Disney 1937 Christmas Materials - Hake & Ingeborg Willy

I was looking over some of the Disney items up for sale on Hake's Auction site. I came across a listing for several 1937 Christmas items. I realized that the items that were up for auction were also included in the Ingeborg Willy scrapbook that I had.

Hake's Items

Ingeborg Willy Scrapbook Items

Here's the description from the Hake site:

Two cards which were issued together as a set. First is 7x10" on nice quality cardstock with text on front "Season's Greetings." Card interior has tip-in sheet with choice "Snow White And The Seven Dwarfs" art by Gustaf Tenggren that was also used for the one-sheet movie poster. Lightest trace of aging. Strip of aging to tip-in sheet where applied with glue. Still displays Exc. overall. Second card is 4.5x5" with text "And Greetings From Us Too!" featuring Mickey and Minnie Mouse, Donald Duck and Pluto buried in the snow. Exc./N. Mint. Comes with postally issued Christmas-themed envelope with matching holly berry and leaf motif "Walt Disney - Burbank California" return address. Envelope has 1/8" hole punch at right and shows handling wear mostly from mailing. Fine. Scarce set.

I really didn't have much about these individual items. A short time ago, I had sent some of the images around for comment and David Lesjak wrote back:

David Lesjak toonsatwar@yahoo.com That Snow White piece you sent - was that the insert for the 1938 corporate Christmas card - the Tenggren scene with all the characters.

It is interesting how you can start to collect additional information from the auction sites that relate to the items you may own. Naturally, you have to use common sense in gauging the authenticity of items posted anywhere on the web...

"Jungle Book" (1967) - 3-Cels on Master Background

I posted an item from "101 Dalmatians" that had six cels on a Master Background. Here is a 3-cel item on a Master Background. There is a cel of Baloo, Louie and the monkeys. The cel of the monkey and background are "key" and the other cels are from another sequence -- but they work together quite well. I have to tell you, this background is fantastic. The detail is super and it would make a wonderful stand-alone piece.

3-Cels on a Master Background

The group is in a great, understated frame that sets off the images nicely...


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

From “Jungle Book” (1967). Baloo, Louie & 4 monkeys on master background. Consists of cels of (1) Baloo, (2) Louie, (3) cel of monkeys and (4) master background. The cel of the monkeys and background are key. [14"W x 11.5"H] Acquired 1998. SeqID-0286 Updated: 8/1/2005

"Jungle Book" (1967) - Bagheera Cel on Master Background

This was one of the "Jungle Book" items we added to the collection. A nice cel of Bagheera and a very nice Master Background. Now, I wish I had made a copy of the background before I framed everything up...

Bagheera Cel on Master Background

You can't tell it in this photo, but the frame picks up some of the colors in the background...



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

From “Jungle Book” (1967). Cel of Bagheera on master background. "Seq 7 2179-7-4444" "Pos. Sc. 44 (4920)" "2179" "OK D???" [Background and cell: 15-7/8"W x 12-3/8"H] Acquired 1998. SeqID-0341 7/16/2005

"Jungle Book" (1967) - Mowgli Cel on Photo Background

Here's an OK cel of Mowgli riding on an elephant trunk. It's not a great image, but I didn't have anything from "Jungle Book" at the time...

Mowgli Cel on Photo Background

In keeping with the general "look" of the cel, we decided to put the piece in a more non-traditional frame...


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

From “Jungle Book” (1967). Cel of Mowgli riding elephant trunk on photo background. [Image: 15”W x 10-7/8"H. Frame: 21-5/8"W x 17.5"H] Acquired 1991. SeqID-0054 8/3/2005

"101 Dalmatians" (1967) - Storyboard

I was looking over the storyboard posting on Mark Mayerson's blog. Noticed that frame #63 was very similar to the 6-cel image set that I had just finished posting. Thought you might be interested in seeing it...

Original Storyboard Posting

Frame #63 Enlarged

"101 Dalmatians" (1961) - 6-Cel Set-up on a Master Background

This is really a fantastic set of images from "101 Dalmatians" of Pongo and the Colonel! The Master Background is great and there are six cels, including Pongo, the Colonel, several snow effects and black outlines. In my experience, a Master Background with 1-3 cels is reasonably common, but having 6 cels is somewhat more rare.

