(Clampett, 1926) Clampett's career path was clear from a very early age. In this five-page school report, 13-year-old Robert Clampett talks about the popularity of comic strips and political cartoons of the day, as well as the emergence of the animated cartoon. Illustrated with original drawings by Clampett as well as clippings of well-known newspaper strips, the report showcases his artistic talent as well as his passion for the medium. The five typewritten pages (with two inked illustrations) are bound in an 11" x 12" folder with a hand-inked cover illustration by Clampett. At almost 100 years old, the report is in good condition overall, with creasing in the cover and a few pages loose in the folder.

(Clampett, 1925) An impressive "Pathe News" comic strip drawn by 12-year-old Robert Clampett. The artwork clearly illustrates the influence of comic artists such as George McManus, Bud Fisher, and Pat Sullivan on Clampett. The final panel mentions "The Junior Times" comic sheet referring to the young folks section of the Los Angeles Times that would publish Clampett's work as well as other young artists. Interestingly, the strip mentions "Gramatky" referring to Hardie Gramatky, also published by the Times and who would later gain fame as a Disney animator and children's book author. Measuring 14" x 5.5" the three-panel inked strip is in good condition with staining from age, a center crease from folding, and a 2" vertical cut in the last panel.

(Clampett, 1926) In 1926 Clampett’s father arranged for and took his 13-year-old son to visit the set of "Our Gang" during production of "The Fourth Alarm." When he returned home, Clampett created this "drawn diary" of the day. Throughout his life, he would continue to create visual diaries of his daily adventures documenting his career as an artist and animator. Measuring 17.5" x 12" the artwork is in good condition with some staining from age, creasing, and two 2.5" tears at the bottom left and upper right. Overall, the piece presents very well.

(Clampett, 1927-1928) As with any good political cartoonist, 14-year-old Bob Clampett kept up with current events. In this comic, Clampett celebrates the success of the United States "Rum Fleet" in deterring the illegal liquor trade from Europe, to the delight of non-drinkers (dries) and the frustration of drinkers (wets). The reverse has a note in Clampett's handwriting stating that the idea was given to him by his mother. Measuring 12.5" x 12.5", the artwork is in good condition with light staining and creases as well as a 2.5" tear on the right side of Uncle Sam. Overall the artwork presents well.

(Clampett, 1928) In the late 1920s, sports comics were very popular in the newspaper, and a 15-year-old Bob Clampett was sure to try his hand at it. In this comic, Clampett lampoons the boxing match where Gene Tunney - a former Shakespearean lecturer at Yale who was unpopular among sports fans for his unexciting brawling style - easily defended his heavyweight title from Tom Heeney's challenge. Measuring 14" x 12" with an image size of 12" x 9", the artwork is in very good condition with very light creasing and staining from age.

(Clampett, 1928) The Summer Olympics of 1928 were held in Amsterdam and 15-year-old Bob Clampett was sure to take note of it in this tongue-in-cheek single-panel comic. Measuring 17" x 13" with an image size of 13" x 9.5" the artwork is in very good condition with only light staining from age.

(Clampett, 1928) The 1928 Summer Olympic Games ended with the United States leading all nations with 56 medals. A 15-year-old Bob Clampett immortalized the event in this beautifully rendered single-paneled comic. Measuring 12" x 10.5" with an image size of 10" x 8" the artwork is in good condition with a vertical crease on the left side.

(Clampett, 1927) Bob Clampett's personal copy of his 1927 Glendale Union High School Yearbook. As a freshman, Clampett was just establishing himself as an artist, and this book contains a single panel drawn by him. Measuring 8" x 11", the embossed cover features Clampett's name at the lower right. The book is in very good condition with expected wear from age.

(Clampett, 1928) Bob Clampett's personal copy of his 1928 Glendale Union High School Yearbook. As a sophomore, Clampett's artistic talents began to be noticed, and several pages of his artwork appear in the book, including an original drawing of a student on the front page signed by Clampett. Measuring 10.75" x 8", the book is in very good condition with expected wear from age.

(Clampett, 1929) Bob Clampett's personal copy of his 1929 Glendale Union High School Yearbook. As a junior and a well-established artist at the school, several pages of his artwork appear in the book. Measuring 10.75" x 8", the book is in very good condition with expected wear from age.

(Clampett, 1930) In his senior year of High School, Clampett moved to Herbert Hoover High School in Glendale. This personal copy of his Senior yearbook features several comics drawn by him. Clampett would leave school before graduation to begin working with his father’s girlfriend, Charlotte Clark, as he pursued a career in animation. Measuring 10.75" x 8", the book is in very good condition with only expected wear from age.

(Clampett, 1930) This original comic was created by Clampett at age seventeen during his senior year of High School. It is clear that his style has begun to change as he is influenced by early animation and a new breed of comic artists. Measuring 14.5"x10", the artwork is in very good condition with only light wear from age. The reverse features an unfinished boxing themed drawing. Clampett was a sports and boxing fan all his life and many of his drawings feature sport themes.

(McCay, 1914) Although Bob Clampett was only a year old when Winsor McCay's "Gertie the Dinosaur" came to life, its impact on generations of animators including Clampett cannot be understated. Created by McCay in 1914 and integrated into his Vaudeville act and later released as a silent film, it is considered the first animated cartoon to feature a set character with a defined personality. The film was a commercial success and made Gertie a cultural icon of the time. It demonstrated that animation could entertain and engage audiences beyond simple novelty, paving the way for animation as a legitimate art form and encouraging other studios to produce animated shorts. The success of "Gertie the Dinosaur” encouraged experimentation and innovation in animation techniques, sparking the development of the industry as we know it today. Each drawing of the production was drawn on rice paper with the background inked onto each piece and Gertie animated into the scene. The drawings were then mounted on board and photographed one at a time to create the short. This image appears as Gertie takes her final bow at the end of the vaudeville show. Bob Clampett received it directly from another early animation pioneer, Paul Terry, right after the Animation Conference at the Montreal Expo in 1967. Terry, best known for creating Mighty Mouse and producing over 1,300 Terrytoons cartoons, inscribed the back “This is an original by Winsor McCay. With all good wishes to Bob Clampett from Paul Terry, Aug. 24 1967.” The drawing is in very good condition, considering its age, with the rice paper measuring 6.75” x 8.5” mounted to a 7.25” x 8.5” display board. The drawing has very faint discoloration from age mainly towards the top, slight spotting, six spots of discoloration at the top and bottom edge from mounting, seven tiny ink spots to the right of Gertie’s face, and a 0.75” V-shaped tear near the right edge that does not affect the image.

(Briggs, 1913) Clare Briggs was a popular newspaper cartoonist in the early 1900s with several popular strips that ran until his death in 1930. Although Oh Skin-nay! The Days of Real Sport was published the same year that Clampett was born, it is obvious that Briggs' artistic style influenced the young artist, and this book became an important part of his own private collection. Measuring 12" x 9", the book is in very good condition with expected discoloration and staining from age and use. Stamped "Property of Bob Clampett" on interior pages.

(Briggs, 1919) Bob Clampett was clearly a fan of cartoonist Clare Briggs, which is evident in the early drawings that Clampett made during his teens. Published in 1919, Oh Man by Briggs showcases Briggs' comics about the everyday man. Measuring 12.5" x 9" the book is in good overall condition, however, the pages are separating from the hardcover. Stamped "Property Of Bob Clampett" on interior pages.

(J. Campbell Cory, 1920) A rare The Cartoonist's Art book by American Newspaper Cartoonist John Benjamin Cory, that was likely a valuable tool for the young Bob Clampett as he learned the basics of cartooning. Measuring 10" x 12", the book is in good condition with some staining and discoloration to the cover and slight separation to the binding. Stamped "Property of Bob Clampett" on interior pages.

(B. Knight, 1923) A must-have for any aspiring cartoonist, this "how-to" booklet by cartoonist Benjamin "Tack" Knight was likely a valuable tool for the young Bob Clampett. With 12 illustrated plates on everything from facial expressions to footwear, this 8" x 5.5" booklet covers the basics of cartooning. Published in 1923, Tack would later create the extremely popular "Little Folks" comic strip. The book is in good condition with wear from age and use throughout. Stamped "property of Bob Clampett" on the cover, the first page contains an early "Bob Clampett" signature.

(Fisher, 1926) Bud Fisher, a sports cartoonist with the San Francisco Chronicle, created the Mutt and Jeff Comic Strip in 1907. The wildly successful strip was syndicated nationwide until 1983. Fischer's drawing style and humor heavily influenced 13-year-old Bob Clampett and this Mutt and Jeff Big Book was an important part of his personal collection his entire life. The 10" x 10" book has a hand-written "owned by Robt. Clampett" at the bottom right side of the cover (written by a very young Clampett) as well as stamps on the inside "property of Bob Clampett" that were added much later. The book is in very good condition with expected wear from use. An excellent example of this book.

(McManus, 1931) American Cartoonist George McManus is best known for his "Bringing Up Father" comic strip which he created in 1913 and continued to illustrate until his death in 1954. He was undoubtedly an influence on the young Bob Clampett and this book, published in 1931 contains a series of his strips from 1930. Measuring 10" x 10" the book is in very good condition with some staining to the cover and discoloration from age.

(Disney, 1931) The emergence of Mickey Mouse changed the world of animation forever and influenced countless young artists. Clampett's own experiences at the Disney Studio would also impact his career. This Mickey Mouse Story Book, published in 1931 as Clampett began his work with Harman-Ising Studios, features stories based on early Mickey Mouse shorts. Measuring 6" x 8.5", the book is in good condition with creasing and expected age throughout. Stamped "Property Of Bob Clampett" on interior pages.

(Los Angeles Examiner, 1932-1938) The Comic pages of the Los Angeles Examiner were an important part of young Bob Clampett's artistic upbringing. Clampett kept these 38 assorted sheets of two double-sided cartoon pages – all published between 1932 and 1938 – in his personal collection. The total 152 pages include classic strips such as Thimble Theater with Popeye, Felix the Cat, and Rube Goldberg, among others. Each page measures 23” x 15” and the collection is in fair to good condition with typical wear and discoloration from age, and some pages with small tears.

(Charlotte Clark, 1930) A rare Charlotte Clark Mickey Mouse Doll. This 18" version of the doll was likely manufactured at the Studio Shop where Bob Clampett worked. The bottom of the doll's feet are stamped with Walt Disney's copyright and George Borgefeldt & Co., the distributors for Disney Merchandise at the time. With a velveteen body and oilcloth eyes, the doll is in good condition with a tear to Mickey's left arm exposing the stuffing and staining from age throughout. It still presents well overall and is a wonderful example of a piece of Disney History. This item does not come from the Bob Clampett Collection.

(Fanchon & Marco, 1930s) An extremely rare publicity photo for an early 1930s live stage show produced by Fanchon & Marco. The brother and sister duo produced live stage shows called “ideas” to be performed in movie theatres before the showings or between reels. This photo features their “Mickey Mouse Idea” featuring their Sunkist Beauties each carrying a Mickey Mouse Doll (by Charlotte Clark). The photo was intended for press photos and has the Fanchon & Marco stamp on the reverse and a typewritten suggested caption. Measuring 10” x 8” the photo is in good condition with light yellowing from age, a small 1” tear at the top left center, and light creasing throughout.

(Stalling, 1918-1919) A photographic portrait of legendary composer Carl Stalling. The prolific animation composer scored cartoons from Disney's "The Skeleton Dance" to hundreds of Looney Tunes shorts, working closely with Bob Clampett. Taken before 1920, this predates Stalling’s first meeting with Walt Disney, and his work in animation. The photo has “Carl W. Stalling” written on the back, and a small stamp on the front for the photographer, Milton Waid. Measuring 3.75” x 6”, the photo is in good condition with creases, expected toning, and paper loss on the reverse (from mounting).

(Stalling, 1918) A photo of Carl Stalling playing the organ in 1918 at the Isis Theatre in Kansas City. Most likely a later copy, the 10” x 8” photo is in good condition with a small tear at the bottom right that does not affect the image, an inscription on the reverse by Stalling or his wife Gladys, and residue from being mounted in a scrapbook.

(Stalling, 1927) A photo of the Kansas City Madrid Theatre with the marquee billing “Carl Stalling- Organist of Renown.” This photo was taken shortly before Stalling was hired by Disney and moved to California. The 5.5” x 3” photo is in good condition with wear from age and residue on the reverse from being mounted in a scrapbook.

