. Several readers wrote that the story I heard may have been incorrect. Regardless, this is a nice piece and gives the viewer some additional insight into the creative process.

Watercolor Concept (click to enlarge)

Stamp on the back (significantly enlarged)

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

Graphite and watercolor concept drawing of “Bug Orchestra,” which was deleted when arrangements with Liopold Stikowski were finalized, from “Fantasia” (1940). [12Wx10H]

"Fantasia" (1940;1990) [Series] - 50th Anniv. Limited Edition

A series of postings of Fantasia items in the Cowan Collection...

There are always some nice pieces that you run across that are just fun to have. Case in point, this graphite and colored pencil Limited Edition celebrating the 50th anniversary of Fantasia.

While the bulk of the items we pick up are pencils and cels, we tend to pick up other pieces as well. The nice thing about some of these items is that they hold up well to placement anywhere in our low-humidity house in Colorado. Good color. Good action. Just a great little piece. There are a few comments in the "NOTES" below that you might find interesting...

Pegasus and Unicorn Limited Edition (click to enlarge)

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

From "Fantasia" (1940; 1990), the Pastoral Symphony sequence. Came as a gift from Animation USA. A graphite and colored pencil "308/500" "Pegasus and Unicorn from Symphony No. 6 (Pastoral), Ludwig van Beethoven" Appears to be a pastel concept of the figures. The characters were initially to dance/move to a different piece of music -- Cydalise. The unicorn stayed much the same in the final rendition. However, Pegasus was changed to be more stately and graceful. Print embossed with "Fantasia 50 Years Limited Edition" in lower right (1990 release). Similar images can be seen in the Fantasia book, pg. 144. [Item: 20"W x 16"H] Acquired 1998. SeqID-0397

"Fantasia" (1940) [Series] - Preview Contact Sheet

Postings of "Fantasia" (1940) related items from the Cowan Collection.

OK....


Here's a contact sheet of the Fantasia items in the collection that I will start posting...

"Snow White" (1937) [Series] - Pastel Concept of Queen

More of the "Snow White" material in the Cowan Collection....


An absolutely wonderful pastel concept of the Queen descending the stairs.

You can sense the urgency as her gaze is down the stairs and her robe flutters with her decent. It's a dark piece (which goes with the story line), but the colors are strong. Very dynamic!

Pastel of Queen Decending Stairs (click to enlarge)

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

From “Snow White” (1937). Pastel concept of the Wicked Queen descending the stairs. Double matted in raw silk with a gold leaf frame and matching filet. [9”W x 10”H] Acquired 2004. SeqID-1451 8/1/2005

"Lady and The Tramp" (1955) [Series] - Lady Cel and Pencil Concept

Part of the "Lady and The Tramp" series.

During the late 1990's the amount of animation art (sometimes called "product") was drying up. So, attempts were made to creative ways to package cels that were not great stand-alone pieces.

Here is a case in point. A nice combination of items depicting the first time Lady sees the baby. Lady has a great expression and the concept of the baby in the crib is very unique. The combination also provides an opportunity to explain the animation process to visitors.

Frankly, I love the concept sketch. If you look at it closely, it really goes on you...

Lady Cel and Baby Concept

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

From “Lady and the Tramp” (1955). Cel of Lady mounted on a pencil concept of the baby in the crib. [20"W x 10"H] Acquired 1998. SeqID-0364 Updated: 7/31/2005

"Alice In Wonderland" (1951) [Series] - David Hall Watercolor Sketches

[Edited based on comment]

This is the end of the series -- the last "Alice In Wonderland" item in the collection that I wanted to post...

This is not a very good image of what I believe to be a wonderful piece of art. The colors are fantastic. The sheer number of characters on the page are unusual. One of the reasons I like the piece is that it is a window into the flow of the creative process of character development. You can see the morphing of the character as you move across the page and as difference scenes are sketched.

David Hall Watercolor Sketches

Matt, at his site, has some great Alice material and some fantastic items drawn by David Hall. Be sure and check it out!

I thought this was an interesting comment on the Disney Archives site:

This animated feature had been on Walt's mind since 1933, when he considered a live-action version starring Mary Pickford. He shelved the project after Paramount made a version, but later had artist David Hall, a Hollywood artist and designer, create some concepts for an all-animated film. World War II intervened, and it was not until the late 1940s that work began again in earnest. One of Walt's big problems with this film was that here he was dealing with a highly regarded classic, and what was charming and appropriately bizarre in book form seemed oddly out of place on the motion picture screen. Walt's feeling, expressed in later years, was that "Alice" had no "heart."

