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Gustaf Tenggren Story Art for the Moth and the Flame 1937

Artists: Gustaf Tenggren (All) , Walt Disney Studio (All)

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Gustaf Tenggren Story Art for the Moth and the Flame 1937 Comic Art

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Artwork Details

Title:	Gustaf Tenggren Story Art for the Moth and the Flame 1937
Artist:	Gustaf Tenggren (All)
Artist:	Walt Disney Studio (All)
Media Type:	Paint - Watercolor
Art Type:	Animation
For Sale Status:	0
Views:	6,470
Likes on CAF:	0 1
Comments:	0
Added to Site:	8/15/2006
Comic Art Archive:

Description

3. Are there rumors about the inauthenticity of art being sold? Everyone has to evaluate for himself if such rumors are true. I know that a certain long-term employee/artist from Disney has been telling people for more than a decade that certain pieces of concept art are modern forgeries. I was once given the name of the person who is allegedly creating these forgeries, and I was told by another dealer the identities of the persons who market the alleged forgeries. I have no way of knowing the truth, but I have stayed away from any pieces of concept art that are said to be by two prominent past Disney artists.

4. Is it likely that so many pieces of story/concept art were created by one artist in connection with sequences of Disney features which are eagerly sought by collectors? I am very well aware that Mary Blair was notoriously prolific and that her work could come onto the market, even many years after her death, due to the high prices her concept art now commands. And there is absolutely no question that many, many authentic pieces of Mary Blair's art have been sold to collectors over the past 40 years. BUT, I would think that Blair would have painted similar numbers of concept art for all segments of the films on which she worked. Since there are a number of authentic works that have emerged over the years, it is not surprising that at least a few perfectly legitimate examples from most sequences of Cinderella, Alice in Wonderland, Peter Pan, and even the 40s features with multiple stories, e.g., Melody Time, have turned up on the art market. But for every Blair painting of Tweedle Dum and Tweedle Dee, or of the Carpenter or Walrus, there have been literally a dozen or more of the Caterpillar, of Alice falling down the Rabbit Hole, and of other characters from the most popular sequences of Alice in Wonderland. This disparity in availability of art from sequences of Cinderella is even more pronounced. How many pieces with the mice, the grand duke, or even the stepmother and stepsisters have you seen for sale? But there seems to be an endless supply of coaches speeding to and from the castle, of the Fairy Godmother working her magic, and of Cinderelle dancing on air and sparkles with the Prince. Was it really necessary to have so many similar renditions of the same subjects in order to aid in the animation of the feature. The same can be asked about images from Peter Pan of the pirate ship sailing in the sky, of the Indian encampment, or of the Mermaids on the rocks. And then there are the images of the Headless Horseman, an admittedly vital character who appeared for a small amount of time in the Legend of Sleepy Hollow, yet the number of concept pieces for that segment seem to equal or exceed the total number of images from the rest of the featurette combined. In short, how can the number of images from the most popular Disney sequences so greatly outnumber images from the least popular sequences, even though no more charm or inspiration from Mary Blair would be needed for the former than for the latter? Continued...

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	C E
Joined:	April 2006
Last Login:	August 2025
Country:	UNITED STATES
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