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Two Indian drawings of Ganesha, comprising:an early Marwar Illustration of Ganesha and Saraswati, 16th century, ink and opaque watercolour on paper,16 x 18cm, anda drawing of Ganesha, early 20th century, North India,26 x 15cm (2)Condition ReportWith marks and creases commensurate with age and use. Both images have been cut from larger leaves.

John Ruskin (1819-1900), an autographed draft manuscript lecture entitled 'Unused Arundel', expressing his distaste for contemporary art and its market, leading to a request for the Arundel Society to hire copyists to recreate the Italian Old Masters rather than relying on printing, (...Do you think that, if a group of figures by Perugino, or Luini, as beautiful in many respects as the original - would not be a better decoration for your drawing room than an oil painting - such as you are likely now to get of them - of an old gentleman with his family late at a party - or a drowned child and a starving dog tied to a mast!...), 7 pages, within a red folio, dated 1878, andan autographed letter to Mrs Elizabeth Salt, revealing the subtlety of his own sensibilities while instructing her in the art of drawing, and proposing, since there is 'no wholesome elementary book on drawing', that she wait for the third volume of 'Modern Painters' which will tell her better what she wants to know than anything else she could get ('...It seems very egotistic, but it is the truth, & I cannot help saying it...'), with the original autograph envelope, postmarked 30 August 1855 (3)

John Ruskin (1819-1900), a group of letters, including:a series of two letters addressed 'Gentlemen', discussing a debt and the health of Tarrant, one signed,a letter requesting a sketch of cracked ice, above a drawing of cracked ice, inscribed in another hand: 'John Ruskin to W.G.C. May 1 1982',another addressed to Mr Redmayne, discussing the Langdales Pikes, signed, another addressed to Mr Tarrant, expressing that he is 'happy in having a child, and in looking back on a life of happiness' and 'Do you notice how people are beginning to defend themselves uneasily - see Quarterly Review on Mr Ernest George', andthree further letters:the first addressed to Mr Cooke from W G Collingwood, expressing that 'Mr Rusk is not well enough to write autographs nowadays',the second to Mrs Norton from E Cooke, explaining 'I wrote to Mr Collingwood for the Ruskin autograph of the Iceland Drawings. I send you what he has sent me. JR's signature is not there but Marjory is fortunate in getting such a good piece of work',the third a drawing of flowers above an inscription 'hold this way' (8)

Three Indian drawings, 'A Sikh Prince Seated', c.1840-1846, Punjab, ink on paper,21 x 15cm,a drawing of Abhai Singh worshipping the goddess Durga,c.1720, Jodhpur, ink on paper,39 x 29cm, anda drawing of a prince being entertained by dancers,c.1860, Alwar or Jaipur, ink and opaque watercolour on paper,21 x 30cm (3)Condition ReportWith marks, smudges and creases throughout commensurate with use, taped to board at upper margin - see high resolution images available online. No further provenance available

An Indian drawing of a lady bathing, late 17th century, depicting a lady bathing attended by a handmaiden, brush drawing on paper highlighted with gold and a little colour, laid down on a larger gold-flecked album page within a series of borders in gold, blue, red and black,22.5 x 17.5cmCondition ReportWith marks to drawings and some fading commensurate with use and age. The glass from the frame with water marks. The frame with scratches, knocks and bumps.

John Ruskin (1819-1900), a signed letter, addressed to 'My dear Madam', 'I intended to have sent a line with the photograph & chalk drawing the other day - merely to say that the photograph is nature a good deal simplified & darkened - nature made easy - If with sepia, you can manage to imitate the least bit of it ever - this size [includes a drawn square in the text] only - you will have made immense progress. If any drawing-master tries to persuade you to dash - challenge him to do a bit of photograph. If he can do it, it will be a great help to you to see how he does it - but in most cases, he will not be able to do it, & will say it oughtn't to be done. Truly yours, J Ruskin', complete with a carte de visite of John Ruskin,32 x 40.8cm, framed

John Ruskin (1819-1900), a group of various letters including: an eight-page signed letter, undated, to The Reverend Stephen Bridge concerning the building of St Matthew, Denmark Hill, the letter includes eleven small pen sketches of architectural details within the text, through which Ruskin attempts to show that the architect has made several serious design errors: '...I find myself reduced to the ungracious task of finding fault with the present design without being able to suggest any mode of arriving at a happier result - still, I feel so strongly that the large sum required for the completion of this floor plan will be miserably wasted - and that many who might be pleased by the drawing, would yet be disappointed by the church - that I cannot forbear giving you the reasons...', a signed letter to 'Mr. Bridge' from 31 Park Street, 23rd Nov., stating he has returned from Normandy '...finding in my own neighbourhood a piece of architecture so graceful and picturesque as your new church - I wrote a very impertinent letter about the design of it... I trust you will acquit me of conceitedness in the matter - and of putting much value on my high opinion - but I do love architecture very much and I believe I enjoy more than most people when I enjoy a design at all: and suffer more than most when I do not.', and three other signed letters from Ruskin to Bridge, an envelope to Bridge, franked 29th and 30th December 1846, a section of the text of a lecture by Ruskin, 'The Aim of Poetry', delivered in the Sheldonian Theatre, Oxford, 24th October 1877, and a two-page signed letter by Arthur Severn, dated Dec 5th 1900, from Brantwood, to The Reverend Stephen Bridge, concerning the choice of the dignitary to unveil the Ruskin Memorial (qty.)

John Ruskin (1819-1900), a group of five signed letters, comprising:a letter address to 'Rev R. Brown Borthwick', thanking the recipient for his letter and a drawing 'but it has not yet come; and I leave home tomorrow for about ten days', complete with envelope,a letter addressed to Clifton Ward, discussing geological matters,a letter to Rev F Murray, stating he would 'be most happy to see the carpenter whose name - Mullender! I am not quite sure of - and I don't exactly know where Southfleet is',a letter addressed to Mr Th S. Roberts, appearing to apologise for being 'too nervous and sad to take my lesson today', referring to himself as 'your dull pupil - and that I may be able to give better account of myself on Tuesday', anda letter to Mr Adams, discussing 'Allen's (unfinished) diagram - not of Rouen but of Abbeville, (the Rouen has been mislaid somehow)', signed 'JR', one letter stuck over the other (5)

John Ruskin (1819-1900), a pair of mahogany folio cabinets, 19th century, each moulded top with inlaid ivory labels, over a pair of panelled doors complete with brass stylised moth handles, enclosing two compartments with glazed oak frames, each with leather pull handle and ivory inventory label, 60.5cm wide 46.5cm deep 77cm high (2) Provenance: Designed for the Ruskin School of Drawing in Oxford, Bembridge School, then Carisbrooke Castle. IMPORTANT NOTE This lot contains ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding. This item has been registered as exempt from the UK Ivory Act 2018.