(Disney, 1920s) A rare early photo of Ub Iwerks and Hugh Harman in the Kansas City Laugh-O-Grams Studio, where Carl Stalling first teamed up with Walt Disney to create music for Walt’s Laugh-O-Grams when screened at the Isis Theatre. The 4.5” x 2.5” photo is in good condition with pinholes in the corners.

(Disney, 1923) An extremely rare original 1923 photo of Walt Disney. The 2.5” x 4” photo came from the estate of Carl Stalling and features Disney in the yard of his Uncle’s House at 4406 Kingswell Ave in Los Angeles with his Pathe’ Motion Picture Camera. Walt himself inscribed in pencil on the reverse–“Pathe-Camera-1st Used.” The photo is in good condition with some paper residue on the back from a previous mounting in a scrapbook.

(Disney, 1923) An extremely rare early photo of Walt Disney and his Uncle Robert. The 4” x 2.5” photo came from the estate of Carl Stalling and features Disney filming Robert’s dog in the yard of his Uncle’s House at 4406 Kingswell Ave in Los Angeles. The photo is in good condition with some paper residue on the back from a previous mounting in a scrapbook.

(Disney, 1923) An extremely rare early photo of Walt and Roy Disney and their Uncle Robert and Aunt Charlotte. The 4” x 2.5” photo came from the estate of Carl Stalling and features Disney filming Robert’s dog Peggy in the yard of his Uncle’s House at 4406 Kingswell Ave in Los Angeles. The photo is inscribed on the reverse in pencil– “My Aunt, Uncle- ‘Peggy’ the smartest canine in the world, my Br(o) and self” The photo is in good condition with some paper residue on the reverse from a previous mounting in a scrapbook, the residue covers some of the inscription.

(Disney, 1923) An extremely rare early photo of Roy Disney. The 2.5” x 4” photo came from the estate of Carl Stalling and features Disney in the yard of his Uncle’s House at 4406 Kingswell Ave in Los Angeles with the Pathe’ Motion Picture Camera he and his brother Walt purchased to start their studio. The photo is in good condition with some paper residue on the back from a previous mounting in a scrapbook.

(Disney, 1923) An extremely rare early photo of Roy Disney. The 2.5” x 4” photo came from the estate of Carl Stalling and features Disney in the yard of his Uncle’s House at 4406 Kingswell Ave in Los Angeles with the Pathe’ Motion Picture Camera he and his brother Walt purchased to start their studio. The photo is in good condition with some paper residue on the back from a previous mounting in a scrapbook.

(Disney, 1923/24) An extremely rare early photo of Walt and Roy Disney with Rudy Ising, George Winkler, and Margie Gay on the lot they filmed the Alice Comedies at 4625 Hollywood Blvd in Los Angeles. The 4” x 2.5” photo came from the estate of Carl Stalling and is inscribed on the reverse in pencil by Walt Disney. A previous mounting in a scrapbook has removed part of the inscription but readable portions say – “Left to Right-Roy-**** Little Star Margie Gay and myself on the lot-.” A later inscription names the people in the photo. The photo is in good condition with some paper residue on the reverse from a previous mounting in a scrapbook.

(Winkler, 1920s) A mid-1920s exhibitor program promoting Walt Disney’s Alice Comedies. The single-sheet fold-out features critics reviews and promotes the series stars Margie Gay and Virginia Davis. Measuring 18” x 12” unfolded, the program is in good condition with several creases from being folded and wear from age. From the estate of Carl Stalling.

(Disney, 1925) A rare original photo of the staff at the Kingswell Street headquarters of the Disney Bros. Studio in 1925. Pictured are Rudy Ising, Hugh Harman, Ub Iwerks, Ham Hamilton, Roy Disney, Thurston Harper, and Walker Harman. The 4” x 3” photo is in good condition with some residue on the reverse from being mounted in a scrapbook. The reverse also has a label with a description and some reproduction instructions.

(Disney, 1925) A rare original photo of the staff at the Kingswell Street headquarters of the Disney Bros. Studio in 1925. Pictured are Rudy Ising, Hugh Harman, Ub Iwerks, Ham Hamilton, Roy Disney, Thurston Harper, and Walker Harman. The 4” x 3” photo is in good condition with some residue on the reverse from being mounted in a scrapbook. The photo was sent to Carl Stalling by Walt Disney and was inscribed on the reverse by Disney; however, the inscription was damaged when the photo was removed from the scrapbook.

(Disney, 1925) A rare original photo of the staff of the Disney Bros Studios. Pictured are (left to right) Irene Hamilton, Rudy Ising, Hazelle Linston, Ub Iwerks, Ham Hamilton, Thurston Harper, Walker Harman, Hugh Harman, and Roy Disney. The 4” x 3” photo is in good condition with some residue on the reverse from being mounted in a scrapbook. The photo was sent to Carl Stalling by Walt Disney, and was inscribed on the reverse by Disney; however, the inscription was damaged when the photo was removed from the scrapbook.

(Disney, 1925-26) A set of three photos of Walt Disney and Studio staff posing with Margie Gay, who starred in 31 Alice Comedies in 1925 and 1926. The most familiar of these photos poses Margie on a stack of books beside Walt, along with Ham Hamilton, Roy Disney, Hugh Harman, Rudy Ising, Ub Iwerks, and Walker Harman. The other two photos include an image of much of the same group posed by a wall outside, and a possibly unique print in which Walt is on the far right laughing broadly. In this image, Roy Disney and Walker Harman are blurred from movement, which is likely why it has not seen usage. Standing between Walker and Rudolf is future Warner Bros. Director Friz Freleng. The prints measure 8” x 10” with the first two in very good condition printed in the 1960s or later. The third print was printed in the 1930s and is in good condition with toning, some spotting on edges, and fading to the bottom right corner of the image.

(Disney, 1925) An incredible photo of a 23-year-old Walt Disney on his Honeymoon, taken aboard the Steamship H.F. Alexander out of Seattle. Disney sent this photo to his friend Carl Stalling and it is inscribed on the reverse in Disney’s handwriting, "1925 Honeymoon Seattle H.F. Alexander." Measuring 3.5" x 2.5" the original photo is in very good condition with slight curling and residue on the reverse from being mounted in a scrapbook.

(Disney, 1920s) A rare original photo of Walt Disney with his 1926 Moon Roadster. Walt was very fond of this car, however, in 1928 when the studio faced financial troubles, he decided to sell it. The 4.25” x 2.5” photo was given to Stalling by Disney. It is inscribed in pencil on the reverse – “Walt & his Moon – Sold For Payroll.” The photo is in good condition with residue on the reverse from being mounted in a scrapbook.

(Disney, 1920s) A rare original photo of Walt and Lillian Disney with Lillian's Mother and Sister. The photo was sent to Carl Stalling by Walt Disney and was inscribed on the reverse by Disney. Measuring 4.25" x 2.5" the photo is in very good condition with residue on the reverse and damage to the inscription from being mounted in a scrapbook.

(1929/1930) An extremely rare pair of photo booth pictures: one shows Carl Stalling with his wife, Gladys, and the other captures Stalling alongside Disney's first sound man George "Jimmy" Lowerre and, in a rare candid moment, Walt Disney. The photos were most likely taken on a trip to New York for a recording session. Each photo measures 1.5” x 2” and have been mounted on pink construction paper. Both are in good condition with expected wear from age.

(Bull, 1930s) A rare original photo by famed Hollywood Photographer Clarence Sinclair Bull featuring Walt and Lillian Disney and their dog, Sunnee. The photo is embossed at the left bottom and has "Clarence Sinclair Bull Photo – Kindly Credit" stamped on the reverse. Measuring 10.5" x 13.5", the photo is in very good condition with some edge wear and a light crease at Walt's shoes. From the estate of Carl Stalling.

(Disney, 1930s) A rare original photo of Walt Disney sitting at his desk in the Hyperion Ave. Studio in Los Angeles. The 9.5” x 7.5” photo was probably taken for publicity purposes but this particular copy was retained by composer Carl Stalling and has residue on the reverse from being mounted in a scrapbook.

(Disney, 1931-34) A very rare publicity photo of Carl Stalling and musicians on the soundstage at Disney’s Hyperion Avenue Studio. Also present is Marcellite Garner, who was the voice of Minnie Mouse throughout the 1930s. The photo measures 10” x 12” with an image size of 7.5” x 9.5” and is in very good condition, with slight adhesive staining typical of film tape of this age.

(Disney, 1920s) A Carl Stalling business card from the Walt Disney Studio at 2719 Hyperion Ave. As a top composer in the golden age of animation, Stalling arranged music for over 20 animated shorts at the Walt Disney Studio, then nearly every Warner Bros. cartoon from 1936 until his retirement in 1958. Measuring 3.5” x 2”, the card is in very good condition with light edge wear and a light spot of discoloration.

(MGM, 1934) A photo of composers Carl Stalling and Art Turkisher working on the score to “Jungle Jitters” from Ub Iwerks’ Willie Whopper series of shorts. Measuring 8” x 10”, the black and white glossy photo is in very good condition with light corner wear and paper remnants from a scrapbook to the reverse.

(Stalling, 1962/1966) Sheet music for the original songs “We’ll Get Along” and “Maybe It’s All For The Best,” with words and music by Carl Stalling, composed after he retired from Warner Brothers. Although both songs are copyrighted, they appear to be unpublished. Also included is a two-page photocopy of a revised version of “To Winter” which has been signed on the reverse by Stalling in ink. Both hand-written in graphite and ink on 12.5” x 9.5” staff paper, the compositions are in fair to very good condition with light edge wear and tear, creases, and light discoloration from age.

(Stalling, 1929-32) After “Steamboat Willie,” Walt Disney knew he needed a staff composer. He hired his close friend from Kansas City, Carl Stalling, who immediately became responsible for composing music for every Mickey Mouse Short. By 1929, Mickey was an international sensation with the newly formed Mickey Mouse Club gaining over 1 million members worldwide. Stalling composed “Minnie’s Yoo Hoo” for the 1929 Mickey Mouse Cartoon “Mickey’s Follies.” The song was an instant hit, and quickly became the theme song of The Mickey Mouse Club and every Mickey Mouse cartoon starting with “The Jazz Fool” in 1929, through "Mickey’s Steam Roller" in 1934. This lot contains the only surviving pieces of Stalling’s handwritten music for “Minnie’s Yoo-Hoo.” Included are 10 instrumental parts for the chorus, written in ink. One typewritten vocal sheet of the chorus to “Minnie’s Yoo Hoo” has lyrics that differ slightly from the final song. One sheet contains a partly written musical intro. The piano part for “Singing chorus Minnie’s Yoo Hoo” is handwritten in pencil, along with a two-page part labeled Mickey Trailer, which appears to have been a shorthand reference to the Minnie’s Yoo Hoo animated piece. A single page full score dated April 22, 1932, titled “Mickey Revue Chorus Mickey Theme Song,” is likely the opening for the short “Mickey’s Revue.” A sheet titled “Yoo Hoo Quartet Club Song” includes notations of “Minnie at Piano” and “Goof Laffs.” Also included is the 1930 commercially printed sheet music, the first Disney song to be published. Overall, an amazing collection of some of the most important music in Disney history. Ranging in size from 9.5” x 6” to 9.5” x 12.5” on staff paper, the collection is in good condition with expected wear and a large tear to the two-page Mickey Trailer sheet. This item does not come from the Bob Clampett Collection.