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

From “Alice In Wonderland” (1951). A watercolor color model sheet by artist David Hall. Hall did the concept work after Disney bought the rights to “Alice In Wonderland” and “Peter Pan.” SeqID-1947

Seller's Notes: "Alice in Wonderland" Original artwork painted in 1939. This Disney Studio artwork is a watercolor painting on Studio peg hole board and was created as a Character Model of 'Alice' for the film and has multiple images of her styled by the Disney artist David Hall. This Conceptual artwork was used in the creation of the animated film version of "Alice in Wonderland" which was released by the Studio in 1951. David Hall is a very well known artist and reference can be found on him in a number of Disney related art books, such as "Before the Animation Begins" , "Paper Dreams" and "The Treasury of Disney Animation" all by author John Canemaker. This Original artwork is in Mint Condition. Size: 10" x 12"

"Alice In Wonderland" (1951) [Series] - Mary Blair Concept

Over the past few years, a number of Mary Blair items have entered the market. This is one of those and I thought it was pretty interesting -- a watercolor concept of Alice at the Tea Party. It's a significant scene in the film (which fits one of my criteria). In addition, I look for art that summarizes a character and this image which is both whimsical and pensive mood fits.

There is no mistaking Mary Blair. Her style was as much of a departure from the "norm" as was Gustaf Tenggren. For better or worse, "It's A Small World" is Mary Blair's playground. My big mistake was video taping the entire "It's A Small World" attraction when we visited Disneyland 20+ years ago. Our daughter played that tape non-stop for months (at least that's what I remember)! The song was burned into my mind and I would wake up in the middle of the night with visions of those expressionless eyes bouncing left and right in a never-ending dance through the darkness. But I digress...

Mary Blair Watercolor Concept

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

From “Alice In Wonderland” (1951). A Mary Blair concept watercolor of Alice at the Tea Party. Excellent, vivid piece, large. [Framed: 15.5”W x 13.5”H; Item: 8”W x 6”H] SeqID-1946

"Casey Bats Again" (1954) - Fred Moore Signed Color Pastel

In some of the Disney films, the women were written stronger than other media of the day. In my opinion (in retrospect), they were more independent and self-reliant than some of the male characters.

The Bat Girl from "Casey Bats Again" is along that line. While on the screen briefly, there is no question that she is self-assured. No false pretense. A real "what you see is what you get" person.

Fred Moore Signed Pastel Concept

Here's the write-up on Fred Moore from Wiki (and there are tons of other informational sites as well):

Robert Fred Moore (September 7, 1911 - November 23, 1952), was an American artist and character animator for Walt Disney Productions. Often called "Freddie", he was born and raised in Los Angeles, California. Despite limited formal art training, he rose to prominence at Disney very quickly in the early thirties due to his great natural talent and the tremendous appeal of his drawings, which is still greatly admired by animators and animation fans.

Moore is best known for being the resident specialist in the animation of Mickey Mouse. He is most notable for re-designing the character in 1938 for his landmark role as The Sorcerer's Apprentice in Fantasia, a look which remains Mickey's official look to this day. His animation of the earlier Mickey design was especially memorable in the 1938 short Brave Little Tailor, the last significant appearance of the "pie-eyed" Mickey.

Moore's other significant work at the studio included "The Three Little Pigs", on which he was the principal animator; animation supervision of the dwarfs in "Snow White and the Seven Dwarfs"; most of Lampwick in "Pinocchio" (all of the poolroom scene and until halfway through his transformation to a donkey); and Timothy the mouse in "Dumbo". Moore animated some of the later scenes of the White Rabbit in "Alice In Wonderland", and did the mermaids in the Mermaid Lagoon for "Peter Pan".

Moore was well-known around the studio for his drawings of innocently sexy, often nude, women, referred to as "Freddie Moore Girls." Some of his girl designs found their way into Disney films: for example, the centaurettes in Fantasia and the teenage girls in the "All the Cats Join In" segment of Make Mine Music. (In "All The Cats Join In", Moore personally animated the sequence at the beginning, when the girl answers the telephone and then quickly showers and dresses, through to her scene putting on lipstick in front of her mirror). Moore's enduring influence can also be seen in the design of Casey's daughters in the 1954 short "Casey Bats Again". His girl drawings remain iconic and influential. A model sheet for Ariel in the 1989 Disney film The Little Mermaid" made specific distinctions between the design of that character and a "Freddie Moore Girl".

Moore's drawings and design style have come to epitomize the formative years of the studio in between Ub Iwerks' departure in 1931 and the ascension of the "Nine Old Men", after which studio design was dominated by animator Milt Kahl, along with storyboard artist Bill Peet, and later production designer Ken Anderson. During the 1930s, Moore, Art Babbitt, Norm Ferguson, Bill Tytla, and Ham Luske were the dominant Disney animators whose pioneering work culminated in 1937 with the breakthrough of "Snow White and the Seven Dwarfs".

Moore was a close friend of fellow animators Ward Kimball and Walt Kelly, though he apparently had a quieter and more reserved nature than either of them. Many surviving gag drawings by Kelly from the period of "Pinocchio" show Kimball as the corrupt Lampwick, with boyish Moore as Pinocchio. Moore and Kimball were also caricatured as song and dance men in the 1941 Mickey Mouse short "The Nifty Nineties". Moore makes a brief (and quiet) live-action appearance in the 1941 feature "The Reluctant Dragon", along with Kimball and animator Norm Ferguson during one of the studio tour sequences.

Fred Moore left the Disney Studios in 1946 and worked for Walter Lantz, where he redesigned the character Woody Woodpecker during a two-year stint that ended with his return to Disney in 1948.

