Original Production Drawings, Production Cels, and Backgrounds
I have been collecting and dealing animation for over 35 years. My focus is on Walt Disney and I am pleased to be able to offer for sale original production animation cels and production animation drawings from the following feature films: Snow White and the Seven Dwarfs, Pinocchio, Fantasia, Dumbo, Bambi, The Three Caballeros, Song of the South, The Adventures of Ichabod and Mr. Toad, Cinderella, Alice In Wonderland, Peter Pan, Lady and the Tramp, Sleeping Beauty, 101 Dalmatians, The Sword In The Stone, The Jungle Book, The Aristocats, Robin Hood, The Rescuers, The Great Mouse Detective, The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King, and many more! I also deal in many other other animation studios and stand behind all works that I sell. Each comes with a signed certificate of authenticity and a full money back guarantee. A link to my Animation Art Blog is below. *All Images on this site are ©Disney ©Depatie-Freleng ©Warner Bros.
Modern and Contemporary Art
Artwork in all media
I have been collecting and dealing fine art for over 35 years. My focus are twentieth century masters and I am pleased to be able to offer for sale original works of art by Arman, Salvador Dali, Jim Dine, Helen Frankenthaler, Robert Indiana, Jasper Johns, Ellsworth Kelly, Roy Lichtenstein, Henri Matisse, Joan Miro, Bruce Nauman, Kenneth Noland, Claes Oldenburg, Pablo Picasso, Robert Rauschenberg, Ad Reinhardt, Larry Rivers, James Rosenquist, Richard Serra, Frank Stella, Cy Twombly, Andy Warhol, and Tom Wesselmann. I stand behind all works that I sell, so each comes with a signed certificate of authenticity and a full money back guarantee. Use the buttons above to look for art under the artist's last name. A link to my Modern Art Blog is below.
Gregory Lacks, Owner of Untitled Art Gallery
Contact me at:
5 Mine Bluff Court, Durham NC 27713
(919) 906-7840 - firstname.lastname@example.org
I am both a collector and dealer of fine art and animation and I am so excited to share my experience and excitment with you, through the creation of this Gallery! The Gallery is divided by Fine Artist's last name and Animation Artwork that is subdivided by Studio name, year, and film. I have created links (which can be found just below the description) for most of the works for sale, so please click on them to learn much more about that specific piece. I update this site very frequently, so please check back to see what's new. Feel free to contact me with any questions or comments and I look forward to hearing from you.
Nature Morte Sur Une Table Carrée (Still Life On A Square Table), Executed December 1922; Gouache, pen and brush, and black ink on paper; Signed Picasso in ink upper left; Size - Sheet 5 1/2 x 4 1/8", Frame 16 3/4 x 16 1/2"; Framed floated on a custom wrapped linen mat, silver wood frame, and plexiglass; Catalogue Raisonne: C. Zervos, Pablo Picasso, Paris, 1973, vol. 30, no. 411 (illustrated, pl. 132).
In the summer of 1919 Pablo Picasso and his wife, the Russian ballerina Olga Khoklova whom he had married the year before, went to the South of France for their second honeymoon. There Picasso began a series of drawings and gouaches of guéridons, or pedestal tables, which would occupy him for much of the next several years. The guéridons were so central to his work at this time that the art historian John Richardson devoted an entire chapter entitled Summer at Saint-Raphaël (The Guéridon) to them in his definitive multi-volume biography on the artist. Richardson explainted that "Picasso's traditional attitude toward the bride who loved to sit for him made it very difficult to portray her in any but a traditionally representative way. To reconcile conventional love for Olga with his pursuit of modernity, he turned to the subject of the anthropomorphic guéridon, which had preoccupied him the previous winter, and applied it to Olga instead of himself..." The flat that couple was staying had a large window that could be opened, leading to a decorative railing trimmed balcony that overlooked the top of the town's bandstand, beach, and onto the sea. As Richardson notes, "Sketches of the room done soon after their arrival depict its contents: an armoire à glace, a coat rack, a fringed chaise longue, a radiator, a pair of portes-fenêres framing the view, and, to Picasso's delight, a little dressing table with a mirror on top, its shelves carved like daisies. Its kitschiness inspired a detailed drawing. In fact, as sketches reveal there was no guéridon in front of the Picassos' balcony window, only a four-legged table elsewhere in the room, which rings an occasional change on the guéridon theme." (A Life of Picasso, The Triumphant Years, 1917-1932, New York, 2007, vol. 3, p 136-137).
During the early 1920's, Picasso worked alternately in both Cubist and Neoclassical styles, and sometimes interwove them. In 1920, the Cubist elements trumped the Neoclassical ones in Picasso's still-lifes, as he reduced the picture window, table and its accoutrements to simple geometric shapes. The resulting compositions become more abstract than those in prior years.