John Ruskin (1819-1900), a group of fourteen signed letters, recipients to include Dr Attwell, Mr Learoyd, Butler, Miss Miller, Woodd, Dixon, Mr Stowe, with subjects to include discussing agates, pearls, and Christmas, together with six envelopes addressed to Samuel Learoyd, and an envelope addressed to Mrs S H Holder (qty.)For a comprehensive transcription, please see the condition report.Condition ReportTranscription of letters:'Brantwood, Coniston, LancashireDear Dr AttwellI was so much interested in looking out those stones for you that I’m ready to lend you another lot directly – if you’ve room and care for them. I hope the new lot sent you yesterday are better than those sent to Whiteland’s – but these others won’t be lost, there either.That’s so interesting and so right – about the moral of monsters – but I hav’nt''Brantwood, Coniston, Lancashire. AmblesideDear Mr LearoydPlease let the agates be sent here, and with thanks for your care and best Christmas wishes believe me your faithful servant John Ruskin Samuel Learoyd Esq.''Brantwood, Coniston, Lancashire.28th April 83My dear SirI am so ashamed of myself for not having answered your kind letters of question about showing the agates – but I have been thinking of several things about them. It seems to me that with your good help, they might be arranged for a loan collection, belonging to the Sheffield Museum, and – when long enough at one place taken to another.You will at once see at looking over them that all have separate phenomena. Several are ,(in my experience unique) and all are chosen for things which need notice in each specimen ‐ If you will at present number and shortly describe each – and show just as you think best. I would afterwards consult with you on what more might be said, with secure basis of science, of the possible mode of production of each – and print the catalogue so settled.This cannot be till after our Oxford work is done – but for the present exhibition please take all authority. I think my stones usually look best on white silk or deep red or purple velvet – in which when the collection is finally arranged you might have niched places for each stone Ever most truly Yours J Ruskin''Brantwood, Coniston, Lancashire.27th Dec. 84Dear Mr. LearoydNo. I could not take up pearls. – they are a result of disease. And would never interest me, but I should like to see an exhaustive book on them – Silica is more than ever I shall manage, ‐ but please tell me of any points of new interest that occur to you in it at any time Ever faithfully yours J Ruskin''Brantwood, Coniston, Lancashire.3rd MayDear Butler,I’m quite delighted with all the small silvers ‐ and all the besicas – and the rest are very nice I return a pound’s worth of what I don’t want – see accounts and enclose cheque for £5 with hearty thanks. The 15/‐ chlorite is superb – quite worth £1 to me – the largest indescent Madagascar, the best I ever saw.I’m not well, stomach out of sorts – or that metal‐book would have been done by this time – I Don’t know what you could have got out of my talk – you said you should like to know things – And I said – so should I! I think that was about all. But I’ll write and print the catalogue of collections for you directly. Ever affectionately yours JR''Brantwood, Coniston, Lancashire.17th April 83My dear SirI will look out the stones directly – but your own arrangement will be entirely satisfactory to me – it will be a delight to think of your seeing them. – I will wait on Col. R; the moment I’m in town againEver faithfully yoursJ Ruskin''Brantwood, Coniston, Lancashire18th May 86My dear SirI accept your Companionship very gladly, having at last given up the idea of the Guild’s being a monied power; and contenting myself with making it a bond and an influence for assured good.Do not hasten to leave your position under Dr. Gore. You could not be in a more useful one that of a practical experimental philosopher – as you grow in years – holding yet the faith you have now signed Ever faithfully yours John Ruskin''Brantwood, Coniston, Lancashire. Christmas 86My dear SirI find nothing so uselessly wasteful of my time as lending either drawings or minerals, and have vowed to trouble myself no more, in that kind – but if I would – assuredly not for Manchester. Even at Xmas time I forgive them not their Thirlmere theft. Ever faithfully yours John Ruskin''Herne Hill, S.E. London20th June 77Dear Miss Miller,I have been twenty times of the edge – never yet well over the edge –of answering your mostvaluable letters – but you will see in next days I have not forgotten them.Is Eastover House an established and permanent school – and would its trustees like me to lend Some agates and other stones for her pupils to play with and think of? Ever gratefully Yours J. Ruskin''Brantwood, Coniston, Lancashire.12th Feb. 85Dear Woodd,Many thanks. The Phots are beautiful. I had taken good ones myself, of course; but these beat them considerably. I’ve ordered a report of St. George to be sent to you. I shall expect a grand subscription to my Museum. Ever affectionately yours J Ruskin Charles H. Woodd, Esq.''I have not read the slips yet they seem most interesting.Venice, 6th MayDear DixonI have been terribly neglectful of you. I was very glad to see your hand today, but what to know how you are.I must really organize this St. George’s company by drawing up some legal documents myself which the Companions shall sign. I am sick of the lawyers’ delays and the Trustees are shy of acting for want of clearly knowing to whom they are responsible.‐ So you will have to declare that you they have no business with the matter – but that you only hold the Master responsible for the management. Ever affectionately yours J Ruskin' 'Denmark Hill23rd AprilMy dear Mr StoweI’ve had this returned letter by me ever so long and always forgotten to ask you to forward it – and now I’m leaving town – but I shall be back D.V. early in the summer – and most happy then to see your friend. Yours very truly J Ruskin''Denmark Hill, CamberwellMonday 1st OctoberMy dear SirI could not earlier reply to your letter – having left several days of this week open to choice to different friends whom I wanted to see – having only just come home from Switzerland – I have no forenoon time open just now – could you & Mr. Gregory favour me by coming some evening? Friday or Saturday? If not I shall have forenoon time next week. Truly yours, J Ruskin It is a long way for you to come – if Mr Gregory could be at Queen Sq. on Saturday, or Friday at one o’clock, I would come there.''Denmark Hill, S.7th Oct.My dear Sir.In this fine weather I am out all day my business goes to the dogs. I am heartily obliged to you for your letters and for the kindness of sending me an account of Mr. Stevenson – Forgive me, as well as him, the trouble we have caused you and believe me yours faithfully and obliged J Ruskin'

John Ruskin (1819-1900), a pair of mahogany folio cabinets, 19th century, each moulded top with inlaid ivory labels, over a pair of panelled doors complete with brass stylised moth handles, enclosing two compartments with glazed oak frames, each with leather pull handle and ivory inventory label, 60.5cm wide 46.5cm deep 77cm high (2) Provenance: Designed for the Ruskin School of Drawing in Oxford, Bembridge School, then Carisbrooke Castle. IMPORTANT NOTE This lot contains ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding. This item has been registered as exempt from the UK Ivory Act 2018. Condition ReportWith scuffs, surface marks and old labels thoughout commensurate with age. Some examples with the leather pull handles damaged. One example with the right hand door knob missing.

Two royal Indian drawings, 'A Rajput Warrior', c.1850, depicting a warrior sitting impassively, cross-legged with his hands resting on his thighs, his sheathed sword across his leg,28 x 18.5cm, and'A Sikh Prince Seated', c.1840-1846, Punjab, brush drawing primed with white,18 x 11cm (2)Condition ReportWith marks and creases commensurate with use and age. Both drawings have been cut from larger leaves.

John Ruskin (1819-1900), a pair of mahogany folio cabinets, 19th century, each moulded top with inlaid ivory labels, over a pair of panelled doors complete with brass stylised moth handles, enclosing two compartments with glazed oak frames, each with leather pull handle and ivory inventory label, 60.5cm wide 46.5cm deep 77cm high (2) Provenance: Designed for the Ruskin School of Drawing in Oxford, Bembridge School, then Carisbrooke Castle. IMPORTANT NOTE This lot contains ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding. This item has been registered as exempt from the UK Ivory Act 2018.

John Ruskin (1819-1900), a pair of mahogany folio cabinets, 19th century, each moulded top with inlaid ivory labels, over a pair of panelled doors complete with brass stylised moth handles, enclosing two compartments complete with carved guilloché gilt oak frames, each with leather pull handle and ivory inventory label, 84.5cm wide 64cm deep 99.5cm high (2) Provenance: Designed for the Ruskin School of Drawing in Oxford, Bembridge School, then Carisbrooke Castle. IMPORTANT NOTE This lot contains ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding. This item has been registered as exempt from the UK Ivory Act 2018.

John Ruskin (1819-1900), a pair of mahogany folio cabinets, 19th century, each moulded top with inlaid ivory labels, over a pair of panelled doors complete with brass stylised moth handles, enclosing two compartments with glazed oak frames, each with leather pull handle and ivory inventory label, 60.5cm wide 46.5cm deep 77cm high (2) Provenance: Designed for the Ruskin School of Drawing in Oxford, Bembridge School, then Carisbrooke Castle. IMPORTANT NOTE This lot contains ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding. This item has been registered as exempt from the UK Ivory Act 2018.

A group of three Indian drawings, a 'Study of a Courtesan', Bikaner, early 18th century,15 x 9cm,'Portrait of a Courtesan in an Interior', c.1835-1840, ink, pencil and watercolour on paper,19 x 14cm, andMaharha Madho Singh of Jaipur, 18th century,13 x 8cm (3)Condition ReportTwo of the drawings are glued down - all have age damage. The coloured image has various stains and remains of paper / stickers to the base of the drawing.

A limited edition giclee on archival paper titled The Poet by acclaimed mystical expressionist artist Jamali. This evocative portrait features a stylized human face tilted within a swirling composition of deep reds, earthy browns, and muted green tones. The figure's eye is depicted as a single almond-shaped form, closed in repose or contemplation, suggesting themes of inner vision, reflection, and emotional stillness. The heavily textured surface and ethereal palette evoke an archaeological or spiritual patina, creating a timeless effect emblematic of Jamali's signature fresco-like technique. Jamali is an internationally recognized contemporary artist whose unique style, Mystical Expressionism, blends spiritual consciousness with experimental media. Drawing from his Sufi roots, Jamali explores themes of transcendence and inner peace through innovative surface treatments and layered pigment textures. His artwork often reflects ancient aesthetics through modern abstraction, offering a meditative experience for viewers. Jamali has exhibited worldwide, and his works are included in private and institutional collections for their distinctive emotional resonance and spiritual depth. Signed in the lower left by the artist, this work is hand-numbered 4/195. It is dated February 12, 2002, and includes a certificate of authenticity from Art and Peace, Inc. Jamali for Mardan Publishing Inc., Winter Park, FL. This artwork is mounted in an elegant gold-toned frame that enhances its rich tonal contrasts and organic surfaces.Artist: Jamali (Pakistani-American b. 1944)Issued: 2002Dimensions: 27.50"L x 33.50"HEdition Number: 4 of 195Country of Origin: Pakistan/USACondition: Age related wear.