6-Cel Set-up on a Master Background

The problem I have found when framing high cel count images is that each cel layer tends to restrict some light and add additional reflections, which tend to result in an overall "dull" feeling. Why is this a problem in the home and not in the production? It's my understanding that in the production process, the images are lit from 45-degree angles to avoid direct reflection and the cel layers are compressed with a cover sheet of glass to avoid wrinkles. To address the problem when showing the images in a non-production environment, some collectors and dealers trim the cels and apply them to a single cel. It certainly does eliminate some of the problems, but I have always been reluctant to trim one of these classic images.

While some of the reflection in the image below is due to my poor photographic technique, you can see some areas were the various cel layers produce a wavy quality. The reason why the image above doesn't seem to have any problems is that before I framed the image, I placed the background and cels on my scanner and piled several heavy books on top to smooth out the entire group...


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

From “101 Dalmatians” (1961). A 6-cel set up of Pongo and the Colonel on a master background. [Item: 14.5"W x 11.5"H] Acquired 1998. SeqID-0287

"101 Dalmatians" (1961) - Cruella DeVil Cel

To me, Cruella didn't seem to fall into the same category of "evil" as some of the earlier "bad guys." Some of the earlier villains seemed to have a more demonic edge to them and Cruella seemed to fall into the category of "corporate bad guy." A story of personal profit based on some environmental sacrifice (puppies, baby seals, the environment, etc.). Cruella was more Nasty than the good vs. evil type of villain. However, Cruella is aways a good addition to a collection.

I liked this cel of Cruella because the image does a good job of representing her basic character -- the Cruella we all know and hate. Nice full face. Nice sinister look. A villain on a mission...in her Panther De Ville Convertible! The background isn't the Master for the scene, but is a background from the production.

Cruella DeVil Cel from "101 Dalmatians" (1961)

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

From “101 Dalmatians” (1961). Cel of Cruella DeVil in her Panther De Ville Convertible on a production background. [Image: 14.5”W x 10.5"H] Acquired 1998. SeqID-0328 8/2/2005

"101 Dalmatians" (1961; 1996) - "Hopeful Pups" Sericel

Not everything needs to be "an original." When we run across a Limited Edition or Sericel that works with some of the other items in the collection, it will end up on our walls! Here in Colorado (as with other Western & Northern states) the low humidity can cause the paint on the cels to curl and flake off. In our case, the cels are all in the basement where we run humidifiers to keep the humidity at a fairly constant level. Naturally, this means that on the other floors we are limited to pencil sketches, model sheets and backgrounds. By purchasing a few sericels (which do not have some of the same humidity related problems), you can add some color to the walls.

1996 Disney "101 Dalmatians: Hopeful Pups" Sericel

These two images are framed together and represent how a pencil sketch is rendered for the actual movie. While I wished they would have picked frames that had a more similar "look," it does help those unfamiliar with the animation process see the progression from sketch to final product.

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

From “101 Dalmatians” (1961; 1996). A Limited Edition entitled "Hopeful Pups." Sericel and a sketch to match recreates Sequence 14, Scene 18 from 101 Dalmatians and the limited edition was produced in 1996. Disney Store. Walt Disney certificate with seal; edition size: 5,000. [Frame: 35.75"W x 18.25"H: Image: Left & Right: 13"W x 10"H] Acquired 1997. SeqID-0244

1968 Walt Disney Stamp "First Day" Letter

Here's the September 11, 1968 official "first day of issue"cover with stamp and the enclosed letter from Ayerst Labs promoting the antacid Riopan. Postmarked Marceline, MO it's nice piece for Disney stamp collectors...


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

Walt Disney "official first day cover" letter and stamp Walt Disney dated September 11, 1968. The letter was mailed from Marceline, Missouri where Walt grew up as a boy. The letter is signed by W. Boyd O'Connor at Ayerst Labs promoting the antacid Riopan. [Letter: 7.25"W x 10.5"H. Envelope: 6.5"W x 3-5/8"H] Acquired 1998. SeqID-0666 9/22/2005

1931 Rollerland Mickey Mouse Skating Party Airplane

As a pilot, I tend to collect animation pieces that have some aviation element in them. This item was very interesting. In those early days, it was very difficult for Disney to keep people from using the Mickey Mouse image to promote their own events and/or products. Mickey was on milk bottles, toy plates and numerous other items. Eventually, Disney was able to curb much of the use of Mickey Mouse in the U.S., but dealing with copyright issues internationally was a more difficult task.