(Stalling, 1920s-40s) Carl Stalling’s personal scrapbook detailing his early career in Kansas City and with Disney. Containing many important keepsakes from his work with Walt Disney, Ub Iwerks, and Warner Brothers, Stalling gave the scrapbook to his close friend Bob Clampett who kept it intact as a testament to the career of his friend. The 65-page book contains a multitude of newspaper and magazine clippings on important events in Stalling's career as early as 1927, as well as original drawings and artifacts. Highlights include: A 15” x 30.5” fold-out exhibitor ad promoting the first four Mickey Mouse cartoons with a hand-written note by Stalling that reads – “Walt Disney Cartoons – New York 1929 – Carl and Walt went to New York to show these and Carl and Ub made the cartoons but Walt would not give anyone credit on the screen.” Dozens of 1927 silent movie ads for Kansas City Theatres that note “Carl W. Stalling Organist of Renown” playing the film’s score live. Clippings following the public’s reception of sound films and animation, as well as the explosion of popularity for Mickey Mouse and later, the “Three Little Pigs.” A September 13, 1929 newspaper clipping on the appearance of Disney, Iwerks, and Stalling at the Dome Theatre in Ocean Park – the location of the first Mickey Mouse Club - for the introduction of “The Mickey Mouse Theme Song” aka “Minnie’s Yoo-Hoo.” With it is an extremely rare 1929 Dome Theatre Mickey Mouse Club button. Two issues of the Official Bulletin of the Mickey Mouse Club, dated October and November of 1931. Each four-page bulletin is filled with news about Mickey and Club happenings nationwide. Clippings of ads and articles about very early Mickey Mouse merchandise. Included is the two-page article in Screen Play Secrets with an image of Walt surrounded by Charlotte Clark Mickey dolls that is believed to have initiated public demand for the doll. Several articles reacting to the Canadian Film Board's decision to censor Mickey cartoons that show cow's udders. Two of Stalling’s original Disney Studio business cards with the words “Herr” and “Frau Von” hand drawn onto them "Herr” was a nickname that Iwerks had for Stalling. Several caricatures of Stalling by Warner Bros. animator Bob Givens and Disney animators Charles Philippi, Jack King, and six by close friend Ub Iwerks. A handful of hand-inked original drawings, one of Mickey Mouse inscribed with “Carl Stalling,” one of Mickey, Horace Horsecollar, and Clarabelle Cow dated 1931, and a printed drawing of Iwerks with his creation Flip the Frog, inscribed by Iwerks to Stalling. An original poem by Stalling. A copy of the eulogy for Stalling, written by Bob Clampett and read at his funeral. This deeply personal artifact, created by a true pioneer in animation and sound production, provides valuable insights into the history of synchronized sound in cartoons, the origins of Mickey Mouse, and the early careers of key figures in the animation industry from the perspective of someone who experienced it firsthand. Measuring 9.5” x 11.5” x 1”, the scrapbook has been well preserved in very good condition, with expected discoloration to newspaper clippings from age, and handling wear throughout. There is virtually no glue staining as typically seen in early scrapbooks. The Mickey Mouse Club Bulletins are slightly longer than the album pages and are in good condition overall, three-hole punched on the spine, with fraying to their right edges.

(Stalling, 1930s) Carl Stalling’s personal conductor’s baton. Stalling, who is best known for composing and orchestrating the scores which defined the soundtrack of Warner Bros. animation, used this baton to conduct the Warner Bros. orchestra throughout his career spanning over 600 cartoons. The baton was gifted to Clampett by Stalling’s widow. Constructed of wood with metal caps and ring and measuring 15.75”, the baton is in very good condition with light scratches and scuffs.

(Disney, 1920s-40s) A collection of 13 negatives and 24 prints of very early Disney Studio photos. The negatives include images of Walt with Charlotte Clark Mickey Mouse dolls, early Laugh-O-Gram images from Kansas City, employees outside the Disney Studio Kingswell storefront, animators at their desks, and an image of the Hyperion Studio complete with the Mickey Mouse sign on the roof. Prints include very early photos of Walt, Rudy Ising, and Ub Iwerks filming the Alice Comedies, clowning in the woods during other early film productions, Walt and Lillian Disney in front of the Kingswell Studio, and more. Measuring from 4” x 5” up to 8” x 10”, the negatives and prints are in very good condition with some typical handling wear throughout. From the estate of Carl Stalling.

(Disney, 1930s) A rare very early print of a photo taken outside Disney’s Hyperion Studio featuring (standing) Jack King, Ub Iwerks, Walt Disney, Carl Stalling, Burt Gillett, (kneeling) Ben Sharpsteen, Dick Lundy, Merle Gibson, and Norm Ferguson. Measuring 8” x 10”, the print is in very good condition with light toning, and spots of black paper adhered to the back from being kept in an album.

(Disney, 1920s) A rare 1920s Oswald the Rabbit model sheet from Bob Clampett’s personal collection. Model sheets such as these were distributed to animators and crew working on the film to ensure character design continuity. The 8” x 10” photo print is in fair condition with pinholes, discoloration, and heavy toning along the top edge and a slight tear at the top right edge that does not affect the image.

(Disney, 1929) An exceptional original production drawing by Ub Iwerks of Mickey Mouse from the character’s 4th animated short “The Barn Dance.” With a character image size of 4” x 3.5” on untrimmed 12” x 9.5” animation paper, the graphite drawing is in very good condition with light wear from age. From the collection of Bob Clampett.

(Clampett, 1931) An original drawing from Bob Clampett’s “drawn diary” featuring an evening at the movies with his friends. The inscription reads “Huck Finn” “ That Ol Gang of Mine” and Disney’s “Egyptian Melodies” preview at the Alex – ” Referring to the 1931 Norman Taurog Huckleberry Finn Live-Action feature, Fleischer Studios 1931 Sing-A-Long Short “That Ol Gang of Mine” and Disney’s Mickey Mouse Short ‘Egyptian Melodies ” at the Alex Theatre in Glendale, California. The scene Clampett depicts on the screen is directly from Fleischer’s “That Ol Gang of Mine” which features a very “Mickey Mouse” type character. Drawn on 12” x 9.5” Walt Disney Studios animation paper, the graphite drawing is in very good condition with light wear from age.

(Clampett, 1930s) Although Bob Clampett did not work at the Walt Disney Studios, he was no doubt a fan of the artists there and the characters they created. This drawing of Mickey Mouse was created by Clampett in the early 30s either shortly before he joined the Harman and Ising Studios, or shortly after. With a character image size of 4” x 4.5” on untrimmed 12.5” x 9.5” Walt Disney Studios animation paper, the graphite drawing is in very good condition with light wear from age.

(Clampett, 1933) An original drawing from Bob Clampett's drawn diary featuring a day at the beach and an evening with friends and colleagues at a screening of Walt Disney's "Three Little Pigs" at Loew's State Theater in downtown Los Angeles. The graphite and colored pencil drawing, dated July 10, 1933, measures 9.5” x 12” and is in fine condition, showing light discoloration due to age.

(Disney, 1933) A rare original printed model sheet for the groundbreaking 1933 Silly Symphony short “Three Little Pigs.” Although Clampett had left the Walt Disney Studio he, like other animators was still a fan of their work and would often go to screenings. This model sheet comes from his personal collection and is stamped with “Courtesy of the Bob Clampett Collection.” Measuring 12” x 9”, the model sheet is in good condition with some fading and yellowing from age.

(Disney, 1933) A rare original printed model sheet of the Big Bad Wolf from the grounbreaking 1933 Disney Short “The Three Little Pigs.” Although Clampett had left the Disney Studio he, like other animators was still a fan of their work and would often go to screenings, etc. This model sheet comes from his personal collection and has his collection stamp on it. Measuring 12”x9”, the modeel sheet is in good condition with some fading and yellowing from age.

(Disney, 1933) A rare studio fan card featuring the Three Little Pigs with Mickey and Pluto. Printed cards like these were given to guests at the Studio and fans who wrote in. Measuring 9” x 7” the card is in fair condition with creases from being folded and pinholes in the corners.

(Disney, 1933) A Three Little Pigs hardcover book with color illustrations. A handwritten note on the title page reads “Given to Bob Clampett by Carl Stalling’s niece - 1981.” Measuring 8” x 10.25”, the book is overall in very good condition, with typical wear to the cover from age and handling, slight paper loss along spots of the spine, and interior pages in fine condition.

(Disney, 1930s) An original production drawing of Mickey Mouse from an unknown mid-1930s short. The image of Mickey measures 4” x 3.25” on untrimmed 5-peg 12” x 10” animation paper. The drawing is in very good condition with only light wear from age.

(Clampett, 1937-38) A Minnie Mouse model sheet hand drawn by Bob Clampett. This sheet very closely matches the official Disney Studio Minnie Mouse model sheet dated July 20, 1937, but signed by Bob Clampett instead of Disney artist Don Towsley. Accurately reproducing model sheets was, at the time, a standard exercise for animators applying to a Studio. Drawn on Disney animation paper, this sheet suggests Clampett may have been exploring the possibility of moving to Disney when he was seeking an opportunity to start directing. Measuring 10” x 12”, the model sheet accomplished in graphite is in good condition, with light handling wear, discoloration, creasing, small tears in the top edge, and small spots of rust stain in the top text block.

(Clampett, 1937-38) A Mickey Mouse model sheet hand drawn by Bob Clampett. This sheet very closely matches the official Disney Studio Mickey Mouse model sheet dated July 20, 1937, but signed by Bob Clampett instead of Disney artist Don Towsley. Accurately reproducing model sheets was, at the time, a standard exercise for animators applying to a Studio. Drawn on Disney animation paper, this sheet suggests Clampett may have been exploring the possibility of moving to Disney when he was seeking an opportunity to start directing. Measuring 10” x 12”, the model sheet accomplished in graphite is in very good condition, with light handling wear, and discoloration in two small spots and along the top edge.

(Clampett, 1937-38) A Mickey Mouse model sheet hand drawn by Bob Clampett. This sheet very closely matches the official Disney Studio Mickey Mouse model sheet dated July 20, 1937, but signed by Bob Clampett instead of Disney artist Don Towsley. Accurately reproducing model sheets was, at the time, a standard exercise for animators applying to a Studio. Drawn on Disney animation paper, this sheet suggests Clampett may have been exploring the possibility of moving to Disney when he was hoping to start directing. Measuring 10” x 12”, the model sheet accomplished in graphite and red pencil is in very good condition, with light handling wear including a faint crease to the upper right corner.

(Disney, 1937) A pair of Studio-produced photostat model sheets for the animated shorts "Donald’s Ostrich" and “Clock Cleaners.” Model sheets were distributed to animators on a film to ensure everyone drew the character consistently. The sheets measure 10" x 12", and are in very good condition with light wear from handling and age.

(Clampett, 1931) A gag drawing by Bob Clampett based on the Mickey Mouse short “The Moose Hunt.” Accomplished in graphite and colored pencil and measuring 9.75” x 12”, the drawing is in very good condition with light edge wear, creasing, and discoloration from age.

(Disney, 1937) A pair of original production drawings of Goofy from the Mickey Mouse series short “Clock Cleaners.” Measuring 10” x 12” with character image sizes ranging from 3.75” x 6” to 4.75” x 5.75”, the graphite drawings are in very good condition with light creases.

(Disney, 1937-39) A collection of five model sheets from Disney animated sorts released from 1937 to 1939. Included are one sheet each from “Hawaiian Holiday,” “Mickey’s Parrot,” and “Mother Goose Goes Hollywood.” Two model sheets are included from “The Ugly Duckling,” the very last Silly Symphony cartoon. Measuring from 10” x 12” to 10” x 12.5”, the sheets are overall in very good condition with light wear from handling and age. The “Mickey’s Parrot” sheet is on glossy, heavier paper than the others, in good condition with waviness and slight creasing to the left and right sides.

(Disney, 1937) An original program from the world premiere of “Snow White and the Seven Dwarfs.” Held at the Carthay Circle Theatre on December 21, 1937, the star-studded event was attended by celebrities and industry professionals including Shirley Temple and Charlie Chaplin. This program belonged to attendee Bob Clampett, who signed the first page in graphite and stamped the interiors of the front and back covers “Property of Bob Clampett.” Measuring 10” x 13”, the program is in good condition with edge wear, spotting, creases, and discoloration from age.

(Disney, 1950s) A Disney Studio photographic dye transfer of a scene from “Snow White and the Seven Dwarfs.” Dye transfers such as these were given as gifts to visitors of the Studio and sold through the Art Corner at Disneyland. This transfer was given to Bob Clampett by Walt Disney upon the birth of his son. With an image size of 8” x 10” on 10” x 12” heavy paper, the dye transfer is in good condition with scratches, stains, and discoloration from age.

(Disney, 1939) An original production drawing from the Silly Symphony short “The Practical Pig.” Measuring 10” x 12” with a character image size of 3.75” x 4.5”, the graphite and colored pencil drawing is in very good condition with light creases.

(Disney, 1939/1970s-1980s) Three photostat model sheets, one original and two later-produced copies, of the Big Bad Wolf and the Three Little Wolves from the Silly Symphony short “The Practical Pig.” Model sheets such as these were distributed to animators and crew working on the film to ensure character design continuity. Measuring 10” x 12”, the model sheets are in very good condition with light creases and warping.

