"Country Cousin" (1936) [Series] - Abner Cel And Pencil Background

Here's the last "Country Cousins" item in our collection concluding the Series.

This is a great image of Abner. Lots of energy in the face and a good body extension. The background is also great because of the color direction and the additional notes.

The reference to "Stapp" is probably animator Terrell Stapp, who was one of the Art Directors on Snow White, Pinocchio, Dumbo and Fantasia.

As with the previous blog entry, this was one of those odd combinations of cel and pencil that offended purists, but I enjoyed because it offered an opportunity to discuss several layers in the animation process. This is especially true with Stapp's reference to the special handling of Jello's unique transparency.

Abner Cel and Pencil Background [click to enlarge]

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

From “Country Cousin” (1936). Cel of Abner on original pencil background. Academy Award winning Silly Symphony cartoon. [Image: 9-7/8"W x 7-7/8"H; Frame: 15-7/8"W x 14.25"H] Acquired 2000. SeqID-0322 8/3/2005

"Country Cousin" (1936) [Series] - Monty Cel and Pencil Background

As I wind up posting our holding of "Country Cousin"...

Here is a trimmed (kind of) cel of Monty on top of a background sketch (with color direction) from the same sequence. Initially, those selling animation art would simply sell the cel. Then people started to put Pantone gradients behind the cel to provide some additional color. At that time, there was little interest in the backgrounds -- both the water colors and the pencils. Typically, the sellers of animation art would pick up all of the artwork from an animator's estate -- the good and the bad. Often the backgrounds were seen as "noise" with little commercial value. So, to move the "product," the sellers would start to combine cels with the pencils. Initially, these combination efforts were not well received -- probably because someone took scissors to a cel.

Frankly, I was attracted to some of these "mixed media" creations because they created a "teachable moment" to those interested in looking at the art. But I'm weird that way...

What I don't like about this set up is (1) the crude cutout of the cel and (2) that a portion of the color direction is covered up. I'll probably get around to re-framing the piece at some point and will trip the cel more closely and off-set it so that the notes on the pencil background can be read.

Monty Cel and Pencil Background [click to enlarge]

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

From “Country Cousin” (1936). Cel of Monty on original pencil background. Academy Award Silly Symphony cartoon. [Image: 9-3/8"W x 7-7/8"H; Frame: 15-3/4"W x 14.25"H] Acquired 1998. SeqID-0321 8/3/2005

"Country Cousin" (1936) [Series] - Don Graham Stat Model Sheet

Note: read my previous posting for information on the "stat" process

Here is an Abner first-generation stat model sheet with "Graham file" written in pencil on the lower right. While original model sheets are a great fine, first-generation sheets are very special as well.

Don Graham Stat Model Sheet [click to enlarge]

Don Graham holds a unique position in the refinement of Disney animation. Here is a segment from "The Birth of Animation Training," Animation World (3/24/2009):

Walt decided to hire Don Graham, an instructor at Chouinard and former engineering student from Stanford University, to supervise this new training in addition to his teaching responsibilities at Chouinard. Graham is remembered today as an inspirational instructor who was patient and articulate. Graham had an incredible knowledge of drawing and art history in addition to being an outstanding draftsman himself. Walt invited diverse guest speakers to lecture at Hyperion, including friend and collaborator Salvador Dali, seen above vacationing with Disney in the 1950s.

One Disney animator commented on the value of this training when he said, “Before I started there I animated well and badly both. But I couldn’t reproduce the former at will and I couldn’t fix up the later. What the classes did for me was to give me consistency.”

Certainly the superiority of the Disney animated product during the 1930s and 1940s can be credited to this training. No other animation studio invested the time and money for training. Many of the principles of animation from squash and stretch to secondary action to more came from these Disney training studies.

The very first class at the Hyperion Studio was on Nov. 15, 1932, with 25 artists in attendance. Older Disney animators smile when they recount that the attendance grew swiftly when it was discovered that Graham was demonstrating motion with the use of cute nude female models.