1931 Rollerland Mickey Mouse "Holiday Skating Party" Fold-up Airplane

This sheet was unusual in that it was in near-mint condition -- except for a slight rust mark from a paper clip, there are no folds, stains or other blemishes that are often found on any printed item from the early 1930's. AND (if you make a copy of the image on stiff paper) you can actually see the Mickey Mouse airplane fly!


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

Rollerland Mickey Mouse “Skating Vacation Party” flyer (1931). A promotional piece developed by Rollerland in Oakland, CA Note: Pie-eyed Mickey. For March 27-April 5, 1931. Skating Vacation Party at Rollerland, Telegraph Ave. at 55th St., Oakland, CA. G.L. Small, Manager Acquired 2004. SeqID-1167 8/3/2005

Seller's Notes: Here’s something which might be a VERY cool addition to your toy collection because it is Mickey & involves aviation. This is a very, very early Disney Licensed Premium of 'Mickey Mouse' from 1931, done specifically for Rollerland in Oakland, CA. It’s a 'Mickey Mouse' cutout plane that is still in original uncut condition. I don't think a second piece like this has ever been seen. Paper items like this, which are in PERFECT condition demand a very high premium (price wise) in the market. It’s unlikely that another will EVER turn up.

"The Grasshopper and the Ants" (1934) - Horvath Pencil Drawing

Since I like the "Grasshopper..." story, I couldn't resist this great color pencil sketch. Fantastic expressions! The sketch is attributed to Ferdinand Horvath.

Horvath "Grasshopper" Pencil Sketch

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

From “Grasshopper and the Ants” (1934). A Silly Symphony film directed by Wilfred Jackson. A colored pencil drawing of the grasshopper attributed to Ferdinand Horvath. [Image: 9.5”W x 7.5”H; Frame: 17”W x 14.5”H] Acquired 2006. SeqID-1232 8/1/2008

"The Grasshopper and the Ants" (1934) - Photostat Model Sheet

I can still remember my mother reading me the story of the Grasshopper and the Ants - you know, a lesson in work ethic...

Although this is a photostatic copy instead of the real thing, even the photostats have value. It's nice to have something (anything!) from the 1930's!

Grasshopper Photostat Model Sheet

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

From “Grasshopper and the Ants” (1934). A photostat model sheet of the Grasshopper. SeqID-0166

"Grasshopper and the Ants" (1934) - 1967 Photograph Record

OK, here's an interesting item... A 1967 7-inch, 33-1/3 photograph record of "The Grasshopper and the Ants" (unopened). The package included the record and a 24-page book. You could follow along with the record and learn to read! The "LLP331" implies that there were a number of Disneyland Records. One of the first under the Disneyland Record label (I believe) is a 1957 release about Disneyland (which is available on Amazon).

1976 Grasshopper and the Ants Record and Book

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

From “Grasshopper and the Ants” (1967). Walt Disney Productions. The Story of the Grasshopper and the Ants. 1967. 33-1/3 phonograph record with 24-page book. A Disneyland Record. “LLP331” Unopened. [7.25”W x 7.25”H] SeqID-0274

"Peter Pan" (1953) - Peter Pan Sketch-Book

If you are collecting Peter Pan material, Disney's Sketch-Book on Peter Pan is an essential purchase. While it's not something you can hang on the wall, to look at the sketches is to look at the creative product of the artists.

Peter Pan Sketch-Book

The Sketch-Book series covered a number of films and were fantastic collections. We tended to buy two -- one to read and one "mint," unopened copy that went into the archives.

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

Walt Disney Studios. Walt Disney’s Peter Pan: The Sketch-Book Series. Bedford, MA: Applewood Books. [9.5”W x 12”H; in slip cover] Limited edition. UNOPENED. Acquired: Unknown. SeqID-1495

"Peter Pan" (1953) - Tink Director's Drawing and Cel

"Tink" is one of those "gotta have" characters (everybody clap) for broad spectrum collectors!

I liked this pencil because it showed that moment when Tinkerbell realized her hips were bigger than she thought.

Tinkerbell Director's Drawing

From the same "hip" sequence, this cel shows Tinkerbell in the drawer, looking at the mirror and checking out her hips. The Courvoisier set-up consists of the cel and a background that is attributed to a Disney Studio artist.