(Disney, 1939) An original production drawing of Fifer and Fiddler Pig from the Silly Symphony short “The Practical Pig.” With a character image size of 5” x 5.5” on 10” x 12” drawing paper, the art is in very good condition with light creases.

(Disney, 1938) An original production drawing of Donald Duck from “Donald’s Golf Game.” With a character image size of 4.25” x 4.5” on 10” x 12” animation paper, the drawing is in very good condition with light creases.

(Disney, 1940) An original Walt Disney’s “Fantasia” program created for the film’s initial theatrical release. The 28-page program features extensive behind-the-scenes information and background notes on each of the film’s segments, and is illustrated throughout with set and studio photography, as well as concept art. Bob Clampett signed this personal copy of his on the cover, and it is signed to Bob in two different places by Paul Satterfield, Director of the “Rite of Spring” segment. Measuring 9.5” x 12.5”, the book is in good condition with wear handling including soiling and creasing to edges, and small tears and creases to the spine with a 1.5” split at the bottom.

(Disney, 1950s-60s) A pair of animation drawings of Donald Duck holding a staff and Huey, Dewey, and Louie walking with rifles. These were likely from new animation for one of the Disney anthology television shows. With image sizes ranging from 3” x 5” to 3.5” x 4.75” on 11” x 13” animation paper, the graphite and colored pencil drawings are in very good condition with light creases, edge wear, and minor tears.

(Disney, 1950s-80s) A Disney Studio photographic dye transfer of a scene from the 1938 short “Donald’s Better Self.” Dye transfers such as these were given as gifts to visitors of the Studio and sold through the Art Corner at Disneyland. This transfer was given to Bob Clampett by Walt Disney upon the birth of his son. Measuring 10” x 12” with an image size of 8” x 10”, the dye transfer is in good condition with creases, edge wear, pinholes from display, and discoloration from age.

(Disney, 1955) A “Lady and the Tramp” special screening invitation, sent to Bob Clampett. Bob added a note to his wife Sody to RSVP for the entire staff and their families in his name. Measuring 8.5” x 11”, the screening invitation is in very good condition with light creases, wear, and original folds from mailing.

(Harman-Ising, 1928) A photo print of Hugh Harman and Rudolf Ising with staff from their time directing “Oswald the Lucky Rabbit” cartoons for producer Charles Mintz. Ising is standing at the far left. Harman is in the center front row, with Ham Hamilton to his left and Friz Freleng to his right. Mintz is on the left side of the doorway to the Winkler Pictures Studio at 1154 N Western Avenue in Los Angeles. Measuring 8” x 10” the glossy photo is in good condition with edge wear, creasing at the bottom right corner, and toning.

(Clampett, 1930s) A Bob Clampett Harman-Ising Productions business card. Clampett worked at the studio from 1931-1933. Measuring 2” x 3.5”, the business card is in very good condition with light edge wear and a small red mark.

(Harman-Ising, 1930-33) A very rare sheet of Harman-Ising Studio stationery, from the period when they were producing Looney Tunes featuring Bosko. Ephemera such as this from the earliest days of animation is extremely rare, and it is a testament to Bob Clampett’s instincts as a collector that this survives in such pristine condition. Measuring 8.5” x 11”, this sheet of stationery is in fine condition, even with two horizontal creases from folding, and a faint smudge below the letterhead.

(Harman-Ising, 1929-38) A very rare unused envelope from the Harman-Ising Studio. measuring 4.25” x 9.5”, the envelope is in fine condition with very slight wear from age.

(Harman-Ising, 1929-1938) A Melvin Millar business card from Harman-Ising Productions. A gag writer for the studio, Millar specialized in creating jokes for Porky Pig shorts. Measuring 2” x 3.5”, the business card displays in very good condition with spotting and light discoloration from age.

(Clampett, 1931-1932) A letter draft from Bob Clampett to E.C. Segar, the creator of Popeye the Sailor. Clampett kept this handwritten draft of the letter he sent to the cartoonist, requesting a piece of original Popeye artwork to display on the Harman-Ising Studio’s wall of originals, which included artists such as Jack King, Sid Smith, Walt Scott, and others. Ever the collector, Clampett later wrote the provenance of this keepsake directly on the letter, effectively signing it. According to Clampett, Segar never responded. Measuring 9.75” x 12”, the double-sided letter is in very good condition with light wear, discoloration from age, and a full horizontal fold from mailing.

(Disney, 1933) A letter from Roy O. Disney to Harman-Ising, the producers of Looney Tunes and Merrie Melodies. In the letter, Roy urges all cartoon producers to stand united against the proposed Black Bill, which would establish a 5-day, 30-hour workweek and “ruinously affect the cartoon industry.” Stapled to the letter is a copy of a Western Union telegram that Roy sent to Senators William McAdoo, James Davis, and Tom Connolly stating Disney’s strong opposition to the Black Bill. The letter is typed on Walt Disney Productions stationery and signed by Roy in black marker. Ranging in size from the 7” x 8.5” telegram to the 8.5” x 11” letter, the documents are in good to very good condition with intentional folds from mailing, light creases, and discoloration along the edges of the letter.

(Mercer, 1950s-60s) A print of Popeye signed by voice actor Jack Mercer with a dedication to Bob Clampett and his wife, Sody. The 6.5” x 5.5” illustration was clipped from a book and pasted to the signed 9” x 12” sheet of paper. The print and paper are in very good condition with a light 1.5” diagonal crease in the upper right corner.

(Harman-Ising, 1930s) An extremely rare oil painting on canvas of Bosko and Honey, by their co-creator Hugh Harman, that decorated the studio offices. A similar painting can be seen hanging above the animation desk in the live-action ending to the 1932 short, "Ride Him, Bosko!" Measuring 12" x 14", the painting is in very good condition with wear and soiling from age.

(Harman-Ising, 1920s-1930s) An original promotional photo of Hugh Harman and Rudolf Ising with a drawing of Bosko and Honey. The two characters are hand-painted on paper and placed on the easel space of the photo, a common practice at the time, so new characters could be featured as needed. Written on the reverse in graphite is an inscription by Bob Clampett. Measuring 8” x 10.25”, the photo displays in good condition with heavy scratches throughout, wear, whiteout, and material loss from adhesion.

(Warner Bros., 1932) A very rare internal notice of a gag meeting for the Bosko short “Bosko in Dutch.” Gag meetings are a little-documented step in the animation process where animators and other staff would pitch individual jokes or “gags” for an upcoming cartoon idea, usually getting paid a bonus for each of their gags used. This notice announces an evening meeting and includes a short synopsis of the Holland-themed cartoon, with a few broad ideas suggested to riff from. It also calls for “a lot of thought and attention to this story so that our meeting will be as good as the one we had on the Football story!” The typed letter measures 9.75” x 12” and is in good condition with small corrections in red pencil, a 0.25” stain in the center, a 0.5” fold in the lower right corner, light creasing, and slight discoloration from age.

(Harman-Ising, 1930s) A photograph of animator Larry Martin with a cel and background from a Bosko cartoon. In a note on the back, Clampett identifies Martin as the model for the villain Dishonest John in “Time For Beany” (see lot 690). For a brief time Martin also worked as an animator on the Beany and Cecil cartoons. Clampett labeled the reverse, “Return to Bob Clampett,” effectively signing it. Measuring 8” x 10”, the photo is in good condition with light scratches and handling wear.

(Harman-Ising, 1932) An original storyboard drawing of Bosko and Honey from the Looney Tunes short “Battling Bosko.” Accomplished in graphite and colored pencil, the drawing measures 9.75” x 12” and is in good condition with light creasing and edge wear from production use, two small rips along the lower left and bottom edge, each measuring less than 0.25”, a paperclip oxidization stain to the upper left corner, and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing of Bosko and Gas House Harry from the Looney Tunes short “Battling Bosko.” Accomplished in graphite and colored pencil, the drawing measures 9.75” x 12” and is in very good condition with light creasing and edge wear from production use, and light discoloration from age.

(Harman-Ising, 1932) An original production drawing of Bosko from the Looney Tunes short “Battling Bosko.” Accomplished in graphite and colored pencil, with a character image size of 3” x 3.25” on 9.75” x 12” animation paper, the drawing is in very good condition with light creasing and edge wear from production use and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing of Honey from the Looney Tunes short “Battling Bosko.” Accomplished in graphite and colored pencil, with a character image size of 7” x 5.75” on 9.75” x 12” animation paper, the drawing is in good condition with light creasing and edge wear from production use, a 0.5” stain to the lower left area, and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing from the Looney Tunes short “Battling Bosko,” featuring a character with a striking resemblance to Mickey Mouse. At the time, it was common for Mickey look-alikes to appear in non-Disney cartoons, either as homage, parody, or pure coincidence. Measuring 9.75” x 12” with an image size of 6.5” x 9”, the graphite and colored pencil drawing is in very good condition with light edge wear from production use and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing of Honey from the Looney Tunes short “Battling Bosko.” Accomplished in graphite and colored pencil, the drawing measures 9.75” x 12” with an image size of 6.25” x 6.5”, and is in very good condition with light edge wear from production use, and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing of a crowd from the Looney Tunes short “Battling Bosko.” Accomplished in graphite and colored pencil, the drawing measures 9.75” x 12” with an image size of 5” x 9.25”, and is in very good condition with light creasing, smudging, and edge wear from production use, and light discoloration from age.

(Harman-Ising, 1932) An original layout drawing featuring Bosko and Honey’s stagecoach driver from the Looney Tunes short “Ride Him, Bosko!” Accomplished in graphite and colored pencil, the drawing measures 9.75” x 12” and is in good production-used condition with light edge wear and creasing, an oxidization stain from a paperclip to the upper left corner, and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing featuring Honey from the Looney Tunes short “Ride Him, Bosko!” Accomplished in graphite and colored pencil and measuring 9.75” x 12” with a character image size of 5.5” x 11.25”, the drawing is in fine production-used condition with light edge wear and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing featuring a bandit on his horse from the Looney Tunes short “Ride Him, Bosko!” Accomplished in graphite and colored pencil and measuring 9.75” x 12” with a character image size of 8.5” x 6.25”, the drawing is in good production-used condition with light edge wear and creasing, an oxidization stain from a paperclip to the upper left corner, and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing from the Looney Tunes short “Bosko and Bruno.” Measuring 9.75” x 12” with a character image size of 4” x 10”, the graphite and colored pencil drawing is in good condition with light edge wear and creasing from production use and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing of a cow from the Looney Tunes short “Bosko and Bruno.” Accomplished in graphite and colored pencil, the drawing measures 9.75” x 12” with a character image size of 4.75” x 6.75” and is in good condition with light edge wear from production use, paperclip oxidization stains at the upper corners, and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing of a train from the Looney Tunes short “Bosko and Bruno.” In the final cartoon, the train reads “L.T.” instead of the original “P.D.Q.” for “pretty damn quick.” Measuring 9.75” x 12” the drawing is in good condition with light edge wear and smudging from production use and light discoloration from age.

(Harman-Ising, 1932) An original background layout drawing from the Looney Tunes short “Bosko and Bruno.” Accomplished in graphite and colored pencil, the drawing measures 9.75” x 12” and is in good condition with light edge wear and creasing from production use, light stains to the upper corners and top edge, and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing from the Looney Tunes short “Bosko’s Party.” Accomplished in graphite and colored pencil, the drawing measures 9.75” x 12” with a character image size of 4” x 5.5”, and is in good condition with light edge wear and creasing from production use, a very small stain in the middle left area, and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing of Honey from the Looney Tunes short “Bosko’s Party.” Measuring 9.75” x 12” overall, with a character image size of 5” x 3.5”, the graphite and colored pencil drawing is in very good condition with light edge wear and creasing from production use and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing from the Looney Tunes short “Bosko’s Party.” Accomplished in graphite and colored pencil, the drawing measures 9.75” x 12” with a character image size of 3.5” x 2.75”, and is in very good condition with light edge wear and creasing from production use, and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing from the Looney Tunes short “Big-Hearted Bosko.” Accomplished in graphite and colored pencil, the drawing measures 9.75” x 12” with a character image size of 2.25” x 3.75”, and is in very good condition with light edge wear and creasing from production use and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing from the Looney Tunes short “Big-Hearted Bosko.” Accomplished in graphite and colored pencil, the drawing measures 9.75” x 12” with a character image size of 5” x 6.75”, and is in very good condition with light edge wear and creasing from production use and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing of Bosko, Bruno, and Baby from the Looney Tunes short “Big-Hearted Bosko.” Accomplished in graphite and colored pencil, the drawing measures 9.75” x 12” with an image size of 6.5” x 10” and is in very good condition with light edge wear and creasing from production use and light discoloration from age.