As Richardson notes, "The development of this last great period of Synthetic Cubism can easily be followed through the 'Guéridon'... No longer did Picasso feel obligated to investigate the intricate formal and spatial problems that preoccupied him ten years before. Instead he felt free to relax and exploit his cubist discoveries in a decorative manner that delights the eye... Never again did the artist's style recapture the air of magisterial calm that is such a feature of this last great phase of Cubism." (Picasso, An American Tribute, New York, 1962, p. 52)
With Synthetic Cubism, Picasso deconstructed objects and elements in his compositions and as Richardson stated that the resulting forms were "hard-edge square-cut diamonds," and "these gems do not always have upside or downside." Picasso wrote to Gertrude Stein, "We need a new name to designate them," and Maurice Raynal suggested "Crystal Cubism."
In December of 1922, when this work was created, Pablo Picasso was a forty-one years old and a new father. His first child, a son named Paulo, had been born in February the prior year. With this gouache Picasso, working in cubist style, constructs the four legged square table that occupied his main salon in Saint-Raphaël. The brown vertical rectangle surrounding the interior composition is the outline of the balcony window of the room. Vertical white brushstrokes of gouache are painted inside of the rectangular window border. Onto this white ground the four black legs of the table can all be seen from different vantage points. The objects on the square table, as viewed from above, have been deconstructed through analytical cubism; and are viewed from multiple vantage points. The view outside the balcony window of the top of the town's canopy bandstand, the beach, and sea have been depicted by vertical washes of the three primary colors; blue, yellow, and red. The composition is signed Picasso in black ink in the upper left, and the work is pictured and referenced in the Christian Zervos Catalog Raissone.
This is a spectacular museum quality work of art, and a similar piece (The Table (Le guéridon) by Pablo Picasso, Watercolor over graphite on paper; Executed on December 24, 1922; Size - Sheet: 6 7/16 x 4 1/8") is in the permanent collection of Solomon R. Guggenheim Museum, New York. An absolutely wonderful original Pablo Picasso artwork, perfect for any collection!
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Original hand inked and hand painted production cels of Lady and Tramp set on a custom hand-painted background from "Lady and the Tramp," 1955, Walt Disney Studios; With a custom painted overlay cel of the tablecloth, spaghetti, candle, and breadsticks; Size - Lady and Tramp: 5 1/4 x 7", Image 10 3/4 x 15"; Unframed.
"Oh, this is the night, it's a beautiful night, and we call it bella notte" - Tony
"Lady and the Tramp" (released on June 22, 1955) is a full length featured animated film produced by Walt Disney and released by Buena Vista Distribution. The film was the 15th in the Walt Disney Animated Classics series, and it was the first animated feature filmed in with the CinemaScope widescreen film process. The film was based on the story "Happy Dan, The Whistling Dog" by Ward Greene and tells the story of a female American Cocker Spaniel named Lady who lives with a refined, upper-middle-class family. Lady meets a male
stray mutt named Tramp and they embark on many exciting and romantic adventures.
One evening in 1937, Disney storyman Joe Grant invited Walt Disney over to his house for dinner and ended up showed Disney a drawing he had made of his pet springer spaniel, who was named Lady. Walt loved the drawing and suggested that Joe make a storyboard out of it; which he did and the plan was to create a new animated film, simply titled "Lady." The story that was pitched ended up being too simplistic to Walt Disney's taste, and the project was put on hold until about 20 years later.
Lady was wonderfully animated by the great Disney artist Ollie Johnston and she was voiced by Barbara Luddy. Barbara Luddy (1908 — 1979) was an American actress from Great Falls, Montana and she starred in silent pictures in the 1920s. She was also a prolific radio performer; known for her performances on the long running radio show "The First Nighter Program" which aired from 1936 until 1953.
However, Luddy is perhaps best remembered for her voice work in Walt Disney animated films; with her most memorable role being that of Lady from Lady and the Tramp. She also performed in Sleeping Beauty (voice of Merryweather), One Hundred and One Dalmatians (voice of Rover), Robin Hood (voice of both Mother Church Mouse and the Mother Rabbit), and the Winnie-the-Pooh featurettes (Winnie the Pooh and the Honey Tree, Winnie the Pooh and the Blustery Day, and Winnie the Pooh and Tigger Too) all of which she provided the voice for Kanga.
Initially Tramp was called Homer and although he was first conceived as Lady's suitor, he ended up as her ex-dog pound mate in the initial 1943 storyboard pitch. A few years after that version was scrapped, Walt Disney read a story called "Happy Dan the Cynical Dog" in Cosmopolitan Magazine and decided that this was they type of character that was needed to enhance the film. Although Walt wanted his new character to be called Tramp, the animators feared that audiences would take offense in such a name, due to the word's sexual connotations that had been popularized by the song "The Lady Is A Tramp." The animators first called the character Rags, then Bozo; before Walt insisted that that name Tramp would be acceptable.
