The Lost Art of Disney: 250 Original Cels Found

A Japanese university plans to return about 250 pieces of original animation art to the Walt Disney Company that were mislaid in storage after traveling to Japan nearly five decades ago.

Disney said that the art — cels, backgrounds, preliminary paintings and storyboard sketches — was part of a collection that was handpicked by Walt Disney himself. It was sent to Japan in 1960 for a touring exhibition timed to the opening of the film “Sleeping Beauty.” The exhibition opened at Mitsukoshi Department Store in Tokyo in May of that year and traveled to 16 other stores throughout Japan.


Above: Lella Smith, Director of Disney's Animation Research Library

“Walt wanted to explain every element of the animation process, so he chose artwork from all phases of production and a number of films,” said Lella Smith, creative director of the Disney Animation Research Library in Burbank, Calif., which preserves the studio’s artwork. “But the primary focus was ‘Sleeping Beauty.’ ”


Above: Cels with background from the Disney animated film “Sleeping Beauty” (1959).

After the department store tour, Disney donated the artwork to the National Museum of Modern Art in Tokyo. But the material was not considered a good fit for its permanent collection, so the museum gave the pieces to Chiba University to enhance the study of the visual arts. Chiba’s academic focus was on science, engineering and medicine, however, and the Disney art was consigned to a janitor’s closet and forgotten until it was found by chance four years ago. Although the artwork suffered some damage because of dampness, the rarest pieces were sealed in frames, which protected them somewhat.

Although most of the art is from that film, the collection also includes rare set-ups (cel and background combinations) from two Oscar-winning Silly Symphony cartoons: “Flowers and Trees” (1932), the first Technicolor cartoon and the first film to win the Academy Award for animated short film, and the landmark short “Three Little Pigs” (1933).


Above: Artwork from the Oscar-winning “Flowers and Trees” (1932), the first Technicolor cartoon.

Although most of the art is from that film, the collection also includes rare set-ups (cel and background combinations) from two Oscar-winning Silly Symphony cartoons: “Flowers and Trees” (1932), the first Technicolor cartoon and the first film to win the Academy Award for animated short film, and the landmark short “Three Little Pigs” (1933).

“The ‘Flowers and Trees’ set-up is an extremely important piece,” Ms. Smith said in an interview at her office in the library. She said other highlights included two backgrounds from the “Nutcracker Suite” and “Rite of Spring” sequences in the 1940 film “Fantasia.”



Among other striking works is a sequence of images by the designer Eyvind Earle that show how he created the stylized forest backgrounds for “Sleeping Beauty.” The delicate clusters of leaves and intricately textured bark on the trees reflect Mr. Earle’s interest in 15th-century French manuscripts and the painting of Van Eyck, and foreshadow his later serigraphs.


Above: A concept painting for “Sleeping Beauty” by the American artist and illustrator Eyvind Earle (1916-2000).

After the department store tour, Disney donated the artwork to the National Museum of Modern Art in Tokyo. But the material was not considered a good fit for its permanent collection, so the museum gave the pieces to Chiba University to enhance the study of the visual arts.

Chiba’s academic focus was on science, engineering and medicine, however, and the Disney art was consigned to a janitor’s closet and forgotten until it was found by chance four years ago. Although the artwork suffered some damage because of dampness, the rarest pieces were sealed in frames, which protected them somewhat.


Above: A cel setup scene from "Sleeping Beauty," 1959.

Among other striking works is a sequence of images by the designer Eyvind Earle that show how he created the stylized forest backgrounds for “Sleeping Beauty.” The delicate clusters of leaves and intricately textured bark on the trees reflect Mr. Earle’s interest in 15th-century French manuscripts and in the painting of Van Eyck and foreshadow his later serigraphs.

After a year of restoration work by technicians at Disney’s Animation Research Library, some 200 works went on tour in Japan, along with 350 additional pieces lent by the studio in an exhibition titled “The Art of Disney.” The show toured seven museums around the country in 2006 and 2007, including the Tokyo Museum of Contemporary Art. At the end of its run, Chiba University offered to return the artwork to Disney.


Above: A cel and background set-up from “Sleeping Beauty.”

Disney said that the art — cels, backgrounds, preliminary paintings and storyboard sketches — was part of a collection that was handpicked by Walt Disney himself. It was sent to Japan in 1960 for a touring exhibition timed for the opening of the film “Sleeping Beauty.” The exhibition opened at Mitsukoshi Department Store in Tokyo in May of that year and traveled to 16 other stores throughout Japan.