(Clampett, 1930s) An original Bob Clampett sketch of Bosko and his dog Bruno, as hoboes alongside author Jim Tully. A freelance Hollywood writer, Tully grew up in an orphanage and later wrote about his own experiences on the road as a drifter. Clampett signed the piece in orange colored pencil. With an image size of 5” x 9.5” on 9.5” x 12” animation paper and accomplished in graphite and colored pencil, the drawing is in good condition with creases, discoloration from age, and edge wear.

(Schlesinger, 1930s) An original Christmas card drawing by Bob Clampett. Featuring Bosko and his dog Bruno, the card is addressed “to our fellow victims of paranoidical dementia” from Larry Martin, Tom McKimson, Jack Zander, Clampett, and “Bull” Hanna (Bill Hanna of Hanna-Barbera fame). Accomplished in graphite and colored pencil, the 5.75” x 8” drawing displays in very good condition with light wear and pinholes from display.

(Harman-Ising, 1930s) Twenty-nine original caricatures of Bosko, drawn by Harman-Ising animators in the styles of popular cartoonists of the day. The 13 pages include drawings of Bosko in the style of Popeye, Krazy Kat, Ripley’s Believe It or Not, and more. Each is labeled with the name of the animator who drew it, including Bob Clampett and Friz Freleng. Accomplished in graphite and colored pencil with character image sizes ranging from 3” x 2” to 6” x 7” on 9.75” x 12” animation paper, the drawings display in good condition with light edge wear, creasing, paperclip oxidization stains, and light discoloration from age.

(Harman-Ising, 1931) A page of character studies drawn by Bob Clampett during the first week he worked at the Harman-Ising Studio. Clampett was working on the very first Merrie Melody cartoon, "Lady, Play Your Mandolin," which includes Foxy, Roxy, and the ape waiter. Clampett was only seventeen years old when hired, and this is likely the oldest surviving work of his on a Warner Brothers cartoon. Clampett inscribed the drawing at a later date --”Originals drawn by Bob Clampett 1st week he worked at WB Cartoons on Harman-Ising first merrie melodies ever made.” Measuring 9.5” x 12” with character imagery taking up most of the page, the graphite drawing is in good condition stamped “Courtesy of the Bob Clampett Collection,” with an area of discoloration from tape along the top and left sides, two horizontal creases running the length of the paper near the top and bottom, creasing and edge wear from production use, and light discoloration from age.

(Harman-Ising, 1931) An early original drawing of Foxy and a gorilla from an unproduced short, with an inscription by Bob Clampett reading “Original Drawing by Bob Clampett of 1st Merrie Melodies characters-Done 1st week at Harman-Ising/WB Cartoon Studio-Feb. 1931.” This graphite and colored pencil drawing has an image size of 7.25” x 8.5” on 9.5” x 12” animation paper and stamped “Courtesy of the Bob Clampett Collection.” The drawing displays in very good condition with creases, spots of discoloration, and a full horizontal fold near the bottom.

(Harman-Ising, 1931) An original production drawing of Foxy singing in “Lady, Play Your Mandolin,” the first Merrie Melodies short. This drawing is inscribed by Clampett--”One of first inbetweens drawn by Bob Clampett on first WB Merrie Melodies cartoon 1931.” With an image size of 5.25” x 8.5” on 9.5” x 12” animation paper, stamped “Courtesy of the Bob Clampett Collection,” the graphite and colored pencil drawing is in good condition with full horizontal and vertical folds, creases, and edge wear and tears, including a 0.75” x 3” section of paper missing from the bottom right corner.

(Harman-Ising, 1931) An original production drawing of Foxy from the first Merrie Melodies short, “Lady, Play Your Mandolin!” With an image size of 5” x 5.5” on 9.5” x 12” animation paper, stamped “Courtesy of the Bob Clampett Collection,” the graphite and colored pencil drawing is in good condition with stains, edge wear, a full horizontal fold at the top, and 0.75” x 3” of missing paper at the bottom left corner.

(Harman-Ising, 1931) An original storyboard drawing of Foxy from “Lady, Play Your Mandolin!” With an image size of 6.5” x 7.5” on 9.75” x 12” animation paper, the graphite and colored pencil drawing is in good condition with light discoloration from age, creases, a full horizontal fold at the bottom, and heavy edge wear with tears. Stamped “Courtesy of the Bob Clampett Collection” along the bottom.

(Harman-Ising, 1931) A “Lady, Play Your Mandolin” Foxy drawing by Bob Clampett. This is a February 1931 tracing by Bob Clampett of original art by Hugh Harman. With a character image of 5.75” x 7.75” on 9.5” x 12” animation paper, stamped “Courtesy of the Bob Clampett Collection,” the graphite drawing is in very good condition with light creases and discoloration from age.

(Harman-Ising, 1931) An original production drawing of a gorilla waiter from the first Merrie Melodies short, “Lady, Play Your Mandolin!” With an image size of 8.25” x 10.5” on 9.5” x 12” animation paper, the graphite and colored pencil drawing is in good condition, stamped “Courtesy of the Bob Clampett Collection,” with creases, stains, a full horizontal fold near the bottom, and tears at the bottom left corner.

(Clampett, 1931) A drawing by Bob Clampett of the preview of “Lady, Play Your Mandolin,” the first Merrie Melodies cartoon and the first animated project Clampett worked on. The drawing features caricatures of Clampett, his High School friends Stewart Strange (best man at Clampett’s wedding and production assistant on “Time for Beany”), Ernie Gee (storyman at Warnet Bros.) and Willie Gee. Accomplished in graphite and colored pencil and measuring 9.5” x 12”, the drawing is in good condition with light edge wear, creasing to the corners, a 0.5” rip in the upper right corner, and light discoloration from age.

(Harman-Ising, 1931) An original production drawing of a gorilla waiter from “Lady, Play Your Mandolin,” the first film in the Merrie Melodies series. With an image size of 6” x 8.25” on 9.5” x 12” animation paper, the graphite and colored pencil drawing displays in very good condition, stamped “Courtesy of the Bob Clampett Collection,” with creases and edge wear, including tears at the bottom left corner and a fold at the bottom right.

(Harman-Ising, 1931) An original layout drawing from the Merrie Melodies short “Smile, Darn Ya, Smile.” Included is an overlay drawing of Foxy which has been trimmed and stapled to the top of the layout. Measuring 9.5” x 12”, the drawing accomplished in graphite and colored pencil is in good condition, stamped with “Courtesy of the Bob Clampett Collection,” with edge wear, creases from production use, a horizontal fold running the width of the paper, and light discoloration from age.

(Harman-Ising, 1931) An original production drawing featuring Foxy from the Merrie Melodies short, “Smile, Darn Ya, Smile.” Measuring 9.5” x 12” with an image size of 7” x 9.75”, the graphite and colored pencil drawing is in very good condition with light edge wear and creasing from production use and light discoloration from age.

(Harman-Ising, 1931) An original layout drawing from the Merrie Melodies short, “Smile, Darn Ya, Smile.” Measuring 9.5” x 12” with an image size of 7” x 11.5”, the graphite and colored pencil drawing is in good condition with light edge wear, three horizontal creases and one vertical crease from being folded into eighths, and light discoloration from age. The drawing has been stamped “Courtesy of the Bob Clampett Collection.”

(Harman-Ising, 1931) A pair of original cut-outs that were applied to the background in the Merrie Melodies short “Smile, Darn Ya, Smile!” In the street car scene, after the advertisement parodies are cel animated, these cut-outs replace the cels as the camera pans left. Accomplished in ink and watercolor on artboard and measuring 1.” x 4.5” and 3.5” x 2.5”, the cut-outs are in good production-used condition with light edge wear, adhesive residue, and light discoloration from age.

(Harman-Ising, 1931) The original art of “Piggy” from a Merrie Melodies title card. After the cancellation of the Foxy series, Rudolf Ising introduced Piggy. This Piggy cut-out was seen on the Merrie Melodies title card of only two shorts: “You Don’t Know What You’re Doin’” and “Hittin’ the Trail for Hallelujah Land.” Accomplished in ink and watercolor and measuring 3.5” x 4.25”, the cut-out is in fine production-used condition with light discoloration from age. The cut-out is accompanied by a 5.5” x 8” envelope with notations written by Bob Clampett.

(Clampett, 1931) A gag drawing of Rudy Ising hunting for Oswald the Lucky Rabbit by Bob Clampett. This drawing appears in the 1975 “Bugs Bunny: Superstar” documentary as Clampett describes drawing lots of “wascally wabbits” outsmarting hunters in his early days at the Warner Bros. Studio. Drawn several years before the creation of Bugs Bunny and Elmer Fudd, the drawing represents the first use of the “W” speech and the theme of rabbit hunting, both of which would become staples of the Warner Bros. cartoons. Clampett signed the graphite and colored pencil drawing in the bottom right corner. With an image size of 8” x 8.5” on 9.5” x 12” animation paper, the drawing is in good condition with edge tears, smudges from handling, scuffs, and pinholes at the corner from display.

(Harman-Ising, 1931) An original storyboard drawing by Bob Clampett from the Merrie Melodies short “Hittin’ the Trail for Hallelujah Land,” the first cartoon in the infamous "Censored Eleven." Accomplished in graphite and colored pencil, the drawing features Uncle Tom in a stereotypical and controversial depiction. Measuring 9.5” x 12”, overall with the image taking up most of the page, the drawing is in very good condition with light edge wear and creasing from production use and light discoloration from age.

(Harman-Ising, 1931) An original storyboard drawing by Bob Clampett from the Merrie Melodies short “Hittin’ the Trail for Hallelujah Land,” the first cartoon in the infamous "Censored Eleven." Accomplished in graphite and colored pencil, the drawing features a trio of hobos as they perform the titular song. Measuring 9.5” x 12” with an image size of 6.5” x 9”, the drawing is in fine production-used condition with light discoloration from age

(Harman-Ising, 1931) A “Hittin’ the Trail for Hallelujah Land” storyboard drawing by Bob Clampett. The Piggy-starring short, directed by Rudolf Ising, was placed on the "Censored Eleven" list due to its use of racial stereotypes. With an image size of 5” x 8.5” on 9.5” x 12” animation paper, the graphite and colored pencil drawing displays in very good condition with light creases, edge wear, and a 0.25” tear.

(Harman-Ising, 1931) A storyboard drawing of a steamboat from the Merrie Melodies short “Hittin’ the Trail for Hallelujah Land,” drawn by Bob Clampett. With an image size of 8” x 11” on 9.5” x 12” animation paper, the graphite and colored pencil drawing displays in very good condition with light creases, edge wear, and spots of discoloration.

(Harman-Ising, 1931) An original character study drawing of different toys from the Merrie Melodies short “Red-Headed Baby.” Measuring 9.5” x 10” overall, with the character image taking up most of the page, the graphite and color pencil drawing is in very good condition with light creases from production use and light discoloration from age.

(Harman-Ising, 1931) An original production drawing of dancing toys from the Merrie Melodies short “Red-Headed Baby.” With an image size of 6" x 12" on 9.5” x 10” animation paper, the graphite and colored pencil drawing is in very good condition with light creases from production use and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing of an octopus from the Merrie Melodies short “Pagan Moon.” Accomplished in graphite and colored pencil, the drawing measures 9.75” x 12” and is in very good condition with light edge wear and creasing from production use and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing of the Island Boy from the Merrie Melodies short “Pagan Moon.” Accomplished in graphite and colored pencil, the drawing measures 9.75” x 12” and is in very good condition with light edge wear and creasing from production use, and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing from the Merrie Melodies short “Freddy the Freshman.” Measuring 9.5” x 12” overall, with a character image size of 7” x 8”, the graphite and colored pencil drawing is in very good production-used condition with pinholes and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing from the Merrie Melodies short “Freddy the Freshman” featuring a football-carrying lion chased by several animals, including one who resembles Mickey Mouse. With an image size of 8.75” x 11” on 9.75” x 12” animation paper, the graphite and colored pencil drawing displays in very good condition with light creases, discoloration from age, and edge wear.