Small 19th Century Portrait of a Young Girl With initials. Possibly JA. Set in a Gilt frame together withnOriginal Drawing of Molly Scroggins 18th Century English school portrait signed, circa 1780. 34x28.5cm

FANTASIA (1940) - Mickey Mouse "Sorcerer's Apprentice" Original Production Pencil Drawing - An original production drawing of Mickey Mouse in his most iconic role, as the Sorcerer's Apprentice from Walt Disney's 1940 animated film Fantasia. Fantasia was a landmark in animation,  both artistically and technically, with the Mickey's Sorcerer's Apprentice segment perhaps its most iconic. Drawings from Fantasia, especially those featuring Mickey in full figure and a strong pose, are an important artefact from the Walt Disney Studio's Golden Age and a key piece for any collector.The drawing shows Mickey in his complete wizard's robe, arms extended, weight forward, and the classic silhouette etched into the history of animation. It captures the wide-eyed, dramatic moment as Mickey reaches forward mid-spell. The artwork is rendered in graphite on 12-field, 3-peg animation paper and numbered C64 in the lower right. Below his feet are green pencil marks for the shadowing, while the animation note "DXD 64" refers to the corresponding effects cel. There is a discoloured mark in each corner on the back of the paper, and the lot displays some minor edge wear. Dimensions: 25.5 cm x 30.5 cm (10" x 12")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

GUNDAM FRANCHISE (1979-PRESENT) - Zechs Marquise Original Production Cel and Matching Drawing - A production setup featuring Zechs Marquise, the masked antihero of Mobile Suit Gundam Wing, captured in a dynamic close-up from the cockpit.Created for Gundam Wing, one of the most internationally successful and beloved Gundam series, this piece dates from the golden era of cel animation before digital took over. It also ties into the 30th anniversary celebrations of Gundam Wing's broadcast, making it an especially timely and desirable setup.Zechs (known as Milliardo Peacecraft in disguise) remains one of the most enduringly complex characters in the Gundam franchise - a tragic, charismatic figure whose loyalties and ideals are always in flux. This cel showcases him mid-dialogue in uniform, wearing his distinctive helmet with strands of blonde hair visible beneath. His expression, commanding yet composed, perfectly captures the essence of his conflicted persona.This setup includes the original hand-painted animation cel accompanied by the matching production drawing, complete with colour callouts and timing annotations, offering a full window into the animation process.The accompanying production drawing (douga) is not only tightly rendered but richly annotated, revealing the colour layering and technical planning that would inform the cel painting. The paper is standard Studio Sunrise format, punched for registration pegs, with the END timing notated.Original Gundam cels, particularly of major characters like Zechs, have become increasingly scarce and sought after. This is a particularly sharp, clean example, with bold colour application and crisp linework. Dimensions: 23 cm x 26 cm (9" x 10.25")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

AKIRA (1988) - Two Animation Cels and Pencil Illustrations - A set of two original hand-painted animation cels from the production of Katsuhiro Otomo's Akira. The film is widely regarded as one of the greatest animated and science fiction films ever made and a landmark in Japanese animation. These cels were initially obtained from a comic video store in the early 1990s.One cel shows the male nurse seen during the sequence of Tetsuo Shima experiencing hallucinations in the hospital and is labelled "H- 26". The second artwork shows Doctor Onishi, the head scientist of the secret psychic research project and is labelled "A.35". Both cels are painted in gouache on acetate sheets and come with their original corresponding pencil production drawing. There are several strips of sellotape along the top of one of the drawings where the paper has been torn. Dimensions (each cel): 23.5 cm x 35 cm (9.25" x 13.75")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

SIMPSONS, THE (TV SERIES, 1989-PRESENT) - Homer and The Devil Original Animation Cel Signed Harry Shearer and Matching Production Drawing - An original production cel and matching production drawing from The Simpsons classic episode "Treehouse of Horror IV" (Season 5, Episode 5), widely ranked among the all-time greatest Halloween specials.This scene hails from "The Devil and Homer Simpson," where Homer, true to form, trades his soul for a donut. He then thinks he can outsmart the Devil (hilariously portrayed by Ned Flanders) by saving the last bite in the fridge, complete with a sign reading "Daddy's Soul Donut!" and "Do Not Eat". Naturally, Homer's midnight snack instincts win out, and once the final crumb is devoured, Devil Flanders bursts in to claim his prize. But Homer is too big to fit through the flaming hellhole, forcing Ned to break out a sink plunger to shove him down.This rare setup is signed in black ink by Harry Shearer (the legendary voice of Ned Flanders), along with his perfectly in-character inscription, "Nobody escapes the Dev-diddly-evil!". With vibrant colours, oversized character action, and a matching production drawing, this is a knockout piece from a fan-favourite episode. They come displayed side by side in a blue-coloured mount. Dimensions (mounted): 38.5 cm x 80.75 cm (15.25" x 31.75")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

PINOCCHIO (1940) - The Blue Fairy Original Production Pencil Drawing - An original animation drawing of the Blue Fairy from Walt Disney's Pinocchio.The Blue Fairy appears only briefly in the film, but her role is vital: she brings Pinocchio to life and sets the story's emotional arc in motion. As a character, she needed to appear both ethereal and grounded, human enough to be believable, yet with an unmistakable sense of magic. Supervising animator Hamilton "Ham" Luske, one of Walt Disney's most trusted creative leads, was responsible for her animation. Luske's work on the Blue Fairy refined the realism he brought to Snow White just a few years earlier, and his delicate handling of performance gives this character such lasting impact.To help guide the realism needed, actress Evelyn Venable was used as the live-action reference model. Her graceful features and composure made her an ideal match for the Blue Fairy's elegant design. There has long been speculation that she also provided the voice, though no formal credit was given.Drawings like this, where the clarity of line reveals so much about performance, staging, and intent, were considered the backbone of the animation process. Walt Disney believed the drawing was the true artistry, with cels merely a byproduct of that foundational work and a 'tool of the job'. While most production cels were destroyed or reused, drawings of this calibre were often archived, studied, and retained.It is rendered in graphite with subtle coloured pencil accents on her wings. She is portrayed with classical poise and serenity, mid-motion, and her expression is full of grace. The paper is labelled "53" in the lower right corner, and a handwritten annotation reads "tongue". There are some minor rips around some of the paper edges. Dimensions: 25.5 cm x 30.5 cm (10" x 12")Sold without copyright; see copyright notice in the Buyer's Guide.This item will ship from our LA facilityVAT Status: US

THE LION KING (1994) - Timon Original Production Pencil Drawing - An original production drawing featuring Timon from Walt Disney's animated film The Lion King.It's important to note that no original production cels were created for The Lion King, as the film was coloured entirely using Disney's CAPS (Computer Animation Production System). As such, production drawings like this remain the only original artwork used directly in the creation of the film but are rarely made available.The drawing is rendered in graphite and blue pencil on 16-field animation paper. It features clean character linework of Timon (voiced by Nathan Lane) with subtle tonal accents, and it is annotated with "T92" in the lower right corner. Dimensions: 32 cm x 43.25 cm (12.5" x 17")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: Ω

SLEEPING BEAUTY (1959) - Maleficent Full-Figure Original Pan Production Pencil Drawing - An original pan production drawing of Maleficent from Walt Disney's 1959 animated film Sleeping Beauty.Maleficent was designed and animated by Marc Davis, one of Walt Disney's legendary Nine Old Men, whose refined draftsmanship and theatrical sense of movement helped define her as one of the most enduring characters in Disney history. Davis considered Maleficent his most challenging and rewarding assignment. This lot offers collectors a rare opportunity to own not just animation art but one of the most commanding renderings of perhaps Disney's most iconic villain ever created.This full-figure production drawing shows Maleficent's horned silhouette elegantly posed in her sweeping cloak and captures the villainess in all her iconic grandeur. It is rendered in graphite and coloured pencil on pan animation paper. Measuring an expansive 16-field width, this is a rare, large-scale image used in the making of Sleeping Beauty. The red pencil highlights on the inner cloak indicate cel painting cues, typical of the multi-stage ink and paint process. It is labelled with the sequence number "27", and the bottom edge of the paper displays its original peg hole configuration. Dimensions: 32 cm x 50.5 cm (12.5" x 20")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

ASTERIX CONQUERS AMERICA (1994) - Asterix, Obelix and Multi-Character Original Production Cel and Pan Original Layout Drawing Setup - A richly detailed pan layout setup from the animated feature Asterix Conquers America (aka Asterix In America), expertly composed using seven original hand-painted production cels over a large-format pan background drawing.Asterix Conquers America was the first Asterix film produced entirely outside France and marked an ambitious expansion of the franchise. With its distinctive style, international tone, and strong visual storytelling, it brought the iconic Gauls to a new generation.While this specific arrangement does not appear "as is" in the film, each cel and layout element was created for the production and has been thoughtfully assembled by the studio to showcase the visual dynamism and character design that define the feature. The studio officially released this piece as part of the Asterix Art Program, curated to preserve the series' legacy and offer collectors a rare look into the production process.Set in a Native American village deep in the New World, the artwork brings together an ensemble of key characters: the defiant Asterix stands mid-conversation alongside the wise druid Getafix (Panoramix), recently kidnapped and flung across the ocean by Roman forces. To their side, the young tribal girl, while a wary villager and medicine man, and the elaborately dressed village chief observe from either end, the ever-faithful Obelix acting as both mediator and muscle in the scene.The pencil layout background stretches across, laying out the ceremonial grounds and tipi village in a sweeping perspective. These layouts were integral to shot planning, camera movement, and cel positioning. The scale, clarity, and theatrical composition make this setup an ideal display piece, a scene that captures the drama and charm of the film's aesthetic. Multiple production reference numbers are handwritten along the bottom edge of the cels, and several annotations are written on the drawing. The official studio stamp is present on the bottom right corner of the layout, authenticating its origin. A special offering for fans of the franchise and for collectors who value the immediacy, scale, and storytelling power of original animation art. Dimensions: 31 cm x 109 cm (12.25" x 43")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: Ω

