Screenshot 2024-02-24 at 12_edited_edited.jpg

Art

BACK

This is a marketing advertisement mock-up used to promote the release of the 1950 Walt Disney Studios animated feature, Cinderella. This tear-sheet features all the key promotional details and synopsis for the film to promote its release in theaters. These marketing materials would be distributed for advertisements in print for a double page magazine advertisement.

Advertisement for Disney's Cinderella

Walt Disney Productions

1950

This is a marketing advertisement mock-up used to promote the release of the 1950 Walt Disney Studios animated feature, Cinderella. This tear-sheet features all the key promotional details and synopsis for the film to promote its release in theaters. These marketing materials would be distributed for advertisements in print for a double page magazine advertisement.

Original Art Deco painting accomplished in ink and watercolor, heightened with white. Artist's monogram to the lower right hand corner. A stylish Art Deco-style drawing with a central female figure. The image depicts Cinderella (or Aschenputtel as she was known in the original version of Grimm's fairy story) in her magnificent gown and slippers. The painting's colors are a typically Deco combination of black, gold and green. Cinderella's dress features Balfour's distinctive intricate line drawing with touches of color and a colorful bodice in peacock feather design. Mounted and framed. The painting is in excellent condition with just a hint of wear to the white heightening in the lower left hand corner. Depicting the original Brothers Grimm version of Cinderella in which Aschenputtel places a hazel branch on her mother's grave, the branch when watered with her tears grows into a magic wishing tree and furnishes Aschenputtel with increasingly elaborate gowns and jewels for the three festivals held by the Prince in his search for a wife. Ronald Balfour is best known for his magnificent illustrations to Omar Khayyam's Rubaiyat, but little is known of his other works and there is no recorded publication of this painting.

Cinderella and the Magical Wishing Tree

Ronald Balfour

circa 1920s

Original Art Deco painting accomplished in ink and watercolor, heightened with white. Artist's monogram to the lower right hand corner. A stylish Art Deco-style drawing with a central female figure. The image depicts Cinderella (or Aschenputtel as she was known in the original version of Grimm's fairy story) in her magnificent gown and slippers. The painting's colors are a typically Deco combination of black, gold and green. Cinderella's dress features Balfour's distinctive intricate line drawing with touches of color and a colorful bodice in peacock feather design. Mounted and framed. The painting is in excellent condition with just a hint of wear to the white heightening in the lower left hand corner. Depicting the original Brothers Grimm version of Cinderella in which Aschenputtel places a hazel branch on her mother's grave, the branch when watered with her tears grows into a magic wishing tree and furnishes Aschenputtel with increasingly elaborate gowns and jewels for the three festivals held by the Prince in his search for a wife. Ronald Balfour is best known for his magnificent illustrations to Omar Khayyam's Rubaiyat, but little is known of his other works and there is no recorded publication of this painting.

A print of what was originally a digital art piece, done to look like an oil painting. A large print hangs on the Disney Wish cruise ship. The artist made it as a tribute to the power and unity of women all over the world. It shows 10 versions of Cinderella helping one another climb from the depths of darkness over a cliffside with a shimmering castle in the distance. Said the artist: “It’s like every woman rising up after getting knocked down, because it’s just like this story of Cinderella — just being at the bottom, like being pushed to the lowest point, and then being able to rise up — rise up from the ashes. And so I wanted to create that kind of darkness, that cave kind of atmosphere and all these women helping each other up.” Each Cinderella figure is different with multiple skin colors and sizes represented. “I wanted to show all these different variations of that kind of traditional Cinderella that we know — to show every woman has Cinderella, to show that character, but every possible way you could imagine from every part of the world and every culture,” Nikkolas said.