(Harman-Ising, 1932) An original storyboard drawing of football-playing animals from the Merrie Melodies short “Freddy the Freshman.” With an image size of 7.75” x 10.75” on 9.75” x 12” animation paper, the graphite and colored pencil drawing displays in very good condition with light creases and pinholes from production use.

(Harman-Ising, 1932) An original storyboard drawing of the commentator from the Merrie Melodies short “Freddy the Freshman.” With an image size of 9.5” x 11.25” on 9.75” x 12” animation paper, the graphite and colored pencil drawing is in very good condition with light creases.

(Harman-Ising, 1932) An original storyboard drawing from the Merrie Melodies short “Freddy the Freshman,” drawn by Bob Clampett. Measuring 9.5” x 12” overall, with a character image size of 7” x 8”, the graphite and colored pencil drawing is in fine production-used condition with light discoloration from age.

(Harman-Ising, 1932) An original production drawing of a crowd from the Merrie Melodies short “Freddy the Freshman.” With an image size of 9.25” x 12” on 9.75” x 12” animation paper, the graphite and colored pencil drawing is in very good condition with light wear.

(Harman-Ising, 1932) An original concept drawing of Freddy driving from the Merrie Melodies short “Freddy the Freshman.” With an image size of 7.5” x 9” on 9.75” x 12” animation paper, the graphite and colored pencil drawing is in very good condition with light creases.

(Harman-Ising, 1932) A collection of nine storyboard drawings of Goopy from his debut Merrie Melodies short “Goopy Geer.” Accomplished in graphite and colored pencil with character image sizes ranging from 4” x 3” to 4.75” x 6.5”, the 9.75” x 12” drawings are in good to very good condition with light edge wear and creasing from production use, one with a few small stains, and light discoloration from age.

(Harman-Ising, 1932) An original storyboard drawing from the Merrie Melodies short “I Wish I Had Wings.” Measuring 9.75” x 12”, the graphite and colored pencil drawing is in good condition with light edge wear and creasing, a 0.5” tear left of the top center edge, two 0.25” tears to the upper left corner with an oxidization stain from a paperclip, and light discoloration from age.

(Harman-Ising, 1932) An original production drawing from the Merrie Melodies short “I Wish I Had Wings.” Accomplished in graphite and colored pencil and measuring 9.75” x 12” with a character image size of 5.25” x 9.5”, the drawing is very in good condition with light creasing and edge wear, and light discoloration from age.

(Harman-Ising, 1932) An original production drawing from the Merrie Melodies short “I Wish I Had Wings.” Measuring 9.75” x 12” with a character image size of 4” x 9.75”, the graphite and colored pencil drawing is in good condition with light edge wear, creasing, smudging from production use, and light discoloration from age.

(Harman-Ising, 1933) A layout drawing of Sherlock Holmes and Watson from the Merrie Melodies cartoon “I Like Mountain Music,” directed by Rudolf Ising. With an image size of 7.5” x 5.25” on 9.75” x 12” animation paper, the drawing accomplished in graphite and red pencil is in very good condition with expected wear from production use and age.

(Warner Bros., 1933) A signed gag drawing submitted by Bob Clampett and used for the Merries Melodies short “I Like Mountain Music,” directed by Rudolf Ising. The gorilla character “Ping Pong” is a parody of “King Kong,” which had premiered in theaters just two months prior. Pop-culture puns such as this became a hallmark of Bob Clampett’s humor throughout his career. Clampett signed the drawing at the bottom right with a note explaining the drawing's history. Accomplished in graphite and colored pencil and measuring 9.75” x 12”, the drawing is in good condition with light edge wear and tear from production use.

(Harman-Ising, 1933) An original character model drawing from the Merrie Melodies short “I Like Mountain Music,” where characters from magazines come to life. With an image size of 8.25” x 11” on 9.75” x 12” animation paper, the drawing displays in very good condition with light creases, fingerprints, and discoloration from age.

(Harman-Ising, 1933) An original storyboard drawing from “Shuffle Off to Buffalo,” a Merrie Melodies short based on the song from the film “42nd Street.” Measuring 9.75” x 12”, the graphite and colored pencil drawing is in good condition, stamped “Courtesy of the Bob Clampett Collection,” with spots of discoloration, edge tears, creases, and a 1” tear at the top left.

(Harman-Ising, 1933) A storyboard drawing of Eddie Cantor from the Merrie Melodies short “Shuffle Off to Buffalo.” The multi-talented Cantor wrote the song “Merrily We Roll Along,” famously used as the Merrie Melodies theme song. With an image size of 9” x 10.25” on 9.75” x 12” animation paper, stamped “Courtesy of the Bob Clampett Collection,” the graphite and colored pencil drawing is in very good condition with light creases and a pinhole from production use.

(Harman-Ising, 1933) A storyboard drawing of three singing babies from “Shuffle Off to Buffalo.” This short was the first to be co-directed by animation legend Friz Freleng. Measuring 9.75” x 12”, the graphite and colored pencil drawing is in good condition, stamped “Courtesy of the Bob Clampett Collection,” with stains.

(Harman-Ising, 1933) An original production drawing from the Merrie Melodies short “Shuffle Off to Buffalo.” With an image size of 5.5” x 11.25” on 9.75” x 12” animation paper, the graphite and colored pencil drawing is in good condition, stamped “Courtesy of the Bob Clampett Collection,” with light creases, edge wear, discoloration from age, pinholes, and a 0.5” tear.

(Harman-Ising, 1933) An original storyboard drawing of dancing toys from the Merrie Melodies short “The Shanty Where Santy Claus Lives.” Measuring 9.5” x 12” overall, with character imagery taking up most of the page, the graphite and color pencil drawing is in very good condition with light creases from production use and light discoloration from age.

(Harman-Ising, 1933) A production drawing of Santa and a couple of reindeer from the Merrie Melodies short “The Shanty Where Santy Claus Lives.” Measuring 3.75” x 11.75” on 9.75” x 12” animation paper, the drawing is in very good condition with light wear.

(Harman-Ising, 1933) A storyboard drawing from the Merrie Melodies short “The Shanty Where Santy Claus Lives.” Measuring 9.75” x 12”, the graphite and colored pencil drawing is in very good condition with light creases and discoloration from age.

(Warner Bros., 1932) A very rare internal notice of a gag meeting for the Merrie Melodies short, “The Shanty Where Santy Claus Lives.” Gag meetings are a little-documented step in the animation process where animators and other staff would pitch individual jokes or “gags” for an upcoming cartoon idea, usually getting paid a bonus for each of their gags used. This notice announces an evening meeting and includes a short synopsis of the Christmas-themed cartoon, with a note specifically calling for Santa’s Workshop toy gags. Typed on paper, the letter measures 9.75” x 12” and is in good condition with a pinhole and rip in the top center edge, a 0.25” fold in the lower right corner, light creasing, and discoloration from age.

(Clampett, 1932) A rare photograph of Bob Clampett sitting at an animation desk, presenting his work to his then-boss, Hugh Harman. Clampett and Harman would remain friends throughout their lives. The 2.5” x 4.5” photo is in very good condition stamped with the date Feb 13, 1932 on the reverse and light toning from age.

(Clampett, 1931) A drawing of Bing Crosby by Bob Clampett. Clampett signed the piece and noted it was “Drawn from memory after seeing Bing perform in person the first time on stage of Alex Theatre in 1931.” Accomplished in graphite and color pencils, the drawing with an image size of 5.75” x 7” on animation paper folded to 8” x 10.5” is in good condition with light wear from handling and age.

(Clampett, 1930s) Animating by hand to a strict character model is daunting and even grueling work. It is a time-honored tradition for animators to both express themselves and let off a little steam by creating gag drawings and caricatures of their coworkers in their own styles. This collection of ten artists’ caricatures spans Bob Clampett’s early career. Three pieces were drawn by Warren Foster, Rajah, and T. Hee, with the remaining seven unsigned. The works exhibit a range of style and detail, from quick gags of Clampett sporting an overabundance of hair and drawing from atop a stack of pillows, to an intricate depiction of him eating an ice cream cone. T. Hee’s drawing dated August 7, 1936, and another dated May 27, 1933 mark his last days at Warner Brothers and Harman-Ising, respectively. Measuring up to 9.75” x 12”, the sketches accomplished in mixed media are all in very good condition, with expected wear from handling and age including small smudges and creases.

(Schlesinger, 1933-44) A very rare sheet of unused stationery from Leon Schlesinger Productions. The sheet displays logos for Looney Tunes, Merrie Melodies, and “Distributed by Warner Brothers,” and reads “That’s All Folks” at the bottom. Measuring 8.5” x 11”, the sheet is in very good unused condition, with impressions in the lower right from a name written on a sheet above this, a 4” line mark in the logos area, and very light wear from age.

(Schlesinger, 1933) A photo print of the December 23, 1933 Schlesinger Productions Christmas Party. Bob Clampett signed the back and noted the date and “Warners Sound Stage” as the location. Leon Schlesinger can be seen in the back center holding a beer. Clampett is at the right center edge with Bob McKimson to his right (in the bow tie) and Chuck Jones and Tubby Millar to his right. Friz Freleng kneels on the right and Ham Hamilton on the left (see lot 38). Measuring 8” x 10”, the photo print is in good condition with light edge wear from handling, and light toning.

(Schlesinger, 1934) A group photo captioned “Leon Schlesinger’s Christmas Party - 1934 Warner Bros. Sunset Studio.” The party was on a soundstage at the Hollywood lot, with Bob Clampett seated at a front table, and Leon Schlesinger standing towards the right. To the left edge of the photo Ray Katz is seated with Chuck Jones, and Friz Freleng to his left. Measuring 7.25" x 9.5", the photo is in fair condition with edge wear including small creases and tears, faint glue residue and fading along the left edge, fading to the printed caption, glue residue on the back, and toning from age.

(Schlesinger, 1934) A group photo captioned “Leon Schlesinger’s Christmas Party - 1934 Warner Bros. Sunset Studio.” The party was on a soundstage at the Hollywood lot, with Bob Clampett seated at a front table, and Leon Schlesinger towards the right. The print is signed in pencil on the back by Bob Clampett. Measuring 8” x 10”, the photo is in very good condition with toning from age.

(Schlesinger, 1935) A group photo taken at the Schlesinger Christmas Party in 1935. Schlesinger can be seen standing on stage before the Christmas tree, with Bob Clampett, Tex Avery, Friz Freleng, and more in the crowd. This photo was published in Motion Picture Herald, a film industry trade magazine, on January 11, 1936, and captioned “One Big Happy Family.” Measuring 6.5” x 10”, the photo print is in good condition with light handling wear, pinholes at the corners, and toning.

(Schlesinger, 1930s) An invitation to a Leon Schlesinger Christmas luncheon at the trendy Wilshire Bowl in Hollywood. Schlesinger famously threw holiday parties for the 200-odd employees of his studio, with all you could eat and drink lunch, an orchestra, and dancing. Measuring 4.75” x 6.25”, the invitation is in very good condition with light handling wear and 0.25” of paper loss at the top right corner.

(Schlesinger, 1936) A photo of Leon Schlesinger’s Warner Brothers Cartoon staff taken April 6th, 1936. Bob Clampett wrote the date on the back, including that the photo “was being taken as I had to rush off to my Dad’s funeral at Forest Lawn. As I pulled out in my car, they all waved to me conveying a feeling of sympathy and encouragement which meant a great deal to me at this very sad moment.” Measuring 8” x 10”, the photo print is in very good condition with light edge wear and toning.

(Clampett, 1936) A photograph of Looney Tunes and Merrie Melodies producer Leon Schlesinger and staff. Bob Clampett inscribed the back “Foto taken of WB Cartoon key men (Vintage of April 1936) Was shot the day of my Dad’s funeral.” Pictured starting fifth from the left are Frank Tashlin, Tex Avery, Henry Binder, Leon Schlesinger, Ray Katz, and Friz Freleng. Measuring 8” x 10” the photo displays in good condition with pinhole tears, creases to the corners, and toning.

(Schlesinger, 1937) A photo of Producer Leon Schlesinger with Carl Stalling and the Warner Brothers orchestra. The pianist’s sheet music suggests they’re recording the soundtrack for the Merrie Melodies cartoon “Have You Got Any Castles,” directed by Frank Tashlin. Measuring 8 x 9.75”, the photo print is in very good condition with paper residue on the back from mounting in an album.