GUNDAM FRANCHISE (1979-PRESENT) - Altron Gundam (Shenlong Gundam Upgrade) Original Production Cel and Matching Drawing - A visually striking production cel and matching original production drawing of the Altron Gundam, the evolved form of Wufei Chang's original Shenlong Gundam.Altron Gundam first appears after Shenlong is captured and refitted by the rebel forces of the White Fang. Unlike its predecessor, Altron sports twin extendable dragon arms, upgraded beam weaponry, and a more aggressive stance, mirroring Wufei's shifting ideology and growing sense of justice. Its name, derived from "二頭é¾" ("two-headed dragon"), reflects both this upgrade and its new mythic intensity.This cel was produced during the golden age of hand-painted cel animation in Japan, just before the industry transitioned to digital techniques. As such, it embodies a level of tactile, manual artistry that is now lost to time.Altron Gundam is seen in a powerful close-up framed by dynamic energy lines. Matched with its original production drawing (douga), this setup encapsulates the intensity and grandeur of mecha animation at its cinematic peak. They are both labelled "A35E". The matching douga drawing reveals the careful planning and precision behind this moment. Hand-drawn in graphite with colour pencil overlays and striking red slashes indicating flare lines and FX cues, it captures the vital tension between control and chaos - essential to the narrative arc of Wufei and his mobile suit's evolution. The cel and drawing together showcase both the final image seen onscreen and the hidden process behind it. Dimensions: 25 x 27cm (9.75" x 10.5")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

SWORD IN THE STONE, THE (1963) - Merlin Holding Wart Original Production Pencil Drawing - An original production drawing of Merlin and Wart from Walt Disney's 1963 animated film The Sword in the Stone. Directed by Wolfgang Reitherman, The Sword in the Stone was the final animated feature released during Walt Disney's lifetime. This is a rare opportunity to own a moment of genuine connection between mentor and protege in the Disney canon and from a film that often flies under the radar.This artwork is likely a working drawing used for precise positioning and character staging. This drawing features Merlin, the eccentric wizard, gently grasping the young Wart (Arthur) by the shoulders. The interaction between them is carefully composed, and both figures are expressive and well-posed within the camera framing lines.The characters are rendered in graphite and red pencil on 16-field 3-peg animation paper, with Wart drawn in red pencil. This was a common animation technique used to distinguish overlapping characters or to define placement in multi-character interactions. Wart's placement, partially unfinished in red, indicates he may have been finalised in a separate drawing for inking, while this composite would guide the animators and layout team. The registration peg holes remain intact, and a camera alignment line is visible across the top and bottom margins. There is a minor tear on the bottom edge of the paper. Dimensions: 32 cm x 39.5 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

SNOW WHITE AND THE SEVEN DWARFS (1937) - Grumpy Original Production Pencil Drawing - An original production drawing of Grumpy from Walt Disney's 1937 animated film Snow White and the Seven Dwarfs. As part of the first full-length cel-animated feature film in history, Snow White and the Seven Dwarfs marked a watershed moment in animation and cinematic storytelling. Original artwork from this landmark production remains among the most sought-after.This drawing captures Grumpy mid-stride, fists clenched and jaw set in his signature scowl, a quintessential expression of one of Disney's most beloved Dwarfs. Rendered in graphite with red and green colour pencil accents on 12-field 5-peg animation paper, this is a superb example of Disney's early character animation. The ink and paint department used the red and green lines to denote the different colour inklines, part of the labour-intensive hand-inking process employed at the time. The sheet is production-stamped with "2001, 10A, 25" and is numbered "44" in the lower right, matching Disney's meticulous scene and frame tracking system. Dimensions: 25.5 cm x 30.5 cm (10" x 12")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

KAWS - Young-Hee "Coloured" Vinyl Figure, 2024 - A Young-Hee "coloured" version figure by KAWS (Brian Donnelly), USA b.1974 -To celebrate the premiere of the second season of the hit show Squid Game, KAWS teamed up with Netflix and AllRightsReserved to produce a set of collectable figures of Young-Hee, the large motion-sensing female animatronic doll from the show.The design was inspired by KAW infamous character Companion. Made from vinyl, the figure shows Young-Hee as a puppet with grey-coloured hair,crossed eyes, a yellow shirt and orange dress, and poseable arms. It comes packaged in its original orange-coloured box, which has a printed line drawing of the figure on the lid.Dimensions (boxed): 45.5 cm x 27.5 cm x 12 cm (18" x 10.75" x 4.75")View this 360 turnaround at full sizeAbout the Artist:New York-based artist and designer Brian Donnelly (known as KAWS) is predominantly known for designing limited-edition toys, sculptures, paintings, clothing, and other products. KAWS work grew in popularity in the 1990s when he pursued a career as a graffiti artist, creating a distinctive subversive style. It was enhanced even more so when he began designing limited-edition vinyl toys. Nowadays, KAWS work stirs excitement in the art world with his detailed and distinctive sculptures, which often incorporate characters from popular culture, changing people's presumptions of beloved figures.VAT Status: M

ONE HUNDRED AND ONE DALMATIANS (1961) - Roger Radcliffe Original Production Cel and Pencil Drawing Signed by Frank Thomas and Ollie Johnston - An original animation cel and signed production drawing featuring Roger Radcliffe from Walt Disney's 1961 animated film One Hundred and One Dalmatians.Original cels featuring Roger are increasingly scarce, and paired with a signed drawing like this featuring clean linework, classic expression, and excellent preservation, it is a must-have for collectors.The xerographic line and hand-painted cel show Roger in a defining pose, tall, expressive, and pipe in hand, in his London flat with the famous family portrait of Pongo and Perdita behind him. The cel is placed over a colour-printed presentation background.The accompanying drawing, rendered in graphite on 16-field animation paper, captures the same elegant line and caricature that made Roger one of the most successful examples of Disney's stylised human animation. He is pictured holding his pipe in a fun pose that reflects the lean, angular animation style introduced in the film. A notation on the upper right reads "Dialogue Only". The drawing is numbered "11", with Disney's three-peg registration punched along the bottom edge.The drawing is signed by Frank Thomas and Ollie Johnston, two of Walt Disney's Nine Old Men and core directing animators known for their expressive, emotionally grounded character work. There is a minor tear along the top edge of the drawing. Dimensions (cel): 28 cm x 43 cm (11" x 17"); (drawing): 31.75 cm x 39.5 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.VAT Status: M

CINDERELLA (1950) - Cinderella In Bed Original Production-Era Animation Pencil Drawing - An original production-era animation drawing of Cinderella from Walt Disney Studios c.1949-1950. While this drawing does not match an exact final frame in the completed 1950 animated film, several production markers affirm its authenticity: the paper, peg configuration, and character styling place it squarely within the film's production window. The line quality and looseness of the facial features and hairstyle suggest it may have been part of a rough animation pass, an assistant animator's timing test, or a development drawing created while refining key scenes.Drawings like this often originate from early or alternate versions of sequences that were later revised or reanimated. The softer linework and absence of ink-and-paint registration marks reinforce that this was not traced for cel use but was a working part of the animation process. It is ideal for collectors who value the craftsmanship and behind-the-scenes artistry that shaped the golden age of Disney animation.The drawing shows Cinderella seated in bed and holding a blanket. It is rendered in graphite with a small amount of pink coloured pencil added to her lips on 12-field, 5-peg hole animation paper. It is numbered "47" on the lower right. The paper displays some minor creasing. Dimensions: 25.5 cm x 30.5 cm (10" x 12")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M

PINK FLOYD: THE WALL (1982) - The Judge Original Production Cel and Matching Drawing - An original hand-painted production cel and matching production drawing of The Judge, used in the making of Alan Parker's Pink Floyd: The Wall (1982) with animation designed and directed by British satirical illustrator and artist Gerald Scarfe.This grotesque and imposing creation - a towering figure formed entirely of buttocks, with a grimacing mouth at its centre - is one of Scarfe's most infamous and unforgettable designs. As the embodiment of judicial power in Pink's nightmarish internal trial, the Judge delivers the final command to "Tear down the wall" and vomits a montage of clips from the movie.The cel, hand-painted on acetate and placed over a printed background, bears the official seal from Pink Floyd: The Wall's Animation Art Programme. Paired with its matching production drawing, this piece encapsulates the humour, horror, and surreal edge that defines Scarfe's vision. The drawing displays some marks, notably near the bottom edge. Dimensions: 32 x 42 cm (12.5" x 16")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M