Moore was already at work animating the mermaids and the lost boys for Peter Pan when both he and his second wife, Virginia, were injured in a traffic accident early on the evening of Saturday, November 22, 1952, when their car was struck head-on while she made a U-turn on a rural highway through Big Tujunga Canyon near the Angeles National Forest. The Moores were reportedly returning from a day spent watching a football game with fellow Disney artist Jack Kinney. Moore died the following day at St. Joseph's Hospital in Burbank, California from a cerebral hemorrhage resulting from a concussion. Moore is interred at Forest Lawn Memorial Park (Hollywood Hills) in a plot overlooking the Disney Studios.

Fred Moore was posthumously inducted as a Disney Legend by the studio in 1995, and posthumously received the industry's Winsor McKay Award in 1983.

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

From “Casey Bats Again” (1954). Color pastel sketch of the Bat Girl signed by Fred Moore. [Frame: 17”W x 15.5”H; Image: 12”W x 10”H] Acquired 2004. SeqID-1161

Seller: Finally, a signed Fred Moore concept from “Casey Bats Again”. If you are into Moore’s work you know how difficult it is to find signed ones. (Also, a great baseball piece.)

"Bambi" (1942) [2 of 9] - Marc Davis Charcoal Story Board

If you have read any of my posts on picking out artwork, you know I'm a big believer in the "Decisive Moment" -- a moment that summarizes a historical moment. A moment that defines a character or defines a movie. Using this approach can help you decide which piece to buy because those moments tend to define value.

The moment where Bambi meets Faline for the first time is such a moment. And this charcoal concept by Marc Davis was a great piece to acquire. His surprise. Her shy (but self-confident) gaze...

Marc Davis Charcoal Storyboard Concept

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

From “Bambi” (1942). Charcoal story board drawing of Bambi seeing Faline’s reflection in the pond. A story board drawing of Bambi as he first sees Faline's reflection of in the water. The drawing was done by Marc Davis and was originally sold by Courvoisier Galleries of San Francisco. It bears the Courvoisier Galleries Certificate of Authenticity on the back. [10”W x 8”H] SeqID-1160

"Bambi" (1942) [3 of 9] - Tyrus Wong Watercolor Concept

This tiny 4x5 watercolor is fantastic. It's on the wall next to the charcoal piece (previous post). People walk right up to it and study it's flow and line. Fantastic framing and positioning of Bambi (off center). Excellent example of how to portray rain and create a sense of wind... Amazing!

It's in an oversized frame to draw attention to the piece and the frame is a darkened bamboo.

Tyrus Wong Watercolor

Here is some additional information on Tyrus Wong from Wikipedia:

Wong and his father immigrated to the United States from China in 1919. When he attended Benjamin Franklin Junior High in Pasadena, his teachers noticed Wong's artistic ability and arranged for a summer scholarship at the Otis Art Institute. Wong was hooked and decided to leave junior high for a full time studentship at Otis. Since his family was poor, he worked as a janitor at this school and walked for miles just to attend classes. It paid off as Wong had a lucrative career as an artist in Hollywood.

He has done everything from working as a greeting card designer to Warner Bros. film production illustrator (1942-1968), from drawing set designs and storyboard for several movies to being a Disney inspirational sketch artist (1938-1941). It was his lush pastels that served as inspiration for Bambi (1942) where he was the lead artist of the project.

Tyrus Wong left Disney studios shortly after finishing Bambi, due to repercussions from the Disney animators' strike. Later, he has designed Christmas cards, where some have sold over 1 million copies.

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

From “Bambi” (1942). Color concept sketch with trees, leaves, Bambi. Tyrus Wong and has a very Japanese feel to the overall image. [Frame: 15.5”W x 14.5”H; Item: 4-3/8"w X 3-5/16"h] SeqID-0263 7/27/2005

"Bambi" (1942) [4 of 9] - Charcoal Concept of Bambi and Mother

Two emotions hit you. A kind of quiet bonding AND a dark sense of danger.

Almost anyone that sees this on our wall stops to look more closely. It is arresting. A tone poem of sorts. I don't know the artist that drew this, but I thought it was a fantastic piece...

I also thought the piece was interesting because the Mother in obviously the main character in the scene (to escape from the fire) and Bambi is just emerging from the woods -- unaware that he is about to emerge from youth to adulthood. But, hey, I'm probably reading too much into the whole thing...

By the way, have you ever noticed that there are very few Limited Editions or Sericels of scenes after Bambi's mother gets shot? When you ask most people about Bambi, their favorite scenes are from pre-shot sequences. I've often thought there is a great parallel between Disney's use of the sound of the shot (instead of the graphic "Oh, my God they've killed Kenny!" approach) and Hitchcock's almost-graphic scenes that leave much more to the imagination than the current breed of slasher-shock flicks.

Charcoal of Bambi and Mother

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

From “Bambi” (1942). Charcoal concept sketch of Bambi and his mother in the woods. [Image: 8-3/8"W x 6-1/4"H; Frame: 15-5/8"W x 13-3/8"H] SeqID-0221 8/3/2005