(Schlesinger, 1937) An unusual behind-the-scenes photo of Carl Stalling conducting the Warner Brothers Orchestra, taken from inside the audio recording room of the sound stage. Ever foppish, Producer Leon Schlesinger is standing right beside Stalling. Measuring 7.75” x 9.75”, the print is in very good condition with light toning.

(Schlesinger, 1930s) A behind-the-scenes photo of an orchestra recording session at Warner Brothers. Producer Leon Schlesinger stands close beside Carl Stalling, and a very young Thurl Ravenscroft can be seen towering over a raft of singers on the left. Measuring 8” x 10”, the photo print is in very good condition.

(Schlesinger, 1933) A photo of Looney Tunes producer Leon Schlesinger, actor Joe E. Brown, and a third man taken during production of the feature film “Son of a Sailor.” Measuring 8” x 10” the photo displays in very good condition with light corner wear and toning from age.

(Clampett, 1970s-80s) A map of the Leon Schlesinger Production offices and Warner Brothers lot from 1933-41 drawn by Bob Clampett. These maps were likely drawn for Mike Barrier during research for his book “Hollywood Cartoons: American Animation in Its Golden Age,” and offer a rare, first-hand account of the Warner Brothers Hollywood Studio with extensive notations and anecdotes. The four pages are accomplished in graphite on yellow legal pad measuring 8” x 11” and are in very good condition with light edge wear and a small tear to the upper left corner on two pages which do not affect the image.

(Schlesinger, 1936) A caricature of the Leon Schlesinger Productions cartoon staff, signed by Bob Clampett. Animator T. Hee, best remembered for his caricatures in the opening credits of Disney’s “The Reluctant Dragon,” drew the entire staff including himself. Bob Clampett signed the print boldly in red pencil, with the “O” in his name circling his caricature in the crowd. The front row features (from left to right) T. Hee, Leon Schlesinger, Ray Katz, Henry Binder, Friz Freleng, and Tex Avery. Measuring 11” x 14.75”, the signed print is in very good condition, with original folds and light wear from age.

(Schlesinger, 1930s-40s) A Christmas card to Bob Clampett from the Ink and Paint department, with an original verse and nearly 50 signatures. Accomplished in mixed media on 9.5” x 12” animation paper, the card is in good condition with light edge wear, a soft fold across the bottom right, and typical discoloration to the paper from age.

(Clampett, 1930s) A pair of unused identical printed Christmas cards from Bob Clampett, with a single envelope. Each measuring 4.5” x 5.75”, the cards are in fine condition.

(Schlesinger, 1933) An original hand-painted production background of a wooden bridge from the first Buddy short, “Buddy’s Day Out.” Accomplished with ink and watercolor and measuring 9.5” x 11.5”, the background is in very good condition with pinholes from production use.

(Schlesinger, 1933) An original production background by Paul Fennel from the Looney Tunes short, “Buddy’s Day Out.” Measuring 9.5” x 11.5” with an image size of 8.25” x 11.5” the watercolor and ink painting is in very good production used-condition with light edge wear, pinholes, and discoloration from age.

(Schlesinger, 1933) An original concept drawing of Buddy, Cookie, and Elmer for the title card to “Buddy’s Day Out.” This concept differs slightly from the final painted and screen-used title card. Measuring 9.5” x 12” overall, with a character image size of 3.5” x 8”, the graphite drawing displays in good condition with edge wear and tear, light creasing, a 0.5” x 2” area of paper loss at the top left corner, and light discoloration from age.

(Schlesinger, 1933) A model drawing of Buddy and Cookie in their debut short, “Buddy’s Day Out.” On the front of the drawing, accomplished in graphite and colored pencil, is written “Use this drawing as a model then discard” and on the reverse is a personal inscription. With an image size of 5” x 10” on 9.25” x 12” animation paper, the drawing displays in very good condition with stains from production use and discoloration from age.

(Schlesinger, 1933) A production drawing of Buddy and Cookie from “Buddy’s Day Out.” This is likely from a deleted scene, as Buddy wears a cap throughout the entire short. With a character image size of 4.25” x 5” on 9.5” x 12” animation paper, the drawing is in very good condition with light wear from production use and discoloration from age.

(Schlesinger, 1933) An original layout drawing from the first Buddy series short “Buddy’s Day Out.” With an image size of 6.75” x 10.75” on 9.5” x 12” animation paper, the graphite and colored pencil drawing is in fine condition with discoloration from age.

(Schlesinger, 1933) A layout drawing of Cookie and her baby brother Elmer from “Buddy’s Day Out.” This graphite and colored pencil drawing by Bob Clampett is from a deleted scene and features Clampett’s signature at the bottom left corner. With an image size of 7.75” x 10.75” on a 9.5” x 12” animation paper, the drawing is in fine condition with light discoloration from age.

(Schlesinger, 1933) A “Buddy’s Day Out” storyboard drawing of Buddy and Cookie in a kitchen. This is likely from a deleted scene from the short, whose original director Tom Palmer was fired and replaced by Friz Freleng. With an image size of 7.5” x 10” on 9.5” x 12” animation paper, the graphite and colored pencil drawing is in fine condition with light discoloration from age.

(Schlesinger, 1933) A production drawing of Buddy from his first short, “Buddy’s Day Out.” With a character image size of 3.5” x 3.75” on 9.5” x 12” animation paper, the graphite drawing is in very good condition with light creases.

(Schlesinger, 1933) An original production drawing from the Looney Tunes short “Buddy’s Day Out.” Accomplished in graphite, the drawing features Cookie and Buddy from a deleted scene. Measuring 9.5” x 12” with a character image size of 5.25” x 4.25”, the drawing is in fine production-used condition with light discoloration from age.

(Schlesinger, 1933) A promotional drawing of Buddy and his dog for “Buddy’s Beer Garden.” To promote early animated shorts, black and white photostats of line art like this were sent to magazines and newspapers. Measuring 9.5” x 12” with an image size of 6.75” x 9.25”, the graphite and colored pencil drawing is in good condition with a crease to the upper left corner, tears along the top edge, a 0.25” x 0.5” tear in the center right side, and light discoloration from age.

(Schlesinger, 1933) An original layout drawing featuring Cookie’s “new look” from the Looney Tunes short “Buddy’s Beer Garden.” Accomplished in graphite and colored pencil, with an image size of 7.5” x 10.5” on 9.5” x 12” animation paper, the drawing is in very good condition with light wear.

(Schlesinger, 1933) An original layout drawing from the Looney Tunes short “Buddy’s Beer Garden.” With an image size of 7.75” x 9.5” on 9.5” x 12” animation paper, the graphite and colored pencil drawing is in very good condition with light wear.

(Schlesinger, 1933) An original production drawing of Buddy from the Looney Tunes short “Buddy’s Beer Garden,” directed by Earl Duvall. This cartoon marked Duvall’s directorial debut for Warner Bros., as he was brought in to replace Hugh Harman and Rudolf Ising. Measuring 9.5” x 12” with a character image size of 4.5” x 5”, the graphite drawing is in fine condition.

(Schlesinger, 1933) An original storyboard drawing of Buddy and Cookie from the Looney Tunes short “Buddy’s Showboat.” Measuring 9.5” x 12” with an image size of 5” x 4.25”, the graphite and color pencil drawing is in fine production-used condition with light discoloration from age.

(Schlesinger, 1934) Three pages of storyboards from the Friz Freleng-directed Looney Tunes short “Buddy the Gob.” This was the first short Freleng directed in its entirety for the studio, having previously finished “Buddy’s Day Out” after Tom Palmer was fired. Each page consists of 6 storyboard panels, for a total of 18 panels. Measuring 9.5” x 12” overall, with each panel measuring 3” x 4”, the storyboards, accomplished in graphite and colored pencil, are in good to very good condition with light stains, wear from production use, corner folds, and discoloration from age.

(Schlesinger, 1934) An original production story drawing from “Buddy’s Garage.” With an image size of 6.5” x 4.25” on 9.5” x 12” animation paper, the drawing accomplished in graphite and red pencil is in very good condition with very light color shift to the paper from age.

(Schlesinger, 1934) An original layout drawing from the Looney Tunes short “Buddy’s Garage.” Measuring 9.5” x 12”, the graphite and colored pencil drawing is in very good condition with light edge wear.

(Schlesinger, 1934) An original production story drawing from “Buddy the Woodsman” of Cookie serving spaghetti for the lumberjacks. Cookie was occasionally depicted as blonde in cartoons directed by Jack King. With an image size of 8” x 10” on 8.5” x 12” animation paper, the drawing accomplished in graphite and red pencil is in fine condition with faint smudges from original production, and very slight color shift to the paper from age.

(Schlesigner, 1934) A story drawing of Buddy from the Merrie Melodies short “Buddy the Woodsman.” The graphite and colored pencil drawing includes color callouts for the ink and paint department. With an image size of 7.5” x 11” on 9.5” x 12” animation paper, the drawing is in very good condition with light creases and discoloration from age.

(Schlesinger, 1934) An original production layout drawing from “Buddy the Woodsman.” Accomplished in graphite and colored pencils, the drawing has an image size of 10.5” x 9.25” on 9.5” x 12” animation paper and is in fine condition with expected slight color shift to the paper from age.

(Schlesinger, 1934) An original story drawing from “Buddy the Woodsman.” Buddy became Looney Tunes’ second star after Harman & Ising took Bosko with them when they left the Studio. With an image size of 6.75” x 9.25” on a 9.5” x 12” piece of animation paper, the graphite and colored pencil drawing is in good condition with wear from production use including stains, creases, and a full horizontal fold at the top.

(Schlesinger, 1934) A layout drawing of Buddy on the telephone from “Buddy the Dentist.” With an image size of 7.75” x 10.5” on 9.5” x 12” animation paper, the drawing accomplished in graphite and red pencil is in very good condition with very light wear from production use.

(Schlesinger, 1934) A layout drawing of Cookie on the telephone from “Buddy the Dentist.” With an image size of 7.75” x 10.5” on 9.5” x 12” animation paper, the drawing accomplished in graphite and red pencil is in very good condition with light wear from production use, and slight discoloration from age.

(Schlesinger, 1933-35) A collection of six photo print model sheets of Buddy and his girlfriend Cookie, with one identified as for “Buddy’s Beer Garden.” Four of the sheets are signed by Bob Clampett, three on the back and one on the front. Each measuring 8” x 10”, the photo print model sheets are overall in very good production-used condition with pinholes, smudges and handling wear, and one of Buddy is in fair condition with a 3” strip of paper loss to the front that affects three images.

(Schlesinger, 1933) Five original layout drawings from Buddy’s “That’s All Folks!” send-off at the end of the Looney Tunes short “Buddy’s Beer Garden.” Although most commonly recognized as Porky Pig’s signature line, the character did not close out the shorts until 1937. Before that, the line was recited by the then-current stars of the series, Bosko, Buddy, and Beans. Accomplished in graphite and colored pencil, the drawings measure 9.5” x 12” each, with image sizes from 2.5” x 3.75” to 5.5” x 8”. The drawings are in good condition with light edge wear and creasing from production use, oxidization stains to the top left corners from a paperclip, a 5.25” diagonal crease to the lower left corner of the page marked “end title,” and light discoloration from age.

(Schlesinger 1934) An original story drawing for the Merrie Melodies “Pettin’ in the Park.” With an image size of 6.75” x 9” on 9.5” x 12” animation paper, the graphite and colored pencil drawing is in very good condition with light edge wear and discoloration from age.

(Schlesinger, 1934) An original layout drawing of pigeons from “Pettin’ in the Park.” With an image size of 7” x 9” on 9.5” x 12” animation paper, the drawing accomplished in graphite and colored pencils is in fine condition, with expected light wear from production use and age.

(Schlesinger, 1934) A drawing of the title card for the Merrie Melodies cartoon “Pettin’ in the Park,” directed by Bernard Brown. The card is drawn on 9.5” x 12” animation paper with the peg strip folded in back, for a final measurement of 8.5” x 12.” The title drawing is in very good condition with “Courtesy of the Bob Clampett Collection” stamped on the back, and light discoloration from age.