PINK FLOYD: THE WALL (1982) - Prosecuting Counsel Original Production Cel and Matching Drawing - An original production cel and accompanying drawing of the Prosecuting Counsel from Pink Floyd: The Wall (1982), directed by Alan Parker, with animation designed and directed by British satirical illustrator and artist, Gerald Scarfe.This moment appears during the animated trial sequence, as the Counsel leaps onto the stage and takes a bow. Scarfe, who had worked with Pink Floyd since 1974, was given full creative control over the film's 11 minutes of animation, and this character reflects his distinctive visual language: sharp and elongated forms.The drawing, in graphite and blue pencil on 16-field animation paper, is numbered "35" and carries the official Pink Floyd: The Wall Animation Art Programme seal. The matching hand-painted cel corresponds precisely to the drawing (also denoted "35").Together, they offer a complete and authentic example of Scarfe's animation process, from line to paint, and a striking, energetic and iconic image from one of the film's most recognisable sequences. Dimensions: 32 x 42 cm (12.5" x 16.5")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M

PINOCCHIO (1940) - Framed Limited Edition "Anytime You Need Me" Animation Cel - This hand-painted limited edition cel, released by Walt Disney Art Classics in 1996, captures the heartfelt moment where Jiminy Cricket offers guidance to Pinocchio, encapsulating the enduring theme: “Always let your conscience be your guide.â€Created using traditional techniques, Disney artists hand-inked lines onto acetate cels over original animation drawings (for example, note the different-coloured ink lines for Pinocchio’s nose, hair, and the rendering on his feather) and then hand-painted the artwork using 30 Disney-approved acrylic colours. The background was lovingly reproduced by a Disney artist, drawing from original paintings, sketches, and frames to ensure authenticity.Hand-painted limited editions like this hold a significant place in the animation art market. They provide collectors and fans with beautifully rendered pieces from beloved films, exactly how they were originally enjoyed. Original production cels and backgrounds were lost, archived, or command exceptionally high values when they surface. Released through Disney’s Collector’s Art Programme and sold via theme parks, Disney Stores, and authorised galleries, these editions were crafted with meticulous attention to detail, often utilising archived notes and artwork to ensure authenticity.Limited to just 350 pieces, this artwork is numbered “140/350†and bears a Walt Disney Company seal in the lower right corner. Many editions, including this one, sold out upon release due to high anticipation and remain highly sought after by collectors today. It is mounted within an original Disney frame with plexiglass and features a hanging wire on the reverse. The lot is accompanied by a The Walt Disney Company certificate of authenticity. Dimensions (framed): 25.25" x 23.25" x 1.25" (64 x 59 x 3 cm)Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

SWORD IN THE STONE, THE (1963) - Merlin Original Production Pencil Drawing Signed by Ollie Johnston - An original production drawing of Merlin signed by Ollie Johnston from Walt Disney's 1963 animated film The Sword in the Stone.Original production drawings signed by Johnston are scarce, and this piece offers a rare opportunity to own a drawing from the very character he helped define, enriched further by his signature and its direct provenance from The Sword in the Stone production.An expressive rough animation drawing of Merlin, the eccentric wizard, mid-gesture with a teapot in hand. It is rendered in graphite with coloured pencil on 12-field animation paper. Red and purple pencil lines are visible on the robe and arm, providing colour references for the ink and paint department, which was typical of studio workflow at the time. The sheet features three-peg registration holes, a standard for Disney's production during this era, and is marked "89" in the lower right corner. The upper left includes frame range notations "83-89", suggesting this drawing was created for a short burst of character animation.This drawing is signed by legendary Disney animator Ollie Johnston, one of Walt Disney's revered "Nine Old Men" and also the supervising animator for Merlin throughout the film. Johnston was a master of emotional expression and subtle character acting, and his work on Merlin gave the character warmth and unpredictability. His artistic approach and supervision shaped every moment of Merlin's performance on screen. While this drawing cannot be definitively attributed to Johnston's own hand, its construction and style are consistent with rough animation completed under his direction. The left side of the paper displays creasing and there are some small tears along the bottom edge. Dimensions: 31.75 cm x 39.5 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

ROBIN HOOD (1973) - Sheriff of Nottingham and Skippy Original Production Cel and Presentation Background - An original production cel setup featuring Skippy and the Sheriff of Nottingham from Walt Disney's Robin Hood, presented on a beautifully hand-painted presentation background.Robin Hood holds a special place in Disney history. It was produced after Walt Disney's death, with Roy O. Disney stepping in to oversee the studio through a challenging period. Despite budget constraints, the film became a beloved classic, remembered for its charm, humour, and heart. It introduced audiences to a colourful cast of animal characters, and became especially admired for its witty script, lively animation, and timeless themes of justice and resilience.The scene perfectly captures the dynamic between these two characters: the Sheriff, looming and sly, extends a paw toward the wary Skippy, whose expressive face and body language speak volumes, a moment rich in storytelling and emotion. The interaction between the characters is outstanding, with both figures centrally placed and well-sized, drawing the viewer into the heart of the narrative.Cels of this calibre, with such clear emotion and charm, are highly sought, especially in this exceptional condition. This piece comes with the official Disney Art Program seal, ensuring authenticity and provenance and is presented in a card mount. Dimensions (mounted): 44.5 cm x 52.75 cm (17.5" x 20.75")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

PETER PAN (1953) - Tinkerbell Stretching Original Production Pencil Drawing - A magnificent and rare original production drawing of Tinker Bell from Walt Disney's Peter Pan, beautifully rendered in graphite and coloured pencil on animation paper. This exceptional pose captures Tink in a graceful, full-body stretch, arms lifted, wings delicately framed, her characteristic sass radiating through expression and posture. Remarkably, given her tiny scale on screen, this large, detailed drawing reveals the craftsmanship behind her iconic personality.Tinker Bell was brought to life by Marc Davis, one of Walt Disney's revered Nine Old Men, whose masterful animation turned her into one of the most beloved and enduring Disney characters. Without a single line of spoken dialogue, Tink's entire character was conveyed through Davis's expert understanding of movement, expression, and body language. Davis worked closely from live-action reference footage and infused Tinker Bell with a captivating blend of mischief, charm, and heart.Importantly, Walt Disney regarded the studio's drawings as the backbone of the animation process,  the foundation upon which the magic was built. As a result, original drawings like this were typically archived and vaulted for their artistic and historical value. In contrast, most cels were routinely discarded or destroyed after production as they were seen as a tool of the job, making the acquisition of drawings like this even more meaningful to collectors and animation historians. Dimensions: 31.75 cm x 39.5 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

THE HUNCHBACK OF NOTRE DAME (1996) - Quasimodo Carrying Esmeralda Original Production Pencil Drawing - A full-figure production drawing of Quasimodo carrying Esmeralda used in the making of Walt Disney's 1996 animated feature The Hunchback of Notre Dame.Drawn in graphite with red animation pencil on standard 16-field animation paper, this dynamic image captures a pivotal and emotionally charged moment from the film: Quasimodo rescuing Esmeralda from danger. His posture and expression are urgent and determined. The figure of Esmeralda is lightly sketched in red, slung over his shoulder, while Quasimodo's stance and gaze add powerful weight to the scene.Marked "A9" in the lower corner, this piece includes production notations and reflects the intense character animation work that defined Disney's 1990s output. It was acquired directly from a studio animator and remains unframed. It is a compelling, high-energy drawing that illustrates the complexity and emotion at the heart of this darker, more mature Disney classic. Dimensions: 32 cm x 43.25 cm (12.5" x 17")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: Ω

MULAN (1998) - Mushu Original Production Pencil Drawing - An original production drawing of Mushu from Disney's Mulan, used in the making of the film. Mulan holds a particular place in Disney history as one of the final features to use the full traditional hand-drawn process of animators sketching on paper, while integrating the CAPS (Computer Animation Production System) pipeline, developed in collaboration with Pixar. Rather than transferring drawings onto acetate cels and painting them by hand, the final animation was scanned, digitally inked and painted, and composited with effects and backgrounds inside a digital system. This hybrid technique preserved the look of classic animation while allowing for more complex visual sequences. Original character drawings of Mushu are highly sought-after by collectors due to his popularity, personality, and the key role he plays in both narrative and comic relief. Voiced by Eddie Murphy, Mushu became an instant fan-favourite and remains one of the most recognisable Disney sidekicks of the 1990s.Drawings like this were an essential part of the traditional animation pipeline, forming the foundation for each cel or digitally inked frame. Mushu was supervised by Disney animator Tom Bancroft, whose energetic and comic approach brought the character to life in every scene. Executed in graphite and red pencil on Disney animation paper, this expressive sketch captures the fiery guardian dragon mid-gesture, eyes narrowed, brow furrowed, and clawed hand poised in classic Mushu attitude. The use of red pencil here denotes the animator's rough underdrawing, used to establish the form and energy of the pose, while the black graphite layer refines the lines that would be passed to clean-up and (digital) ink and paint departments. Dimensions: 32 cm x 43.25 cm (12.5" x 17")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: Ω