In a statement Chiba University’s president, Toyoki Kozai, said, “The response to the exhibit gave us a new appreciation for the historical and artistic value of these works.”

Because the university was concerned about keeping them in good condition for the next generation, he said, it “concluded that entrusting them to Disney would be the best route to take.”

In return, Disney is giving Chiba University high-resolution digital copies of the artworks and $1 million for scholarships. But both sides said the deal should not be viewed as a sale.

In 1960 little value was placed on artwork from animated films, and cels were sold at Disneyland for a few dollars apiece. Today animation art is prized by collectors, and a top-quality Earle background from “Sleeping Beauty” might sell for $20,000 to $30,000. Given the rarity of some of the pieces, it is hard to assign a dollar value to the collection over all, because nothing comparable has been offered for sale.


Above: Concept art for "Sleeping Beauty", by Eyvind Earle

“Walt wanted to explain every element of the animation process, so he chose artwork from all phases of production and a number of films,” said Lella Smith, creative director of the Disney Animation Research Library in Burbank, Calif., which preserves the studio’s artwork. “But the primary focus was ‘Sleeping Beauty.’ ”

“There is no way to put a price on these works — they represent our artistic heritage,” Ms. Smith, of Disney, said. “That said, their value as archival materials for study and research is very high.” She added that when the works were discovered, they did not have much commercial value because of years of accumulated damage from mold.

Mr. Kozai said that Chiba University would channel the donated money into its overall educational programs and into research on art and animation and what he called “the sound growth of children.”


Above: A cell setup of Jimmy Cricket from the 1940 film "Pinocchio."

After a year of restoration work by technicians at Disney’s Animation Research Library and a touring exhibition, Chiba University offered to return the artwork to Disney. In return, Disney is giving the university high-resolution digital copies of the artworks and $1 million for scholarships. “There is no way to put a price on these works — they represent our artistic heritage,” Ms. Smith, of Disney, said. “That said, their value as archival materials for study and research is very high."

source: NY Times, article by Charles Solomon, Photos courtesy of Disney


Above: Earle at Disney Studios with his work in the 1950's

Related links for you:
Want to buy an Eyvind Earle Gigclée from Sleeping Beauty? Go here.
New Evyvind Earle site coming soon.
Purchase Disney's Sleeping Beauty on DVD here.
Buy Disney Animation cels from Sleeping Beauty here.

addendum: TOKYO — Exciting news not only for Disney fans but also for art and animation aficionados is "The Art of Disney" exhibition, which will be held at the Museum of Contemporary Art Tokyo in Koto Ward from July 15 to Sept 24.

At the exhibition, 350 selected items of original artwork from Disney's Animation Research Library (ARL) and 200 items of Disney artwork from 45 years ago that were discovered last year in the faculty of engineering at Chiba University will be displayed. It will be the biggest-ever exhibition of Disney animation art.

Is Your Client Reluctant To Embrace New Media?

Today's NY Times has an article by tech writer, David Pogue titled Are You Taking Advantage of Web 2.0?



While it's a very good article (albeit the term 'new media' is really more apt than his use of the term Web 2.0) it may be a little myopic and a touch obvious.

I'd like to add a little insight, if I may.

Given that I've been an Advertising Creative/Art Director for many large ad agencies and clients for over 20 years, and am one of the few over 35 who understand the importance of consumer generated content and new media (and how it works), I feel Pogue's is a good article to share with hesitant clients.

While he writes about the fact that 'Web 2.0' is a good forum for more human, less structured, often funny communications that can introduce to people to previously unknown companies, (like his example of Willitblend.com), or give a humane and credible face to more corporate companies, he didn't mention it is as a part of a larger marketing plan.

I agree that allowing the public to create mash-ups and fun multimedia content will create trust, goodwill and positive attention. Of course clients get nervous about the potential downside of public forums and blogs. The fear of negative or potentially slanderous comments often keeps them from embracing avenues like You Tube, My Space and Facebook, but, as he pointed out in his own example, consumer generated content can easily be moderated nowadays.

If I may add a few things from personal experience, I've noticed how many large ad agencies do realize the importance of "Web 2.0" or advertising on new media, but don't go about incorporating it properly. Several are quickly trying to staff up their 'interactive departments' and scrambling to hire 'Interactive' Creative Directors. While this is admirable and necessary, they limit themselves to looking at those who have designed many 'hot' websites or won a bunch of Webbys, without realizing that understanding media and marketing credible messages to consumers isn't a new idea, it's just changed forums.