Tinkerbell Courvoisier Cel

----- FRAMED IMAGES -----


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

From “Peter Pan” (1953). A director’s drawing of Tinkerbell as she uses her hands to measure the width of her hips. #"A" [Image: 14-3/4"W x 11.25"H. Frame: 24-3/8"W x 20-3/4"H] Acquired 1990. SeqID-0099 8/3/2005

From “Peter Pan” (1953). Courvoisier cel and custom production background of Tinkerbell looking at her hips (bent to left). [Image: 6 15/16"W x 8-3/16"H] Acquired 1998. SeqID-0309

"Peter Pan" (1953) - Hook Color Model Sheet (F Thomas) & Cel

To me, Captain Hook is OK, but not on my Top Villain list. But it putting together a collection, it does make sense to have a piece or two from each major character and Captain Hook is no exception.

While I don't have any specific evidence to support the claim, the individual that sold me the color model sheet said that it was attributed to Frank Thomas. The story (as it was told to me) is that Frank became ill while he was working on the sequence and Hook's character reflected Frank's feelings.

Captain Hook Color Model Sheet (Attributed to Frank Thomas)

The cel of Captain Hook had a great facial expression, although I wasn't crazy about the hand position. The background was painted by a Disney Studio artist and adds some depth to the image.

Cel of Captain Hook

----- FRAMED IMAGES -----


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

From “Peter Pan” (1953). A very large color model sheet of Captain Hook with his hat on. #87 on sketch. Hot water bottle on hat. Attributed to Frank Thomas. Frank is said to become sick while working on this scene (he got into the character). [Image: 15-1/16"W x 11-3/4"H. Frame: 17.25"W x 23-13/16"H] Acquired 1989. SeqID-0103 8/3/2005

From “Peter Pan” (1953). Cel of Hook on his boat with island on a painted master background. [Image: 8-13/16"W x 8-3/16"H] Acquired 1998. SeqID-0329

"Peter Pan" (1953) - Cel of Wendy, Michael & John

A nice action piece of the Darling children. Good expressions on all the characters.

Cel of Wendy, Michael & John on Non-Production Background

According to the seller, the background was painted by a Disney Studio artist. Not the best match (from a registration point of view), but it works with the images.



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

From “Peter Pan” (1953). Cel of Wendy, Michael & John applied to a background painted at a later date by a Disney Studio artist. [Image: 9-5/8"W x 11-5/8"H] Acquired 1995. SeqID-0220

"Peter Pan" (1953) - Tiger Lily Cel & 1940 Color Model Sheet

I like Tiger Lily. A strong female character who doesn't give up her friends and stands up to Hook's physical (drowning) and psychological torture (can't get to the Happy Hunting Ground).

This cel seemed to really capture her defiant character! It probably needs a background, but the plain background does draw attention to the character.

Cel of Tiger Lily

The Color Model Sheet of Tiger Lily (dated 11/1/1940) portrays Tiger Lily in an early design phase. The facial features are rounder and there is a less "attitude" shown.

Color Model Sheet of Tiger Lily

----- FRAMED IMAGES -----


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

From “Peter Pan” (1953). Beautiful full figure cel of Tiger Lily showing how "strong" she can be. Image: 4-7/8"W x 10.25"H. Frame: 12-3/8"W x 17-3/4"H] Acquired 1991. SeqID-0102 8/6/2005

From “Peter Pan” (1953). An excellent color model sheet of Tiger Lily. Three very large and well done images with Tiger Lily in a defiant pose. Stamped with "Model Department 11/1/40". "Suggestions for Tiger Lily." This is very rare and unusual. [Image: 13-3/8"W x 10 15/16"H] Acquired 1992. SeqID-0101

"Peter Pan" (1953) - Pool Sequence Storyboard

For some reason, I always thought that the pool sequence didn't quite fit in with the story line. For me, it didn't tell me more about Peter's or Wendy's character than I already knew and it didn't provide any insight into Hook or the other characters. Ah, well... But it was cute...

Don't forget to use the navigation links to find other posts on "Peter Pan" or see other storyboards.

Pool Sequence Storyboard

This is a mid-phase storyboard in that there are some well identified sequence numbers and demonstrates some camera movement. The early phase storyboard have much rougher drawings and the end-stage storyboard have more detailed character development.