PINOCCHIO (1940) - Pinocchio Lifting Hat Original Production Pencil Drawing - An original production drawing of Pinocchio from Walt Disney's 1940 animated film Pinocchio.A beautifully animated drawing of the wooden puppet caught in a moment of wide-eyed curiosity as he lifts his hat. The pose is charming, with the character centrally placed and generously sized on the page, making it a standout display piece. Full of personality, with a strong silhouette and expressive lines, this is classic Disney animation at its best.Rendered in graphite with red and green colour pencil detail on original 5-peg hole animation paper, the drawing features clear indications for the ink and paint team, including shadow and cel layering references. The shaded area behind Pinocchio's arm is marked "DX65," a practical note that hints at the colour reference and instruction. It is numbered "C65" and stamped "Prod. 2003, Seq. 1.6, Scene 15". Dimensions: 25.5 cm x 30.5 cm (10" x 12")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

PETER PAN (1953) - Two Original Production Pencil Drawings of Captain Hook and The Crocodile - A pair of original production drawings of Captain Hook and the Crocodile from Walt Disney's 1953 animated film Peter Pan.These two drawings bring together two of the film's most iconic characters from Peter Pan, Captain Hook and the Crocodile, in a rare and expressive combination. Though sourced from different sequences, the artwork presents a compelling dialogue between adversary and antagonist, showcasing the animators' nuanced character design and performance-led draftsmanship. Historically undervalued compared to painted cels, original production drawings were considered the foundation of Walt's animation process, and their survival remains critical to understanding the artistry behind the film.Captain Hook is captured mid-action, hunched and fraught with theatrical tension. The combination of graphite, coloured pencil, and the strong use of line hierarchy, including red and blue pencil for shadow and directional cues, typifies Disney's studio drawing technique during the Golden Age. The drawing is marked "149".The Crocodile, whose screen time in Peter Pan is relatively limited, is seen here in a classic pose, eyes wide and waiting in comic anticipation. This expressive rendering, large and well-positioned on the 12-field, 5-peg hole sheet, is accompanied by a separate animation of his tail - an element that underscores Disney's meticulous approach to overlapping movement. The character's scarcity in the film makes surviving artwork especially desirable among collectors. The Captain Hook sheet exhibits minor edge wear and a minor tear on the right edge. Dimensions (each): 32 cm x 39.5 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

SNOW WHITE AND THE SEVEN DWARFS (1937) - Grumpy Original Production Pencil Drawing - An original production animation drawing of Grumpy from Walt Disney's Snow White and the Seven Dwarfs, the studio's groundbreaking first full-length animated feature from 1937, a film that forever changed the landscape of animation and cinema.While Disney rarely credited individual animators on specific drawings, it's worth noting that some of Disney's greatest talents shaped Grumpy's personality: Fred Moore, Frank Thomas, and particularly Bill Tytla, whose expressive draftsmanship brought complex emotions to life. Tytla, one of Disney's legendary "Nine Old Men," was especially admired for his work on Grumpy, giving the character surprising depth.The drawing shows Grumpy in a moment of startled irritation, clutching the edge of a curtain or blanket as he turns his head sharply, a classic Grumpy pose filled with attitude and tension.Rendered in graphite with red pencil underdrawing, this piece provides a fascinating insight into the Disney animation process. The red pencil, often used by assistants or cleanup animators, was essential for blocking movement, refining shapes, or clarifying volumes before the final graphite line went down. The circular, rough construction lines around the face and body helped the animators maintain proportion and fluidity across frames. The curtain or drapery seen drawn behind Grumpy was likely part of the background staging, and the animator included it here to ensure correct interaction with the environment.The paper is original Disney five-hole punched animation paper, and the number "248" in the lower right corner refers to its frame number within the scene. As a piece of Disney history, this is not only a collectable but a beautiful piece of animation art that embodies the technical brilliance, charm, and pioneering artistry of Snow White. Dimensions: 25.5 cm x 30.5 cm (10" x 12")Sold without copyright; see copyright notice in the Buyer's Guide.This item will ship from our LA facilityVAT Status: US

SNOW WHITE AND THE SEVEN DWARFS (1937) - Framed Snow White and Forest Creatures Original Production Cels on Courvoisier Background - An original production multi-cel setup used in the making of Snow White and the Seven Dwarfs, Walt Disney's groundbreaking first full-length animated feature and the film that laid the foundation for the studio's legacy. Drawing on the Brothers Grimm fairy tale, Snow White redefined what animation could achieve emotionally, artistically, and technically.This beautifully staged setup captures Snow White surrounded by her forest friends in a moment of calm and song following her escape into the woods. The scene's warmth and charm have helped cement it as one of the film's most enduring images. Snow White's graceful posture and naturalistic gestures were achieved using the then-revolutionary technique of rotoscoping - tracing over live-action reference footage to ensure fluid, believable movement. Marge Belcher (later Marge Champion), a trained dancer, was filmed in the role, allowing animators to blend realism with stylised charm.The original production cels, hand-inked and painted, have been trimmed and placed over an airbrushed Courvoisier background created specifically for presentation purposes, with contextual detail that reflects the scene's tone and setting. Delicate ink lines and surface detailing on the hair add richness to the composition, while the interaction between Snow White and the animals offers the classic characterisation Disney does best.It is presented in a deep-set frame under laminated glass, with a vintage Walt Disney label affixed to the reverse. There is some slight wear to the lower corner of the frame, but the artwork remains a captivating and iconic piece from a film that changed cinema forever. Dimensions (framed): 38.25 cm x 36 cm x 4 cm (15" x 14.25" x 1.5")Sold without copyright; see notice in the Buyer's Guide.Additional Provenance:Lot 1348, Bonhams TCM Presents ... Out of This World! Auction, 21st November 2017VAT Status: M

GUNDAM FRANCHISE (1979-PRESENT) - Gundam Epyon Original Production Cel and Matching Drawing - A formidable original production cel of the fearsome Gundam Epyon, accompanied by its matching hand-drawn douga, captured in full battle stance with energy blade ignited. This electrifying piece showcases the menacing, knight-like silhouette of Epyon mid-strike, highlighting the mecha's distinctive crimson armour, angular design, and visceral power.The cel captures Epyon in a moment of explosive motion, a rare glimpse of the raw animation energy behind one of the most iconic mobile suits in the Gundam franchise. Originally piloted by Zechs Marquise, the Gundam Epyon is synonymous with the moral ambiguity and escalating stakes of the series' second half. Its design rejects ranged weapons in favour of brutal close combat.The accompanying douga drawing is a masterclass in anime production draftsmanship;  meticulous colour segmentations in red, green, blue, and orange pencils, mapping out light effects, shadow gradients, and mechanical detail. Of particular note is the powerful perspective: Epyon's angular arms and sabre sweep toward the viewer with imposing presence, all framed neatly within production layout borders.Unlike many of the Gundam Wing mechas, Epyon was designed specifically for the series and not ported from prior Universal Century timelines. Its unique aesthetic - part demonic knight, part dragon - made it an instant favourite among fans and one of the most recognisable designs in the franchise. Dimensions: 23 cm x 31 cm (9" x 12.25")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

THE WHOOPEE PARTY (1932) - Mickey Mouse Original Production Drawing - An exceptionally rare original production drawing of Mickey Mouse, created for Walt Disney's 1932 black-and-white short The Whoopee Party, one of the liveliest and most musically inventive cartoons of Mickey's early era.Produced just four years after Mickey's debut in Steamboat Willie, The Whoopee Party exemplifies the joyful rhythm and musical experimentation that defined early Disney animation. The film features Mickey, Minnie, Clarabelle Cow, Horace Horsecollar, and a room full of dancers, instruments, and craziness, all animated with remarkable fluidity and charm. It is a masterclass in timing, movement, and musical synchronisation, and this production drawing is part of that very DNA.Drawings like this were an essential step in Disney's animation pipeline. Before being inked onto acetate cels, every frame was drawn by hand, often by unsung masters of the medium, capturing gesture, personality, and precise motion. Few of these drawings were preserved. Most were discarded after use or archived, making surviving examples, especially screen-used ones, incredibly scarce.The drawing captures Mickey in full swing as he performs on a suspended line of milk bottles, striking them like a xylophone in a burst of percussive playfulness. Rendered in graphite with animator's notes, arcs, and confident linework, this exact pose appears on screen at approximately 5:52, during one of the short's most memorable sequences. The paper bears Disney's standard three-hole peg registration and is numbered "6". The fluidity of Mickey's motion, the wide grin, the line's expressiveness, and the pose's iconic nature make it instantly recognisable and highly desirable. This drawing directly connects collectors to Mickey's golden age and is a standout piece of early Disney artistry. Dimensions: 25.5 x 30.5cm (10" x 12")Sold without copyright; see copyright notice in the Buyer's Guide.This item will ship from our LA facilityVAT Status: US