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

From “Country Cousin” (1936). "U.S. 37" model sheet. "Abner" Pencil: "Graham file." Seller: "This is also something quite special! Original first generation model sheets from 1936 Academy Award cartoon along with great drawings from the film" [15"W x 11”H] Acquired 2000. SeqID-0467

"Country Cousin" (1936) [Series] - Jack Miller Stat Model Sheet

While it's great to get an original model sheet, finding a first-generation "stat" model sheet is also great. The photostatic process used to make duplicate copies had been in use for a number of years, with the electrostatic (xerox) being introduced in the late 1930's.

Here is a model sheet of Monty with "Jack Miller" written in pencil on the lower right. Miller, Joe Grant and Bob Jones were superb artists that became the Character Model Department. I don't know if this is Jack Miller's writing or someone else indicating that the copy was to be given to Jack Miller. However, the way the letters are drawn would lead me to believe that it is Jack Miller's writing.

Jack Miller Stat Model Sheet [click to enlarge]

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

From “Country Cousin” (1936). "U.S. 37" Model sheet stat. First generation "Monty" Pencil "Jack Miller" [15"W x 12"H] Acquired 2000. SeqID-0466

"Country Cousin" (1936) [Series] - Pencil of Abner and Monty

I was attracted to this image for a couple of reasons. First, I thought the characters were great -- Abner showing shock as Monty yanks him out of danger -- a super rendition of expressions. The sheet also starts to demonstrate Monty's changing character as he becomes more protective of Abner.

Second, the shadow and water effects add to the overall interest of the image -- from an educational perspective. The notations give an indication as to the relationship between this sheet and several others in the sequence.

The comment in blue: "Ab still has bewildered exp."

Abner and Monty [click to enlarge]

The only thing I don't like about the sheet (from a display standpoint) is that Monty is so close to the right edge. I have not framed this as of yet, but my guess is that it would look best if "floated" so the whole sheet if visible.


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

From “Country Cousin” (1936). Drawing of Monty and Abner. Excellent view of both characters and special effects. Note: "Ab still [has] bewildered exp" in blue pencil. Red effects "123 x SW" "123 124 125" [12”W x 10”H] SeqID-0460

"Country Cousin" (1936) [Series] - Abner Kicks Butt

I took this photo shortly after buying my first digital camera, a Nikon D1. The light fall-off on the copy stand was terrible. I should have scanned it, but I didn't have a scanner at that time...

This is a great piece because of it's dual sheet construction and character depiction. As I've mentioned, I like to find pieces that best describe a character and/or film. And there are a number of points in a film where different aspects of a character past or emerging personality can best be portrayed.

As Abner becomes "acclimatized" to City Life his character changes. Overwhelmed by all that he sees Abner takes on the Cat demonstrating more courage than Monty (although alcohol may have something to do with it). This images captures one of the film's "forks in the road" as Abner's character continues to develop.

Abner Kicks Butt [click to enlarge]

I should note that is composite consists of a two-sheet depiction of the cat, with the trimmed sheet of Abner placed on top. I've never really been in favor of trimming original art, but often dealers would find creative ways of combining images to increase marketability.

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

From “Country Cousin” (1936). Two pencil sketches combined to show Abner kicking back of cat. Double wide with good registration. 24w X 10h. "Reg 39B in reg" (cat is "39B") "FIN" Back: Country Cousin 800" [Unframed Item: 24"W x 10"H] Acquired 2000. SeqID-0465

"Country Cousin" (1936) [Series] - Abner Pencils

Abner, the stereotypical Country Bumpkin, is an interesting character, but not as "deep" as Monty.

This first image is a really nice piece of art. I loved the expression on Abner's face -- I can't count the number of days I've felt like this...

Woeful Abner [click to enlarge]

Full Frame Abner

This image is nice because it's a large one, but I probably wouldn't buy it again because of the eyes being closed...