Cindys

Nikkolas

Florida, July 2022

A print of what was originally a digital art piece, done to look like an oil painting. A large print hangs on the Disney Wish cruise ship. The artist made it as a tribute to the power and unity of women all over the world. It shows 10 versions of Cinderella helping one another climb from the depths of darkness over a cliffside with a shimmering castle in the distance. Said the artist: “It’s like every woman rising up after getting knocked down, because it’s just like this story of Cinderella — just being at the bottom, like being pushed to the lowest point, and then being able to rise up — rise up from the ashes. And so I wanted to create that kind of darkness, that cave kind of atmosphere and all these women helping each other up.” Each Cinderella figure is different with multiple skin colors and sizes represented. “I wanted to show all these different variations of that kind of traditional Cinderella that we know — to show every woman has Cinderella, to show that character, but every possible way you could imagine from every part of the world and every culture,” Nikkolas said.

Irving Penn Photograph Series from Vogue

Irving Penn

New York, 1946

A series of fairy tale photographs taken by Irving Penn of budding supermodel Carmen Dell'Orefice in high fashion. Photos are tableaus from Little Red Riding Hood, Cinderella, and Snow White. They accompanied brief fairy tale retellings in the Vogue Dec 1946 issue. Black and white.

Excellent clean condition. This is a cover from the original Life magazine, not to be confused with the photojournalism publication. The striking color illustration by Robert John Wildhack depicts a little girl sitting cross-legged with an open book on her lap, the figure of Bluebeard with a sword and keys hovering over her, the girl saying "I just know I'd ha' gone into that room." While this issue is entitled "Woman's Number," a look at the contents only too sadly show that this issue is one of men writing about women in a manner that is often anything but respectful - indicated only too clearly in the cover illustration.

Life Magazine Cover

Volume 59, No. 1540; Robert John Wildhack (illust), Life Publishing Co.

May 2nd, 1912

Excellent clean condition. This is a cover from the original Life magazine, not to be confused with the photojournalism publication. The striking color illustration by Robert John Wildhack depicts a little girl sitting cross-legged with an open book on her lap, the figure of Bluebeard with a sword and keys hovering over her, the girl saying "I just know I'd ha' gone into that room." While this issue is entitled "Woman's Number," a look at the contents only too sadly show that this issue is one of men writing about women in a manner that is often anything but respectful - indicated only too clearly in the cover illustration.

Limited edition mixed media piece. From the artists: "I created this piece because I have always been fascinated with the sentiment “LOVE IS BLIND, Lust has 20/20 Vision". That phrase has always felt like an incomplete sentence to us, so we took the liberty of finishing it.

What you see here is a more accurate representation of dating in our day and age. Look closely and you will see that Snow White is holding in her hands not an apple, but rather a heart, which so often directly represents LOVE. Being blindfolded of course, would render someone unable to see, hence they are BLIND. Next, did you notice the message on the bandana? It says, “Lust has 20/20 Vision”. Put that all together and you have “Love is Blind, Lust has 20/20 Vision”, the perfect sentiment indeed for any dater once upon a time or even now seeking SOMETHING. Why Snow White as the central figure? Well, she did live with 7 guys...

This piece continues to be a mainstay in high end galleries throughout the United States and is presented in many different forms and variations."

Love is Blind, Lust has 20/20 Vision

Artnwordz (Grant Rosen and Micha Kuechenhoff)

Los Angeles, 2022

Limited edition mixed media piece. From the artists: "I created this piece because I have always been fascinated with the sentiment “LOVE IS BLIND, Lust has 20/20 Vision". That phrase has always felt like an incomplete sentence to us, so we took the liberty of finishing it.

What you see here is a more accurate representation of dating in our day and age. Look closely and you will see that Snow White is holding in her hands not an apple, but rather a heart, which so often directly represents LOVE. Being blindfolded of course, would render someone unable to see, hence they are BLIND. Next, did you notice the message on the bandana? It says, “Lust has 20/20 Vision”. Put that all together and you have “Love is Blind, Lust has 20/20 Vision”, the perfect sentiment indeed for any dater once upon a time or even now seeking SOMETHING. Why Snow White as the central figure? Well, she did live with 7 guys...

This piece continues to be a mainstay in high end galleries throughout the United States and is presented in many different forms and variations."

An original drawing of Princess Aurora used in the production of Sleeping Beauty. Accomplished in pencil. Animation paper has been trimmed to 9”x9” and is in very good condition, with some creasing to the paper. Framed.