PUP ON A PICNIC (1955) - Spike and Tyke Original Camera Layout Pencil Drawing - An original camera layout drawing showing Spike and Tyke used in the production of the beloved Tom and Jerry short Pup on a Picnic, directed by William Hanna and Joseph Barbera.This layout represents the opening scene and sets the stage for one of the most iconic recurring duos in animation history: Spike the Bulldog and his son Tyke. We see Spike proudly instructing his son ("That's my boy!") beside their kennels, with multiple position marks for Tyke across the sequence. To the left, outlines of Tom can be found, just follow his curling tail to where he's shown diving into the picnic basket and disrupting the peace. Even Jerry makes several outlined appearances in red pencil, dashing across the setup from right to left in his escape.This drawing is not just a scene layout; it's a piece of visual choreography. The artwork reveals how spatial design, timing, and movement came together before a single frame was painted. These layouts were foundational to story pacing and gag delivery, especially in a studio like MGM, where visual comedy was king. A rare survivor from a now largely lost production archive, this layout is dynamic, charming, and packed with historical significance.It is drawn in graphite with additional red and blue animation notes. This panoramic field sheet shows multiple placements of characters and actions. The annotations and camera instructions offer further insight into the animation process. "SAFETY LINE," "ADD 2'00," and references to props like the "basket-onion bag" and "table cloth" capture the layered, collaborative nature of Golden Age Animation production. A note in red describes a key moment of comic timing: "Tom pitches food up + hits Spike w/ tomato". There is a tiny tear on the bottom edge. Dimensions: 26.75 cm x 63.5 cm (10.5" x 25")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M

SLEEPING BEAUTY (1959) - Two Princess Aurora Original Production Pencil Drawings, One Signed by Marc Davis - A pair of original production drawings of Princess Aurora from Walt Disney's 1959 animated film Sleeping Beauty, each showcasing a different moment in the studio's most stylised animated feature.The clean linework and clarity of expression offer collectors a rare insight into Disney's meticulous animation process and two evocative images of Aurora that reflect technical artistry and timeless charm.The first drawing captures Aurora in her forest cloak, revealing her striking beauty. The drawing is signed by legendary animator Marc Davis, the supervising animator responsible for Aurora's design and performance. One of Walt Disney's "Nine Old Men", he brought an illustrative finesse and sculptural control to his work that defined Disney heroines and villains for generations. The second drawing depicts Aurora in front of the mirror in an astonishing and sophisticated feat of animation with both her back view and mirrored reflection.Both drawings are rendered in graphite and coloured pencil on 16-field 3-peg animation paper, numbered "20" and "57". The paper displays some creasing. Dimensions (each): 32 cm x 39.5 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.VAT Status: M

SLEEPING BEAUTY (1959) - Maleficent Original Production Pencil Drawing Signed by Marc Davis - An original production drawing of Maleficent signed by legendary animator Marc Davis from Walt Disney's 1959 animated film Sleeping Beauty.Davis was one of Walt Disney's celebrated Nine Old Men and the designer and principal animator behind Maleficent, one of Disney's most iconic villains. His sophisticated draftsmanship and mastery of gesture defined her regal menace. This approach helped elevate Sleeping Beauty's animation style into something almost architectural in its stylisation, complementing the overall stylings of Eyvind Earle. Good original drawings of Maleficent are scarce, and examples signed by Davis are highly sought after. This is an exceptional piece of animation history and a direct connection to one of the most revered talents in Disney's golden age.This elegant yet intimidating profile pose captures the dark majesty of the character and displays hallmarks of Davis's confident, refined linework. The drawing is rendered in graphite on 12-field, 3-peg hole animation paper and signed prominently by her creator, the legendary Disney animator Marc Davis. The drawing is numbered "11" and presents beautifully on original production paper with vintage peg hole configuration and tape marks to the lower edge from archival studio use. Dimensions: 32 cm x 39.5 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.VAT Status: M

SNOW WHITE AND THE SEVEN DWARFS (1937) - Snow White Original Production Pencil Drawing - An original production drawing of Snow White from Walt Disney's 1937 animated film Snow White and the Seven Dwarfs.Snow White and the Seven Dwarfs was the first full-length cel-animated feature film in cinema history and Walt Disney's most ambitious undertaking to date. Released in 1937, it was also the first animated feature in Technicolor, and its success reshaped the possibilities of what animation and film could be. Pieces from Snow White are increasingly scarce, particularly those that capture the character in such a central and emotive moment.An important piece of animation history, this expressive drawing reflects the delicacy and warmth that defined Disney's first princess, Snow White, captured in a full-figure pose as she brings her hand to her lips. The clean, confident linework, subtle gesture, and emotional clarity reflect the disciplined artistry behind Snow White's on-screen presence. It is rendered in graphite and red pencil on 12-field 5-peg animation paper. The drawing is numbered "19" in the lower right and bears original production stamps at the lower left. There is some minor creasing in the bottom corners. Dimensions: 25.5 cm x 30.5 cm (10" x 12")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

KAWS - Young-Hee "Monotone" Vinyl Figure, 2024 - A Young-Hee "monotone" version figure by KAWS (Brian Donnelly), USA b.1974 -To celebrate the premiere of the second season of the hit show Squid Game, KAWS teamed up with Netflix and AllRightsReserved to produce a set of collectable figures of Young-Hee, the large motion-sensing female animatronic doll from the show.The design was inspired by KAWS infamous character Companion. Made from vinyl, the figure shows Young-Hee as a puppet with grey-coloured hair, crossed eyes, a light-grey shirt and darker grey dress, and poseable arms. It comes packaged in its original black-coloured box decorated with a printed line drawing of the figure on the lid.Dimensions (boxed): 45.5 cm x 27.5 cm x 12 cm (18" x 10.75" x 4.75")View this 360 turnaround at full sizeAbout the Artist:New York-based artist and designer Brian Donnelly (known as KAWS) is predominantly known for designing limited-edition toys, sculptures, paintings, clothing, and other products. KAWS work grew in popularity in the 1990s when he pursued a career as a graffiti artist, creating a distinctive subversive style. It was enhanced even more so when he began designing limited-edition vinyl toys. Nowadays, KAWS work stirs excitement in the art world with his detailed and distinctive sculptures, which often incorporate characters from popular culture, changing people's presumptions of beloved figures.VAT Status: M

PINK FLOYD: THE WALL (1982) - Original Framed Teacher Marionette Production Cel and Pencil Drawing Display - An original production cel and matching production drawing of The Teacher, one of the most infamous and enduring figures from Pink Floyd’s The Wall. Suspended like a marionette, this moment captures the very essence of what The Wall set out to do: visualise control, repression, and the psychological unravelling of its protagonist, Pink.Though The Wall was released as a feature film in 1982, this specific sequence, the Teacher as puppet, had already burned itself into public consciousness years earlier through the official music video for “Another Brick in the Wall, Part 2â€. The sight of the Teacher strung up like a grotesque marionette became one of the defining visuals of the band’s critique of authoritarian schooling, institutional power, and the loss of innocence. This image is instantly recognisable even for those who never sat through the whole film.In the film, the Teacher is no longer a person, but a tool, a cog, a puppet used to beat down the next generation. The fact that this visual found its way from a concept album to a feature film and into pop culture consciousness is a testament to its power.The original drawing and production cel carry the official seal of the Pink Floyd – The Wall art programme, set up to offer artefacts from one of the boldest, most iconic animated films in music history. These icons are now increasingly rare and increasingly meaningful. A certificate of authenticity featuring the printed signatures of Scarfe and Pink Floyd frontman Roger Waters are stuck to the back of the display. The frame exhibits some light wear. Dimensions (framed): 44.25 cm x 89.75 cm x 1.5 cm (17.5" x 35.25" x 0.5")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M

DISNEY'S HERCULES (1997) - Pain and Panic Original Concept Drawing - A detailed black pencil concept cleanup drawing featuring Pain and Panic, the mischievous minions of Hades from Walt Disney's Hercules.Due to Hercules being produced during the digital animation era, original pencil drawings like this remain the only tangible, hand-drawn elements used in the creation of the film, offering a rare look at the character development process.Drawn by studio artist Cody Reynolds, this full-figure composition captures the impish energy and contrast between the two characters: Pain's hunched, nervous posture and Panic's wide-eyed, frantic expression, mid-exchange over the Fates' eyeball.The lines are clean and expressive, typical of the refined "cleanup" phase where rough animation is translated into final line art for production reference or potential cel translation. The drawing also features the official Disney copyright red-coloured stamp in the lower right corner. Dimensions: 32 cm x 43.25 cm (12.5" x 17")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: Ω