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

From “Country Cousin” (1936). Pencil sketch of Abner. Abner center with umbrella. "95" [Unframed Item: 12"W x 10"H] Acquired 2000. SeqID-0462

From “Country Cousin” (1936). Pencil sketch of Abner. Eyes closed, holding hand to cheek "21" [Unframed item: 12"W x 10”H] Acquired 2000. SeqID-0463

"Country Cousin" (1936) [Series] - Monty Pencils

Boy, I really didn't like Monty when I first saw this film. While growing up, every once and a while I would be put into social situations with kids from "Country Club" families and, it seemed to me, that they would go out of their way to point out my ignorance in the "social graces." To me, Monty personified those self-absorbed creeps.

But as the film rolled along, Monty did redeem himself by taking care of the intoxicated Abner.

However, as I re-read what I just typed, I guess I still don't care for Monty. From my perspective, whenever Monty looked down his nose at Abner, he was looking down his nose at me.... Damn, I hate all this garbage I lug around...

Monty

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

From “Country Cousin” (1936). Pencil sketch of Monty holding up finger to say "sush" Notes: "TR #40 Feet and Tail"; "44"; "PD" Slight stain on lower right. [Unframed item: 12”Wx10”H] Acquired 2000. SeqID-0464

From “Country Cousin” (1936). Pencil Director's drawing of Monty. Monty on left holding out hand. "54-55-56" "54A" "BA" [Unframed item: 12"Wx10”H] Acquired 2000. SeqID-0461

"Country Cousin" (1936) [Series] - Ingeborg Willy Scrapbook Pencils

Here are some items from the pages of Ingeborg Willy's Scrapbook (1936-1937). Willy was hired to work in the Pen and Ink Department at an amazing time in the Studio's history. While the Studio was small enough for everyone to know one another, it was struggling with growth issues. Willy's scrapbook includes photographs she took of fellow workers and she also collected scraps of pencil art and other items used in the animation process. Included were a few items from "Country Cousin," which won the Oscar for Best Animated Short in 1936.

While these are items trimmed from standard sheets, they all represent unique character poses. While some may argue the value is reduced because they are trimmed, each sheet in the scrapbook presents a special "snap shot" into the life of the Studio and the people that worked for Disney at the time -- which has a special value all its own.

Abner

Monty

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

From “Country Cousin” (1936). Pencils of Monty and Abner. From “Ingeborg Willy’s Scrapbook” (1936-1937). A scrapbook of photos, pencil drawings and other items put together by Ingeborg Willy, who was an inker for Disney from 11/23/36 to 11/26/41 and who died in 1999. Acquired 1998. SeqID-0243 Updated: 7/28/2005

"Country Cousin" (1936) [Series] - Babbitt Scene Synopsis

OK, here's the start of the Series of holdings from "Country Cousin" (1936).

The first item is a sheet found loose in the Ingeborg Willy Scrapbook (1936-1937). This is a Scene Synopsis sheet listing "Babbitt" as the animator.

What I found interesting was the sheet summarized the various categories of work relating to the scene: Mechanics, Effects, Color, Paint & Ink, and General. The items described in the Mechanics section show an excellent example of manipulation of underlays and camera movement. While I started by collecting "pretty" cels, I soon found myself interested in the broader scope of the animation process: backgrounds, story boards, concept art, pencils, story notes, internal memos, etc.

On the reverse of the sheet is the story line that is in progress...

I'm not sure why I took this turn in my collecting. My guess is that since I had started my own company, I developed an interest in "opening the hood" of just about every business I encountered to get a feel for what made other successful businesses "tick."

Scene Synopsis Sheet [click to enlarge]

Reverse Side of Scene Synopsis

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

From “Country Cousin” (1936). Scene Synopsis listing the animator as "Babbitt." From “Ingeborg Willy’s Scrapbook” (1936-1937). A scrapbook of photos, pencil drawings and other items put together by Ingeborg Willy, who was an inker for Disney from 11/23/36 to 11/26/41 and who died in 1999. Acquired 1998. SeqID-0243 Updated: 7/28/2005