To see another storyboard for "Peter Pan" check out this storyboard posted earlier.

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

From “Peter Pan” (1953). Story board of Peter Pan and Wendy Darling are at the pool with the Mermaids. A number of story board sketches in the sequence where Wendy meets the mermaids. [Image: 15-1/8"W x 11-1/8"H. Frame: 25-1/8"W x 21-1/8"H] Acquired 1993. SeqID-0100 Updated: 8/3/2005

Peter Pan (1953) - Cel of Nana

At some point, I wanted a dog like Nana when we had kids. When I saw this cel, it seemed to pick up a number of the images of childhood. This is the sequence where Nana is putting the block back together after they were all knocked down.

Nana Cel on Painted Background

I thought the painted background was really quite good. In some cases, Disney artists would prepare non-production backgrounds, but much of the time the backgrounds were simple color gradients.


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

From “Peter Pan” (1953). Cel of Nana (the Darling’s dog) on painted background is setting up blocks that have been knocked over. Frown on her face. [Image: 9"W x 7-3/4"H. Frame: 15"W x 14"H] Acquired 1991. SeqID-0098 8/3/2005

On A Break

Sorry...

We've been trying to close on a home.

More later

Bob

Mickey Mouse Watch Blog

If you are interested in the history of the Mickey Mouse watches, please check out THIS SITE.

Claudio has done a fine job of presenting information and has used a number of photos to support the text....

Great job, Claudio!

Working On Other Blogs

I'm going to take a break from animation and post some new material to my other blogs in comic art and aerospace.

See 'ya later...

-bob

"Victory Thru Air Power" (1943) - Concept & Storyboards

Historically, an interesting piece of work. The period from 1935 to 1945 was when Disney started to become involved in a number of activities beyond pure film making. And his decision to produce certain films goes along with a broadening of his world view.

There are various odds and ends from the film that seem to surface from time to time. Here are a few examples that include aviation items (as a pilot, I do tend to collect flight related material).

Bombardier Concept

From “Victory Thru Air Power” (1943). Pastel concept drawing of Bombardier getting ready to drop a bomb. Note at bottom: “Victory Thru Airpower - Original By Walt Disney - ‘The Bombadier’” SeqID-1203 7/30/2005


Here are two great storyboard pieces...

Sequential Storyboard Pages

From “Victory Thru Air Power” (1943). Two storyboard images. (Top) Airplane. NOTE: “High overhead an allied patrol bomber flies through the interminable fog. The Nazi warship has not been sighted for almost two days and hopes are waning.” (Bottom) Submarine. NOTE: “But the Varanger is not alone. Beneath the glassy water -- coldly calculating eyes.” New frame, no dimensions. SeqID 0276 7/30/2005


If you're interested in some of the historical perspective, this is a reading I found on Wikipedia four years ago...

Victory Through Air Power is a 1942 book by Alexander P. de Seversky, and a 1943 Walt Disney animated feature film movie based on the book.

The book was extremely popular, influential, and controversial. Seversky advocated the formation of an independent air force, the development of long-range bombers (meaning a intercontinental range of 3,000 miles or more) and a commitment to strategic use of air power (as opposed to its then-traditional use as cover or support for ground-based operations). His plans implicitly involved diversion of resources away from current war operations.

Seversky argued that:

1. "The rapid expansion of the range and striking power of military aviation makes it certain that the United States will be as exposed to destruction from the air, within a predictable period, as are the British Isles today;"
2. those who deny this possibility are exhibiting something like a "Maginot line mentality;"
3. The U. S. must begin preparing immediately for "an inter-hemispheric war direct across oceans;"
4. The U. S. must become the dominant air-power nation, "even as England in its prime was the dominant sea-power nation of the world."

On May 3, 1942, Fletcher Pratt reviewed the book, saying:

"No one has produced a more intelligent and comprehensive analysis of any feature of the world struggle. Probably nobody has written anything more truly prophetic; and no one is more wrongheaded."

On May 4, 1942 it appeared on the New York Times bestseller list. In the May 10 "Speaking of Books" column, J. D. A. bracketed it with "Mein Kampf" and Lieut. Col. Kernan's "Defense Will Not Win the War" to illustrate his point that:

"In no other war have books played such an important part... Books are not only supplying information. They are furnishing weapons for the successful prosecution of the war."