Tramp is a very laid-back dog and acts more like a kid. He's flirtatious and has history of having had a multitude of girlfriends; and he's known for his street smarts, able to both avoid dog catchers and deal with junkyard dogs. However, he dreams about living with a family and in a loving home. Tramp was animated by Ollie Johnston, Milt Kahl, and Wolfgang Reitherman who animated the rat fight scene. Larry Roberts (1926 - 1992), an American voice actor and comedian who was most active in the 1950s, is best remembered for his role as the voice of Tramp.
Although the spaghetti eating sequence is the best known in the entire film, Walt Disney was prepared to cut it; because he thought it would look both silly and not be romantic. However, animator Frank Thomas was against Walt's decision and took it upon himself to animate the entire scene, without the use of lay-outs. Walt was so impressed by Thomas's work, that he kept the scene in the film.
The spaghetti scene is usually referred to as the "Bella Notte" scene because of the romantic love song "Bella Notte" that is first sung by a chorus in the opening credits; and then by Tony and Joe while Lady and Tramp eat spaghetti together while on a romantic, moonlit date. The song was written by Peggy Lee and Sony Burke, and has become an iconic love song. The animated spaghetti sequence is one of the most unforgettable Disney moments ever created.
This is a large and wonderful original production animation cel setup of Lady and Tramp from the famous "Bella Notte" scene. Lady and Tramp are sitting at Tony's specially set table, with the plate of Joe prepared spaghetti in front of them. Both dogs are eyes open; with Tramp having spaghetti hanging from his mouth and Lady with a beautiful smile. This is just a stunning piece of animation history and certainly would be the highlight for any animation art collection!
#Tramp #Lady #Peg #LadyandtheTramp #Disney #WaltDisney #animation #animationcel #animationdrawing #productiondrawing #productioncel #animationart #cel #Disney #WaltDisney #PeggyLee #MiltKahl #untitledartgallery #EricLarson #LarryRoberts #OllieJohnston #FrankThomas #WolfgangReitherman #JoeGrant #Tony #BellaNotte #spaghetti #TonysRestaurant
Diamond Dust Candy Box, 1981; Synthetic polymer paint, diamond dust, and silkscreen ink on canvas; Stamped with the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts stamps; Numbered VF PA13.005 on the overlap; Numbered twice 'PA13.005' on the overlap; Size - Canvas: 14 x 10", Frame 15 1/4 x 11 1/4"; Framed using a silver metal frame and plexiglass.
"You take some chocolate... and you take two pieces of bread... and you put the candy in the middle and you make a sandwich of it. And that would be cake."
- Andy Warhol
Andy Warhol loved chocolate and many days, at lunchtime, he would go the Upper East side restaurant "Serendipity" for it's speciality; a glass of frozen hot chocolate. He also had an insatiable sweet tooth, he said "When I was a child I never had a fantasy about having a maid, what I had a fantasy about having was candy. As I matured that fantasy translated itself into 'make money to have candy,' because as you get older, of course, you get more realistic." In the 1980's Warhol would seize on his love of chocolate candy to create a series of paintings and prints that had as their subject matter open and closed chocolate boxes.
Andy Warhol's paintings of candy boxes was a refreshing return to his 1960's consumerism as well as nod to his love of chocolate. The artworks that were created were used as holiday and personal gifts to friends and associates. Some of the paintings show a beautifully wrapped heart shaped chocolate box (invented by the English chocolatier Richard Cadbury), while this example showcases the chocolate candy contained within a rectangular box. Unlike the paintings of just the boxes, some of the paintings of the chocolates themselves are also diamond dusted. The glittering diamond dust adds to the delectable, delicious, and decadent appeal of the chocolate bon bons.
Warhol's use of diamond dust is owed to his friend John Reinhold; who was a diamond dealer and art collector. One day John gave Warhol a jar of diamond dust, suggesting he could incorporate it into his artwork; which lead to the Diamond Dust series for both prints and paintings. John Reinhold's wife Susan co-founded the Reinhold-Brown Gallery, and Warhol painted portraits of John Reinhold and his and Susan's ten year old daughter Berkeley. In 1981 Warhol gave Berkeley an 80 page leather-bound diary. On each page was drawn abstract forms that slowly progress and develop page-by-page into a beautiful dollar sign. In 2010 Rizzoli published a reproduction of the diary in book form entitled "Andy Warhol: Making Money.
"Diamond Dusted Chocolate Box" is an exceptional example of Pop Artist Andy Warhol as his best. The image of an open box of glittering chocolate candies is instantly recognized and immediately causes the viewer's mouth to water. The inconsistent screen printing of the chocolates likens back to Warhol's rough screening of the Campbell's Soup Cans and Marylin Monroe paintings of the
Video of the surface of "Diamond Dust Candy Box" 1981 by Andy Warhol
1960's. This is an absolutely fantastic unique work on canvas by the great Pop artist Andy Warhol and would be a standout of any art collection!
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