WHO FRAMED ROGER RABBIT (1988) - Multi-Character Original Production Drawing - An original character production drawing from Robert Zemeckis' landmark hybrid movie, Who Framed Roger Rabbit, featuring Mickey Mouse, Minnie Mouse, Goofy, Daffy Duck, Bugs Bunny, Tweety, and Betty Boop.Created for the film's iconic final sequence, this historic moment famously marks the first and only time animated characters from rival studios including Disney, Warner Bros., Fleischer, and others appeared together on screen.Drawn on 16-field animation paper in graphite and orange pencil, this image was created for the film's final sequence, where the characters gather around the dipped remains of Judge Doom (indicated by the soft orange outline in the foreground). The use of orange pencil denotes rough positioning and scene planning, while the refined graphite outlines signal this was a traced and finalised element intended for production reference prior to cel painting. Registration marks, scene notation ("237/B1"), faint orange cross pan indicators, and a camera crop line through Bugs Bunny's ears point to its use as a working layout for the animators and camera team. Each character is delicately rendered, ready for ink and paint.This original drawing, featuring classic poses and expressions of some of the most iconic cartoon characters, is a wonderful example of the intricate and detailed processes of animation before colouring and placing it onto film. Dimensions: 32 x 41 cm (12.5" x 16.25")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M

PINOCCHIO (1940) - Two Original Production Pencil Drawings of Geppetto and Pinocchio Dancing - A pair of original production full-figure drawings of Geppetto and Pinocchio from Walt Disney's 1940 animated film Pinocchio.Pinocchio was Walt Disney's second animated feature and remains one of the most technically sophisticated films of its era, with shadow work, dimensional character animation, and emotional nuance pushed to new heights. These two drawings, though created for different moments, reflect the care and complexity of that process. This is an opportunity to acquire original artwork from one of the most enduring relationships in Disney history.The first drawing shows Pinocchio mid-step, arms folded, whilst attempting the Hopak dance during the song "I've Got No Strings". It features tonal cues and shadowing in red and green pencil. It is numbered "72" and from "Prod. 2003, Seq. 4.2, Scene 42". The Geppetto artwork shows him stooped and reflective yet full of movement, putting on his coat. It is labelled "Prod. 2003, Seq. 3.1, Scene 5", numbered "369," and showcases delicate shadow instruction and green tonal layout.Both sheets bear clear ink and paint reference markings, notably the use of red and green colour pencils to indicate colour separation, shading, and contour, all essential for guiding cel painters during production. The artwork sits on Disney's 5-hole peg configuration, standard for the studio's Golden Age of animation. The Geppetto drawing comes with a protective sheet of acetate. Dimensions (largest): 31.75 cm x 39.25 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

FANTASIA (1940) - Chernabog Original Production Pencil Drawing - An original production drawing of Chernabog from Walt Disney's 1940 animated film Fantasia.Chernabog is the demonic mountain spirit from Fantasia's Night on Bald Mountain sequence. It is widely regarded as one of the most powerful and visually striking character animation pieces in Disney history. This high-calibre drawing offers a glimpse into the making of Fantasia and is a key artefact from one of the most ambitious sequences ever attempted in traditional animation. Chernabog was animated under the supervision of Vladimir "Bill" Tytla, one of Disney's most acclaimed animators. Tytla, who also animated Stromboli (Pinocchio) and Dumbo, often considered Chernabog his finest achievement.Drawn in graphite and highlighted with red and blue coloured pencils, the linework is bold and enhanced with animator notes in red indicating painting instructions. This drawing is labelled with the frame number "184". Using different coloured pencil lines also served a practical purpose in the animation process, allowing the ink and paint department to trace linework in specific colours when transferring to the cel. Characters were hand-inked in coloured lines rather than pure black. The 5-peg registration hole configuration at the base of the sheet confirms this was part of Disney's animation pipeline during the Golden Age, and the framing lines drawn around the figure reflect how the rostrum camera would capture this composition. Dimensions: 32 cm x 39.5 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

AKIRA (1988) - Two Tetsuo Production Cels with Matching Drawings - Two production animation cels and matching production drawings featuring Tetsuo from Katsuhiro Otomo's Akira.Otomo's genre-defining masterpiece of Japanese animation, Akira, is considered one of the most important works in anime history. It is an outstanding piece for collectors, not only for its technical completeness and visual impact but for what it represents: a landmark in hand-drawn animation.This lot includes an original production cel of a powerful Tetsuo mid-transformation, paired with its matching character drawing and a separate effects cel and drawing capturing the explosion and airborne debris behind him. Though not the keyframe for the sequence, this combination creates a visually complete moment from one of Akira's most recognisable animated passages.Tetsuo's strained pose and expression are rendered with sharp precision and emotional intensity, his cape billowing against a backdrop of rising smoke and chaos. It is hand-painted in gouache on an acetate sheet labelled "D49". The accompanying hand-painted explosion layer, marked "A32" to match the cel number, adds motion and cinematic weight, evoking the escalating psychic conflict at the heart of the film.The drawings are rendered in a combination of graphite and red and green coloured pencils. They are numbered "D49" and "A32", confirming their connection to the cels. Some of the red paint from the Tetsuo cel has transferred onto the explosion cel. There are some signs of discolouration around the edges of the drawings and a small hole in the upper left corner. Dimensions (each cel): 23 cm x 35.5 cm (9" x 14"); (each drawing): 23.5 cm x 35 cm (9.25" x 13.75")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

BUGS BUNNY - Signed Limited Edition Animation "Sequential Series" Drawing by Virgil Ross - A limited edition animation drawing of Bugs Bunny created by legendary animation Virgil Ross. Titled "Whoaaa", this hand-inked and hand-painted artwork was part of the Sequential Series and shows three separate newly drawn character study images by Ross of Bugs Bunny dressed in Western attire on his horse. The hat resembles what Bugs Bunny wore in the 1948 animated short Bugs Bunny Rides Again. This lot is hand-numbered #187 out of 250, signed by Ross in black ink and bears a Warner Bros Virgil Ross Masters Collection seal in the lower right corner. It comes mounted within a black frame with acrylic, which displays minor signs of wear, and features a hanging wire on the reverse. Dimensions (framed): 24" x 21" x 1.25" (61 x 53 x 3 cm)Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

ONE HUNDRED AND ONE DALMATIANS (1961) - Set of Three Cruella de Vil Car Production Colour Model Cels and Colour Key Study Drawing - A collection of three original hand-painted colour model cels, accompanied by a rare hand-drawn colour key study, all created during the production of One Hundred and One Dalmatians.These pieces showcase the evolution of Cruella de Vil's menacingly glamorous car, a visual extension of her chaotic, careening personality, through multiple palettes, highlights, and layout angles.One Hundred and One Dalmatians was a stylistic turning point for Disney. It was the first feature to embrace the Xerox process fully, transferring animators' pencil drawings directly onto cels rather than redrawing in ink, a revolutionary time-saving method. The film was renowned for its contemporary art direction and exquisite London setting. There were believed to be exactly 6,469,952 spots in the film, a technical feat that necessitated innovations like the Xerox process in the first place.These are not standard animation cels but model colour keys, tools used by the studio's paint and ink departments to establish and reference colour consistency throughout the film. The cels here offer three distinct colour approaches, each boldly different in tone and represent a test or approved version of the vehicle's design, reflecting the creative decisions that would inform final animation. The hand-drawn colour key drawing includes annotated pigment codes and notations, revealing the precise, collaborative process of determining how a character (or car!) would appear on screen.Studio-stamped with scene, sequence, and cel level notations, this grouping is not only a practical document of production but an expressive archive of design decision-making. Together, these pieces celebrate both the artistry and innovation that One Hundred And One Dalmatians brought to Disney's animated canon. The set displays some staple holes from previous use and minor marks. Dimensions (each cel): 31.75 cm x 40.75 cm (12.5" x 16"); (drawing): 31.75 cm x 41 cm (12.5" x 16")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M

CIRCLE OF RICHARD PARKES BONINGTON (BRITISH 1802-1828) UNLOADING A BARGE Pencil With Col. J. Lewis Brown's collector's stamp (lower left) 11.5 x 17.5cm (4½ x 6¾ in.)Provenance: John Lewis Brown, a gift from the artist to John Lewis Brown's Uncle and by descent to Louise Lewis Brown, his daughter Jean Dieterle and by descent until Sale, Sotheby's, London, 21 November 1991, lot 26 This drawing was part of a large group of sketches from the Dieterle collection which were sold Sotheby's 21 Nov 1985 lots 22-33. Their provenance can be traced back to the artist John Lewis Brown (1829-1890) through to his niece Louise Lewis Brown by whom the collector's stamp (L.307d) was added circa 1890-1892.    Condition Report: The sheet is not laid down but attached to the mount at the upper corners, there is some light surface dirt and some scattered light foxing and discolouration along the extreme upper edge. There are also some areas of silver fish damage. The pencil work is strong. The left hand edge is deckled where it has been removed from a sketchbook. The drawing is fitted into conservation housing and could be hung without further attention. The drawing was not removed from the frame in the preparation of this report. Condition Report Disclaimer