Original Sleeping Beauty Production Drawing

Walt Disney Studios

Los Angeles, 1959

An original drawing of Princess Aurora used in the production of Sleeping Beauty. Accomplished in pencil. Animation paper has been trimmed to 9”x9” and is in very good condition, with some creasing to the paper. Framed.

Framed print of digital art made in the wake of the Women's March in 2017.

Protesting Princesses

Amanda Allen Niday

February, 2017

Framed print of digital art made in the wake of the Women's March in 2017.

Framed watercolor, possibly a study for a later watercolor (auctioned by Bonhams in 2016) that was used as an illustration from Grimm's fairy tale "Rumpelstiltskin," executed for publication by American Weekly magazine. Initialed with "W.P." in bottom left.

Rumpelstiltskin

Willy Pogany

circa 1932

Framed watercolor, possibly a study for a later watercolor (auctioned by Bonhams in 2016) that was used as an illustration from Grimm's fairy tale "Rumpelstiltskin," executed for publication by American Weekly magazine. Initialed with "W.P." in bottom left.

Framed illustration for The Golden Book of Fairy Tales, originally published in 1958.

Sleeping Beauty

Adrienne Segur

1951

Framed illustration for The Golden Book of Fairy Tales, originally published in 1958.

An original animation drawing of Ariel rendered in blue pencil and graphite. The number 18 is in the bottom right corner and below that is written Jorgen indicating that the art could be attributed to Disney animator and storyboard artist Jorgen Klubien. This image appears at the 34:36 minute mark as Ariel swims around Prince Eric's statue in her grotto. It's a beautiful loosely drawn animation image of the title character who measures an impressive 6" x 9.5" on 16 field paper. The piece shows handling and a fold crease in the upper left corner not near the artwork. Condition is Very Good.

The Little Mermaid Animation Drawing

Walt Disney Studios

Los Angeles, 1989

An original animation drawing of Ariel rendered in blue pencil and graphite. The number 18 is in the bottom right corner and below that is written Jorgen indicating that the art could be attributed to Disney animator and storyboard artist Jorgen Klubien. This image appears at the 34:36 minute mark as Ariel swims around Prince Eric's statue in her grotto. It's a beautiful loosely drawn animation image of the title character who measures an impressive 6" x 9.5" on 16 field paper. The piece shows handling and a fold crease in the upper left corner not near the artwork. Condition is Very Good.

An original production cel of Ariel from the iconic Part of Your World sequence—one of the most emotionally resonant moments in Disney animation. Ariel tenderly holds an open book and looks through the pages. Production markings in top right corner, paper in very good condition. Framed.

The Little Mermaid Production Cel - Ariel Opening Book

Glen Keane

Los Angeles, 1989

An original production cel of Ariel from the iconic Part of Your World sequence—one of the most emotionally resonant moments in Disney animation. Ariel tenderly holds an open book and looks through the pages. Production markings in top right corner, paper in very good condition. Framed.