Sure, it requires manpower, technological resources and the spending of money, but that's always been advertising/PR. Yes, one must hire someone who knows the terminology, the intimidating acronymns, the glut of web apps and the functionality of the wireless world, but it's still marketing and it still requires well designed and easily comprehensible and navigatable, targeted communication to make a real and long term impact. Since most clients, and still many consumers, are not completely web savvy, just having a cool site or fun podcasts, favorable comments on social networks, hot videos on You Tube and a Facebook or My Space page is not enough, but it IS essential and should be included in any media plan nowadays.

The very same ad agencies who used to call me in for freelance to work on tv and print ad campaigns or new business pitches are now turning to young hot web designers for their interactive communications without realizing that, although talented at designing flash sites, online animation and cool or funny videos, they often lack an understanding of the big picture of marketing or are too myopic in their understanding of a comprehensive marketing plan. That 'talked about' video on You Tube may get their website a lot of hits and make a company instantly popular, but it must be considered in conjunction with other communications to build a brand that isn't just a flash in the pan. After all, no one is more fickle than a consumer and with the immediacy of online communications, a brand can be hot one week only to 'cool off' in a month.

To wit, many of the large ad agencies are losing work to the new crop of places that call themselves 'interactive' agencies or 'new media' agencies. Microsites for popular and prestigious clients like BMW aren't being designed by the ad agency of record, but instead are being 'farmed out' to these boutique companies filled with talented tech savvy 20 somethings.

While embracing Web 2.0 (or new media) as part of their marketing or PR plan may give a company a more humane, likable and credible image- especially to a younger demographic, the rest of that company's communications to the public, be it via 'old school' forums like magazine, newspaper and television advertising, must also be considered in conjunction with Web 2.0 to fully make a lasting impact.

It behooves any advertising agency to understand the importance of consumer generated content within these new forums as an essential PART of their overall communications for their clients. They need to start by educating their present creatives and clients at to how it works (and it does work) or else they will lose more and more future business to those companies who do embrace Web 2.0 (as defined by David Pogue).

And they can start by reading his article.

Uber Luxe: Luxuriator's Diamond & 18k Glasses and Sunglasses

LUXURIATOR was founded and created in 2004 by Los Angeles based eye wear & jewelry designer Franco Vahe. Franco designed the first pair of diamond-studded Luxuriator sunglasses for a celebrity-friend in Los Angeles, where the brand has evolved into an exclusive and highly fashionable must-have jewelry accessory and trademark.


Above: Franco Vahe with Paris Hilton, sporting a pair of his Luxuriator Shades

The Luxuriator Collection is a modern classic luxury brand of handcrafted diamond sunglasses, with a fashion forward blend of hand set pave or micro pave VS grade, G and F color diamonds set in 18K white, yellow, rose or gun metal gold. Hand engraved and enameled versions are also offered. All temples are made of solid buffalo horn and exotic leathers, combined with top of the line optics. The unique diamond rings on each side are a design trademark created exclusively by Franco Vahe.


Above: the Uno 21, their least expensive model at $5,000.00

The collection consists of 2 main styles; Luxuriator Uno, a single bridge chassis and Luxuriator Due, a double bridge chassis. Each frame style can be made with any of the hundreds of lens shapes available and custom tinted to a clients request. Both styles and all lenses can be made with a clients eyeglass prescription.



Above: The most expensive pair they sell. At $65,000.00, the Due 24 has a 2.0 carat canary diamond and 132 handset pave diamonds, making the total carat weight 3.45.

In April of 2007, Luxuriator launched it's impressive collection worldwide at Basel World.
As time progresses, they claim they are committed to designing new styles and concepts using new materials and new technology combining precious metals and diamonds.

At the moment they seem to have 9 stock models that sell for an average of $7,000.00- $8,000.00 dollars. But they make amazingly unusual custom frames as well.








Buy a pair and you'll be keeping company with the likes of the following celebs, who own one or more pairs; Jamie Foxx, Beyonce, Paula Abdul, Paul McCartney, Pharell Williams, Paris Hilton, Usher, Sharon Stone, Denzel Washington, Sting, Oprah Winfrey and more.

For more information email: info@luxuriatorcollection.com
Telephone: 818.760-8493 or 800.448.2411
Go here to find a dealer near you.