Hollywood Auction 43

(Walt Disney Pictures, 1940) Wanting to create the darkest and most purely evil character imaginable for the “Night on Bald Mountain” sequence in his

(Walt Disney Productions, 1941) Genuine original animation production cel (not a limited recreation) from the “How to Ride a Horse” sequence of The R

(Walt Disney, 1951) Original color styling/concept painting featuring Alice fleeing the Queen’s guards accomplished in tempera on 7 ½ in. x 8 &...

(Walt Disney, 1959) Color styling/background design painting accomplished in tempera on board depicting Sleeping Beauty in her chamber. The Visual De

(Walt Disney, 1955-1959) Original animation production cel featuring the iconic sequence of Donald Duck and the gong that started each episode of the

(Walt Disney Productions, 1959) Pen & ink and animator’s gouache on 12.5 x 16” registration-punched celluloid, depicting a key scene in the sto...

Disneyland “Casey Jr. Circus” train car ornamentation, measuring 36 in. tall x 84 in. long, constructed out of metal, wood and other materials that re

Originally conceived in 1951 by Disney artist Harper Goff, then finally completed after 7 years construction in 1969, The Haunted Mansion was not only

(Walt Disney, 1964) Original animation production cel featuring fox hunters and hounds from the “Jolly Holiday” animated sequence of classic Disney fi

(United Artists, 1961) Gouache and airbrush on 6 x 12” 8-ply illustration board, signed by Eyvind Earle (1916-2000), one of the most innovative conce

Original painting accomplished in tempera and oil on board depicting a lush stylized landscape of groves of trees, dense hedges and misty mountains in

Original production cel and background from the 1966 Chuck Jones/Dr. Seuss animated feature How the Grinch Stole Christmas. (CBS-TV, 1966) This key ma

Original production cel and background from the 1966 Chuck Jones/Dr. Seuss animated feature How the Grinch Stole Christmas. (CBS-TV, 1966) This key ma

Original painting of Vampirella flanked by two black panthers by Manuel Sanjulian. Accomplished in oils on canvas measuring approx. 50 in. x 36 in.

(United Feature Syndicate, 1994) Pen & ink and animator’s gouache on 10.25 x 12.5” registration-punched celluloid, matched with correct origina...

14 in. x 20 in. Pencil and ink on board. In the world of fantasy, and science fiction art, there is one artist that has always been cons...

Pen and ink on board, approx. 13 in. x 19 in., on board measuring 13 ½ in. x 20 ¼ in. In 1967 Spider-Man had hit his landmark 50th issue,...

Ca. 1965, pen and India ink on 4-ply illustration board, with paste-on caption balloon, and partial copyright snipe from Roth’s studio on verso, 5 x 8

Ca. 1965, pen and India ink on 8-ply illustration board, 7.5 x 7”, depicting a straggle-haired skeleton creature on a motorcycle, most likely for a wi

1968, pen and India ink with white tempera detailing on 4-ply illustration board, with Roth’s copyright snipe pasted on, depicting a wild boar in SS o

1967, pen and India ink with white tempera detailing on 4-ply illustration board, 7.5 x 8”, with Roth’s copyright snipe pasted on. This iconic angel o

Ed “Big Daddy” Roth original pen & ink and tempera illustration of leering executioner holding skull and bloody ax. 1967, pen and India ink with...

(Paramount, 1979) Final artwork by Birney Lettick for the Sunburn one-sheet poster featuring Farah Fawcett carrying Charles Grodin and Art Carney. Ac

(Universal, 1980) Final artwork by Birney Lettick for the Coal Miner’s Daughter one-sheet poster featuring Sissy Spacek and Tommy Lee Jones. Accompli

(UA, 1979) Final artwork by Birney Lettick for Rocky II featuring Sylvester Stallone and Talia Shire. Accomplished in oil on board, the image measure

(ABC-TV, 1966-1967) Original Final script for the episode, “Eat, Drink and Be Dead,” dated August 9, 1966, with green revision pages dated August 12,

Personal check for $20 from Bruce Lee imprinted with his address, written and signed by Lee on Feb. 3, 1967, to Van Williams, who played “The Green Ho

(ABC-TV, 1966-1967) Animation gouache on (3) sheets of acetate laid over clear plexiglas, combined into a 19.5 x 20” circular-window flat-black sand

Original wooden shingle from the very first Hollywood studio where The Squaw Man was shot in 1913, signed by Cecil B. DeMille. In 1912, a barn on the

Measuring 1.5 x 3.5 x 8” and fashioned from dark blue leatherette-covered wood, monogrammed in gold letters, “C. B. deM.”, and containing two vintage

(MGM, 1925) Collection of (15) gelatin silver 8 x 10” original and vintage copy prints from the silent version of Ben-Hur, which Oscar-winning art di

This monocle was worn by director Fritz Lang during the making of Metropolis (1926). Housed in a unique mechanical frame designed by Thomas Kuntz wit

(27) Folio size 19 in. x 25 in. photographic enlargements from 1926 which served as the Feature Players Directory of its time. Depicted in numerous c

Legendary western-film star Tom Mix wore a particular style of cowboy hat throughout most of his screen career, in fact it was the one consistent iden

6 items total. Three vintage 8 in. x 10 in. black and white production stills from replacement animation pioneer George Pal’s films of the 1940s. Thi

Pair of concept drawings on 15 in. x 20 in. illustration board, one with lower left corner removed. This well preserved concept art was rendered by J

(RKO, 1933 & 1949) (1)Silver Bromide portrait, 7.5 x 9.75” of Willis O’Brien directing King Kong, signed on recto and stamped on verso by photo...

(8) Vintage silver gelatin matte double weight 8 x 10” prints of David Allen in the Cascade Pictures studio ca. 1970. They illustrate in detail his re

(RKO, 1933) (2) wood-handled, iron-tipped spears, each 57” with fur accents, attached to a 14 x 22” raw leather shield with painted native decoration

This master scene drawing depicts a Pterodactyl attacking a woman on the Temple steps and was utilized in a pivotal scene from King Kong, when Kong br

(Warner Bros./Seven Arts, 1969) This incredible illustration is the long lost marquis color concept drawing by Willis O’Brien for his story, Gwangi.

On 15 in. x 20 in. illustration board, accomplished in pencil, some with watercolor wash. Hidden for years, this is a remarkable collection of story

This extremely rare concept art was rendered by Willis O’Brien for his story idea about a whale graveyard, and prehistoric sea monsters attacking ship

13 total, accomplished in graphite and colored pencil on leaves of 12 in. x 18 in. artist’s vellum and taped to 15 in. x 20 in. illustration board. I

20 total, accomplished in pencil, gouache on leaves of 15 in. x 20 in. artist’s illustration board. These colorful and well preserved story boards fr

(Universal, 1933) In the already rarified world of vintage horror poster collecting, this exceptional example of the beautifully designed and lithogr

(Universal, 1933) Following the enormous success of Frankenstein in 1931, Universal Studios wanted more. The powers-that-be urged famed Director Jame

(MGM, 1939) When David O. Selznick was preparing Gone With the Wind, he gathered together some of the most talented cinematic artists in Hollywood at

(MGM, 1939) This fantastic original matte painting features a stark Kansas farm road rendered in white charcoal on black illustration board with produ

(MGM, 1939) Adrian-designed jacket of bright green wool with six-button taupe wool chest design surrounded by dark green brocade and hook-and-eye clos