Original Key Setup of Snow White, Bashful and Sneezy from "Snow White and the Seven Dwarfs," 1937
Original hand painted and hand inked production animation cels of Snow White, Bashful, & Sneezy from "Snow White and the Seven Dwarfs," 1937, Walt Disney Studios; Set on their key master production background with production notes verso; Size - Snow White & Bashful: 6 3/4 x 7 1/2", Sneezy: 4 3/4 x 1 3/4", Background 9 1/2 x 16 1/2", Image 9 1/4 x 16 1/4", Unframed.
“Lips red as the rose. Hair black as ebony. Skin white as snow.”
―The Magic Mirror describing Snow White
Development on Snow White and the Seven Dwarfs began in early 1934, and by June Walt Disney announced to The New York Times the production of his first feature, to be released under Walt Disney Productions. Before Snow White and the Seven Dwarfs, the Disney studio had been primarily involved in the production of animated short subjects in the Mickey Mouse and Silly Symphonies series. However, Disney hoped to expand his studio's prestige and revenues by moving into features, and he estimated that Snow White and the Seven Dwarfs could be produced for a budget of $250,000 (this was ten times the budget of an average Silly Symphony).
Snow White and the Seven Dwarfs was to be the first full-length cel animated feature in motion picture history, and as such Walt Disney had to fight to get the film produced. Both his brother and business partner Roy Disney, as well as his wife Lillian attempted to talk him out of it. The Hollywood movie industry mockingly referred to the film, while is was in production, as "Disney's Folly." Disney ended up having to mortgage his house to help finance the film's production, which would eventually ran up to a total cost of $1,488,422.74; an absolutely massive sum for a feature film in 1937!
A large number of actresses auditioned for the voice of Snow White. Walt Disney listened to each audition in his office while the actress performed in another room, without any knowledge of the actress' appearance or reputation. This would insure that he would only judge based on the sound of the voice. According to later accounts, most of the voices Disney felt, did not sound young enough. Eventually, in September of 1935, Adriana Caselotti was chosen for the voice of Snow White. Caselotti was eighteen at the time and made her coloraturo soprano sound younger, knowing that the character was intended to be 14 years old. In recording sessions Caselotti found difficulty in the line, "Grumpy, I didn't know you cared"; instead of "didn't", Caselotti was only able to say "din". After rehearsing the line many times, Walt Disney eventually said "Oh, the heck with..." and "din'" remained in the final film.
Snow White's design was supervised by Grim Natwick, an animator who had previously developed and worked on Betty Boop at Fleischer Studios. It is interesting to note that early designs for the Snow White resemble Betty Boop, and some appear to be caricatures of famous actresses of the time. As development continued, Snow White became more and more lifelike. Another animator, Hamilton Luske's first designs for Snow White depicted her as a slightly awkward, gangly teenager. However, Walt Disney had a different idea in mind; he wanted Snow White to be older, and more realistic-looking. This was achieved by the use of live-action references for the animators. Also, in order for Snow White to better relate onscreen to the seven Dwarfs, it was decided that her head be slightly larger than normal. In addition, the women in the animation studio's ink and paint department felt that Snow White's black hair was too unnatural and harsh, so they drybrushed whisps of light grey over the top of each and every cel.
Although the initial concept designing of the dwarfs was relatively easy for the Walt Disney animation department, the actual animating of them proved to be difficult. The animators, already finding human figures difficult to animate, now had to animate dwarfed human figures. The great Disney animator Vladimir Tytla noted that the dwarfs should walk with a swing to their hips, and Fred Moore commented that they had to move a little more quickly in order to keep up with the other human characters.
Bashful is very shy and coy, and he has a crush on the beautiful Snow White. His shyness prompts him to blush and he then covers his reddened face behind his hands and beard; which is often accompanied by giggles. Various Walt Disney artists were involved with Bashful's concept and animation throughout the film including: Vladimir Tytl, Fred Moore, Shamus Culhane, and Les Clark. The film and television actor Scotty Mattraw provided the voice for Bashful.
Due to Sneezy's severe hay fever, he sneezes very often throughout the film and this often prevents him from speaking. His sneezes can be gale force and will blow away anything and anyone in their path. As a result, the other dwarfs are quick to hold his nose whenever they feel he may have a sneeze approaching. The memorable scene in which the dwarfs tie a knot in Sneezy's beard was inspired by an early sketch by Albert Hurter, a concept and inspirational sketch artist at Walt Disney Studios. Various Disney artists were involved in the animation of Sneezy throughout the film including: Ward Kimball, Vladimir Tytl, Fred Moore, Shamus Culhane, and Les Clark. Billy Gilbert, an American comedian and actor known for his comic sneeze routines, provided the voice of Sneezy.
These original production animation cels are from the scene in the film that occurs just before the Dwarfs head off to work in the gemstone mine. They warn Snow White to be careful with Doc saying, "Now, don't forget, my dear. Th-The old Queen's a sly one. Full of witchcraft. So beware of strangers." Snow White assures them that she will be careful. Each Dwarf says goodbye to Snow White and this is an absolutely beautiful multi-cel setup of her bending down to kiss Bashful on the top of his head, as he looks up in his coy and bashful way. Standing just outside of the Dwarf forest cottage door is Sneezy. All three characters are placed on their matching original hand painted production background; and the piece would be a highlight for any serious animation art collection, as well as being museum quality!
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