Framed print. The composition’s brilliant coloring and myriad details enhance the drama of its subject, the Grimm Brothers’ fairy tale, The Twelve Princesses. The artist exhibited this work extensively, including at the 1901 Paris Salon, testifying to both the artist’s regard for the work and its exceptional quality. Monumental in subject and style, it is clear that the artist himself knew that The Twelve Princesses was his masterpiece, and he took every opportunity to show it publicly. Stevens chooses to depict the moment of the sisters' escape. They adorn themselves in their finest gowns and jewels, with each princess dressed more extravagantly than the last. His approach to the painting is meticulous yet romantic, and the entire composition is a feast for the senses. The long, graceful silhouettes of the princesses occupy the entirety of the colossal canvas, and the artist revels in a painstaking depiction of detail for each and every figure. Strongly-patterned, iridescent fabrics combine with lush jewel tones to create a highly expressive aesthetic that brings a sense of realism to the mythical narrative. Stevens captures the princesses with the precise detail and symbolism that were tenets of the Pre-Raphaelite Brotherhood. They are shown standing before a window barred with iron, emphasizing the wonder of their nightly escape. The central figure gazes into a mirror, serving not as a symbol of vanity, but rather representing the ephemeral, alternate world they are about to enter. The mirror holds their secret and points beyond exterior appearances. Only two of the sisters look out at the viewer, the oldest and the youngest, who have the most significant roles in the story. The eldest, dressed the most austerely and almost hidden behind her sisters, wears a knowing look of secrecy and mystery, while the youngest looks at us apprehensively, foreshadowing their eventual exposure. Combining thoughtful detail, symbolism and aestheticism, this work showcases the enigmatic, dreamlike style of painting for which the Pre-Raphaelites were renowned. Apart from the fact that it is an exceptional example of a Pre-Raphaelite painting, it is also exemplary of the 19th-century interest in legends and fairy tales; the story of the dancing princesses would have been a well-known tale in affluent households of the age. These tales were popularized by Andrew Lang’s Fairy Book series, a collection of 12 volumes that was hugely successful. The Twelve Dancing Princesses was the first story printed in the Red Fairy Book edition of the series in 1890 — an edition the artist would have certainly been familiar with.

The Twelve Princesses

Gustave Max-Stevens

Brussels, 1899 (original work)

Framed print. The composition’s brilliant coloring and myriad details enhance the drama of its subject, the Grimm Brothers’ fairy tale, The Twelve Princesses. The artist exhibited this work extensively, including at the 1901 Paris Salon, testifying to both the artist’s regard for the work and its exceptional quality. Monumental in subject and style, it is clear that the artist himself knew that The Twelve Princesses was his masterpiece, and he took every opportunity to show it publicly. Stevens chooses to depict the moment of the sisters' escape. They adorn themselves in their finest gowns and jewels, with each princess dressed more extravagantly than the last. His approach to the painting is meticulous yet romantic, and the entire composition is a feast for the senses. The long, graceful silhouettes of the princesses occupy the entirety of the colossal canvas, and the artist revels in a painstaking depiction of detail for each and every figure. Strongly-patterned, iridescent fabrics combine with lush jewel tones to create a highly expressive aesthetic that brings a sense of realism to the mythical narrative. Stevens captures the princesses with the precise detail and symbolism that were tenets of the Pre-Raphaelite Brotherhood. They are shown standing before a window barred with iron, emphasizing the wonder of their nightly escape. The central figure gazes into a mirror, serving not as a symbol of vanity, but rather representing the ephemeral, alternate world they are about to enter. The mirror holds their secret and points beyond exterior appearances. Only two of the sisters look out at the viewer, the oldest and the youngest, who have the most significant roles in the story. The eldest, dressed the most austerely and almost hidden behind her sisters, wears a knowing look of secrecy and mystery, while the youngest looks at us apprehensively, foreshadowing their eventual exposure. Combining thoughtful detail, symbolism and aestheticism, this work showcases the enigmatic, dreamlike style of painting for which the Pre-Raphaelites were renowned. Apart from the fact that it is an exceptional example of a Pre-Raphaelite painting, it is also exemplary of the 19th-century interest in legends and fairy tales; the story of the dancing princesses would have been a well-known tale in affluent households of the age. These tales were popularized by Andrew Lang’s Fairy Book series, a collection of 12 volumes that was hugely successful. The Twelve Dancing Princesses was the first story printed in the Red Fairy Book edition of the series in 1890 — an edition the artist would have certainly been familiar with.

A large print set in a wood frame, both set within patterned purple and peach silk matting and a pictorial frame designed by Kit Kemp. Originally drawn by Ivan Bilibin for the fairy tale Vasilisa the Beautiful. Fine.

Vasilisa and the White Rider

Ivan Bilibin and Kit Kemp

Print: Saint Petersburg, 1900; Frame: London, 2019

A large print set in a wood frame, both set within patterned purple and peach silk matting and a pictorial frame designed by Kit Kemp. Originally drawn by Ivan Bilibin for the fairy tale Vasilisa the Beautiful. Fine.