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Never-Before-Seen Eyvind Earle ‘Sleeping Beauty’ Concept Art Headed to Auction

Click on any image in this post to enlarge.
Click on any image in this post to enlarge.

The upcoming Profiles in History animation art auction, that will take place on December 18-19, 2014, includes numerous Eyvind Earle concept paintings that I’d never seen before, from Disney’s Sleeping Beauty, Lady and the Tramp, and The Truth About Mother Goose. The estimates are too rich for my blood, though I know at least a few Cartoon Brew readers who’ll be lining up for these.

To see all of the Earle pieces coming up at auction, plus some others that aren’t in the auction, check out this Cartoon Brew-ED gallery.

(Disclosure: Profiles in History is a Cartoon Brew advertiser, but this is not a sponsored post. I just think it’s really cool stuff and wanted to let everyone know.)

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  • Positively beautiful! If I was rich I would definitely look into getting one of these…but I’m a broke college student so…

  • Are the images of the prints going to be available anywhere online for those of us who can’t possibly afford these, but want to admire them?

  • L_Ron_Hoover

    I always thought those buildings were Mary Blair…

  • A Collector

    Everyone should ask some important questions about the proliferation of Eyvind Earle story art on the market over the past fifteen years or so. The fact that the artist did some story paintings is undisputed. The ones which emerged first were all unsigned, small in size — approximately 5 X 12 or so inches, and were more background studies, with figures being almost incidental. Eyvind Earle had no reason to sign his work while at the studio, was later resistant to signing for collectors, and was inaccessible to most who sought him out. In the late 1990s, very large paintings, up to about 14 X 30 inches, all of a sudden started to appear. They had no obvious purpose, the subjects were typically from those scenes that collectors would want, especially Maleficent fighting Prince Philip, and, with each new batch “discovered,” there would be examples very similar to those which had recently sold for big $$$. Has anyone considered why Earle would have done such an incredible numbers of paintings of the dragon chasing the prince – almost enough to animate a scene with color styling paintings? Just some food for thought from one of several people who would like these questions answered. And don’t ask at the studio, since they are among those who apparently haven’t considered the puzzling circumstances surrounding the ever-expanding supply of story art by Eyvind Earle and Mary Blair.

    • AmidAmidi

      Never considered this point of view before, but you make some very valid points. I just did a quick online search for all the prince-and-dragon concepts that have popped up at previous auctions and there are some rather stylistically abnormal entries.

      Of course, provenance is key in buying animation art, as any other kind of art, and it’s the responsibility of the buyer to vet. I hope those who are plopping down large amounts of money for the Earle pieces are doing their homework.