Walt Disney read the book and felt that its message was so important that he decided to finance the production of a film version himself. Movie critic Richard Schickel says that Disney "pushed the film out in a hurry, even setting aside his distrust of limited animation under the impulses of urgency." The only obvious use of limited animation, however, is in diagrammatic illustrations of Seversky's talking points. These illustrations often feature continuous flowing streams of iconic aircraft, forming bridges or shields, or war materiel moving continuously along assembly lines.

On July 11, 1943 the Times devoted a half page, "Victory from the Air," to a feature consisting of pictures of scenes from the film with short captions.

This was possibly the first time that such skilled use of visual description had been placed at the service of an abstract political argument. (This was fifty years before the emergence of PowerPoint—and the animator's visualizations of Seversky's argument were far more skilful than today's average PowerPoint presentation). It is one thing to hear someone say that against modern bombers, "bristling with armament...small single-seater fighters will find themselves helpless, for their guns are not maneuverable—they are fixed and can only fire forward." It is quite another to have this accompanied by vivid animations of swastika-tailed fighters jockeying for position and being shot down by beam-like animated blasts of fire from a bomber whose guns are "always in firing position."

One of the counter-arguments to air-power advocacy was the vastly inferior firepower of aircraft compared with, say, battleships. Seversky implicitly counters this by predicting the appearance of, or advocating the development of a number of advanced weapons that would make air-based weaponry as effective as land- or sea-based weaponry. His depiction how bombs could be used to destroy dams was either prophetic or well-informed. In general, Seversky asserts that bombs carried by aircraft will increase rapidly in size and destructive power. One diagram shows a man standing next to a 2000-pound bomb; they are about equally tall. As the narrator talks, the field of view widens to show 4000, 6000, 8000, and 10000-pound bombs, each taller than the last, ultimately dwarfing the human. (However, if Seversky had any inkling of the possibility of nuclear weapons, he did not reveal it).

Schickel quotes film critic James Agee as hoping that

"Major de Seversky and Walt Disney know that they are talking about, for I suspect that an awful lot of people who see Victory Through Air Power are going to think they do... I had the feeling I was sold something under pretty high pressure, which I don't enjoy, and I am staggered at the ease with which such self-confidence, on matters of such importance, can be blared all over the nation, without cross-questioning."

Among the notables who decided after seeing the film that Seversky and Disney knew what they were talking about were Winston Churchill and Franklin D. Roosevelt. The Disney studio sent a print for them to view when they were attending a conference in Quebec. According to Leonard Maltin, "it changed FDR's way of thinking—he agreed that Seversky was right."

The closing sequence of the film contains some technically impressive animation sequences of airmen scrambling their intercontinental bombers from an Alaskan airfield. They take off under a darkened sky in pouring rain; their landing gear splashes through puddles. A Tlingit totem pole that is (somehow) in the foreground seems to resemble an American eagle. A map shows the destination to be Japan, airmen are seen using navigational instruments, the streets of a city pass beneath the bomb bay doors, and bombs are dropped. There are scenes of dramatic explosions destroying industrial buildings and machines, but, as James Agee commented, no human beings are shown, even in close views of the interiors of levelled factories. The scene then fades into images of globe of the world with an eagle repeatedly plunging its talons into an octopus, whose body centered on Japan and whose tentacles reach out across nearby territory. After a struggle, the sky clears, the music softens, and the light of a beautiful sunrise shows us a dead octopus and an eagle soaring gracefully. The eagle lands on top of a mast bearing a forty-eight-star American flag, waving realistically in the wind as the movie ends.

After its release and re-release in 1943 and 1944, the film received no theatrical releases for sixty years, perhaps because it was blatant propaganda, or perhaps because it was deemed offensive to Germans and Japanese. (It was, however, available in 16mm prints and occasionally screened in film history retrospectives). In 2004 the Disney Studios released it on DVD.

Check It Out: The Art of Hand Drawn Animation

I'm sure many are aware of the Academy Exhibit going on now thru August 24th in Los Angeles.

I received a note from Pete Merolo that he is exhibiting:

I have 16 pieces hanging there. 10 Blairs, 2 large Earles and 4 'Sleeping Beauty' Setup (1 of Maleficent on an 80'' production background).

Pete has a number of excellent items and I'm sure they are fantastic pieces.