(Clampett, 1934) A drawn diary sketch by Bob Clampett. Dated January 27, 1934, Clampett depicts himself taking bows for the audience (while they boo him and throw tomatoes at him) at the Warners Hollywood Theater as his credit for “Pettin’ In The Park” appears on screen (filling half the screen). With an image filling the full 9.5” x 12” animation paper, the drawing accomplished in graphite and colored pencils is in fine condition, with expected light color shift to the paper from age.

(Schlesinger, 1930s) An original story drawing from an unproduced Leon Schlesinger short. “Nature Man" tells his forest friends he plans to bring the gold to the poor house, while a gypsy spies on him. Measuring 9.5” x 12”, the graphite and colored pencil drawing is in very good condition with light edge wear and discoloration from age.

(Schlesinger, 1930s) An original story drawing of “Nature Man” asleep in the woods under a blanket of leaves from an unproduced Leon Schlesinger short. Measuring 9.5” x 12”, the graphite drawing displays in very good condition with light creases, corner folds, and discoloration from age.

(Schlesinger, 1930s) Eighteen model sheets from early Looney Tunes and Merrie Melodies cartoons, from the collection of Bob Clampett. Model sheets include Buddy, his girlfriend Cookie, and his dog Towser; “The Miller’s Daughter,” a baby Elmer, dog Happy, plus other characters including rabbits, a girl, and four chicken models including one duplicate. Of note are model sheets for a hound dog and Little Eva from “Uncle Tom’s Bungalow,” the 1937 Merrie Melodies cartoon that is on the infamous “Censored Eleven” list of shorts pulled from general distribution and exhibition due to insensitive content. Two of the sheets are signed by Bob Clampett, and three are stamped “Courtesy of the Bob Clampett Collection.” Measuring up to 10.5” x 12.5”, the photostat and photo print model sheets are overall in good to very good condition, with typical handling wear and pinholes from production use, and some edge wear, small tears, creases, and spots of discoloration.

(Schlesinger, 1930s-40s) Six model sheets from Looney Tunes and Merrie Melodies cartoons. Included in photostat form are two from “Rover’s Rival,” one from “Porky’s Super Service,” one in negative from “Injun Trouble,” and one from “The Ducktators.” The last model sheet is in photo print form of Porky Pig dressed as a farmer and sailor from an unknown production. The “Ducktators” sheet has adjustments to the character size comparison models in blue pencil, and is labeled “Property of Bob Clampett Collection” in pencil by Clampett himself, effectively adding his signature. Measuring from 8” x 10” to 11” x 14”, the model sheets are overall in very good condition with wear typical of production use and age, and the “Ducktators” sheet is in good condition with a 0.75” x 3” piece torn from the left side that does not affect the image.

(Schlesinger, 1930s) A background of wires over a skyline at night, labeled MM#1. It’s likely this is an unused background from “I’ve Got to Sing a Torch Song” which includes a nearly identical scene in daytime. Two birds are faintly sketched on the wires in pencil and red pencil, Bob Clampett’s signature writing tools. Measuring 9.5” x 11.5” with an image size of 8.5” x 11.5”, the background painting accomplished in gouache is in very good condition with light wear mainly to the edges, and stamped “Courtesy of the Bob Clampett Collection.”

(Schlesinger, 1934-36) A hand-painted door sign for Bob Clampett, Charles “Chuck” Jones, and Bob Cannon. From 1934 to 1936 Cannon apprenticed as an assistant to Clampett and Jones, becoming a full animator beside them from 1936 through 1944. This sign was hand-painted at the Studio and then tacked to the team's door or beside the doorway. This unique artifact from the legendary team and birthplace of Bugs Bunny measures 3.5” x 11.75”, the sign is in very good condition considering its 90 years of age, with small tack holes mainly at corners and the right side, small tears to three of the corners, and general light wear from production use, including a spot of paper loss at the last “t” in Clampett.

(Schlesinger, 1930s) An early group photo of Bob Clampett with his animation unit, including ten women of the Ink and Paint Department, at Warner Bros. Studios. Measuring 8” x 10”, the photo is in very good condition with scratches edge wear, stains, and red checks at the bottom right corner.

(Clampett, 1930s-40s) A collection of four photographs featuring the crew of Leon Schlesinger Productions at the original Termite Terrace in the middle of the Warner Bros. studio lot before their move to the studio on Van Ness Ave. Measuring 4” x 5”, the photos are in very good condition.

(Clampett, 1940) A photo print of Bob Clampett and the Termite Terrace Crew from a home movie filmed there. Pictured from left to right are Virgil Ross, Sid Sutherland, Tex Avery, Chuck Jones, and Clampett. Measuring 8” x 10” the glossy photo displays in very good condition with light surface scratches.

(Clampett, 1930s-40s) A black and white photo of Tex Avery from Bob Clampett’s personal collection. Avery and Clampett collaborated in a bug-infested building which the pair called “Termite Terrace.” This simple clapboard structure became renowned in animation history as the birthplace of Bugs Bunny. Measuring 3” x 3.75”, the photo is in very good condition with light scratches and wear.

(Clampett, 1934) A gag drawing by Bob Clampett featuring Producer Leon Schlesinger questioning child versions of Clampett and Chuck Jones about why they are playing baseball instead of working. Accomplished in graphite and colored pencil the 9.5” x 12” drawing is in fine condition with light discoloration from age and mounted to a piece of construction paper measuring 11” x 13”, also in fine condition.

(Hee, 1935) A studio gag drawing by T. Hee, expressing his and fellow animators’ fears of losing their jobs after the arrival of Frank Tashlin at Leon Schlesinger Productions. This drawing was featured in the 1975 documentary film “Bugs Bunny: Superstar.” Accomplished in graphite and colored pencil, the 9.5” x 12” drawing is in good condition with an adhesive stain on the bottom right edge and light discoloration from age. It has been mounted to a piece of 12.75” x 13.75 construction paper in good condition with edge wear, creasing, adhesive stains, and a 0.25” tear along the top edge.

(Avery, 1935) A studio gag drawing by Tex Avery featuring Bob Clampett, Chuck Jones, and himself. Accomplished in graphite and colored pencil, and measuring 9.5” x 12” the drawing is in fair condition with the top 1” of the page folded over the back and bearing a “Courtesy of the Bob Clampett Collection” stamp, pinholes and a stain along the left edge, adhesive residue on the reverse which is visible on the front, and light discoloration from age.

(Jones, 1936) A caricature by Chuck Jones of himself and Bob Clampett walking into the studio back-to-back (so no one could stab them in the back). Ever the collector, Clampett later wrote the provenance of this keepsake directly on the drawing, effectively signing it. Accomplished in graphite and colored pencil and measuring 9.5” x 12”, the drawing is in very good condition with light creasing and light discoloration from age.

(Clampett, 1930s) A gag “football poster” drawing by Bob Clampett. Clampett promises an afternoon game between “The Top Floor Tearers” and “The Basement Bullies,” with himself as the coolest player on the field, amidst caricatures of his associates. Accomplished in graphite and colored pencils, the gag drawing on the full 9.5” x 12” animation paper is in very good condition, with very light wear as expected from age.

(Cannon, 1930s-40s) A studio gag drawing by animator Robert “Bobo” Cannon of Bob Clampett, Chuck Jones, and himself. Accomplished in graphite and colored pencil and measuring 9.5” x 12”, the drawing is in good condition with pinholes from display, adhesive residue on the reverse visible from the front, and light discoloration from age. The drawing is mounted on 12.25” x 16.25” construction paper in good condition, partially detached from the mounting, with edge wear and creasing.

(Clampett, 1930s) A gag drawing of animator Larry Martin drawn by Bob Clampett. Clampett used his caricatures of Martin as the basis for Dishonest John in “Time For Beany” and “Beany and Cecil.” With an image size of 9.25” x 7.75” on 9.75” x 12” animation paper, the gag drawing accomplished in graphite and red pencil is in very good condition with pinholes, edge wear, and typical discoloration from age.

(Clampett, 1930s) A gag drawing by Bob Clampett, inscribed “Study of Dem Coming to Work” accomplished in graphite and colored pencil. “Dem” refers to Nelson Demorest also called “Dem Dawg” around the studio. An animator, he had a very unusual appearance and funny personality. He was often caricatured with a pointed head. The piece features Clampett’s interpretation of a goon from E. C. Segar’s Popeye comic series. Ironically, Demorest left Warners to work for Fleischer Studios in Florida. With an image size of 8.5” x 11.75” on 9.5” x 12” animation paper, the drawing is in very good condition with light creases.

(Iwerks, 1934) A photograph of a meeting between composer Carl Stalling and animators Robert Stokes and Norm Blackburn during production of the Ub Iwerks-directed short “Rasslin’ Round,” starring Willie Whopper. Measuring 3.25’ x 4.25”, the photo is in good condition with light stains, waviness, marker on the reverse, and wear from age.

(Schlesinger, 1934) A complete set of 64-story drawings by Bob Clampett for an unproduced Merrie Melodies cartoon. “My Sugar in Cellophane Shorts” was to be the tale of Cotton, a Candy Easter Chick, who falls in love with a chocolate bunny and battles hardboiled egg chicks in a candy store kitchen. Captions on the bottom of each drawing effectively narrate a pitch for the idea, including some lyrics for the suggested title song. Each drawing is accomplished in graphite and colored pencil on 9.5” x 12” animation paper with image sizes of 6.5” x 9”. The set is in fine condition, with some individual drawings showing light handling wear from production, and very slight color shift to the paper from age.

(Clampett, 1935-36) A Studio gag drawing of a gruesome Leon Schlesinger Productions Christmas party drawn by Bob Clampett. The crew is depicted releasing the built-up stress and tension of the year with the Charles Addams-esque executions of Avery (hanging), Clampett (beheaded with Friz Freleng holding his head), Chuck Jones (with the axe in his head and Ham Hamilton standing to his right), and Virgil Ross with a knife through his head. Accomplished in graphite and colored pencil and measuring 9.5” x 12”, the drawing is in good condition with the bottom inch folded over to the reverse, edge wear, and light discoloration from age.

(Clampett, 1930s-40s) A drawing of a “Treg’s waffle iron bird” by Bob Clampett. Treg Brown was the studio’s sound editor for Looney Tunes and Merrie Melodies. He suggested this character to Clampett for “Porky In Wackyland”, but the character was not used. Accomplished in graphite and measuring 9.5” x 12”, the drawing is in good condition with edge wear, creasing to the lower left corner and along the bottom edge, and light discoloration from age.

(Clampett, 1935) A photo of Bob Clampett far right with sunglasses) with a group of Leon Schlesinger Productions staff outside of the studio pitching pennies on September 12th, 1935, as noted on the reverse. Measuring 4” x 6” the photo is in very good condition.

(Clampett, 1930s) A pair of penny-pitching gag drawings by Bob Clampett. With image sizes ranging from 7” x 11.5” to 7.5” x 11.5” on 9.5” x 12” animation paper, the graphite and colored pencil drawing is in good condition with light discoloration from age, stains, and creases.

(Clampett, 1937) A studio gag drawing by Bob Clampett of haggard versions of himself and Chuck Jones, compared to the sophisticated and polished artists of the Disney studio. Accomplished in graphite and colored pencil and measuring 9.5” x 12” the drawing is in very good condition with light creasing and light discoloration from age.

(Clampett, 1937) A studio gag drawing by Bob Clampett of the newly formed Looney Tunes unit led by Ub Iwerks. Dated February 3, 1937, it depicts Producer Ray Katz, Iwerks, Clampett, and Chuck Jones. Accomplished in graphite and measuring 9.5” x 12”, the drawing is in very good condition with light creasing and light discoloration from age.

(Schlesinger, 1934) The hand-painted title card for the Looney Tunes short “Shake Your Powder Puff.” Accomplished in cel paint on cardboard and measuring 10” x 12.75”, the title card is in good condition with edge wear and pinholes from production use and paint cracking creases ranging from 1” to 4”, that do not affect the text.

(Schlesinger, 1934) An original storyboard drawing from the Merrie Melodies short, “Shake Your Powder Puff.” Accomplished in graphite and colored pencil with a character image size of 4” x 2.75”, the 9.5” x 12” drawing is in fine condition with light discoloration from age.

(Schlesinger, 1934) An original production drawing of fire fighting bugs from the Merrie Melodies short “Honeymoon Hotel,” directed by Earl Duvall. Accomplished in graphite and colored pencil with a character image size of 5” x 6”, the 9.5” x 12” drawing is in fine condition.

(Schlesinger, 1935) The title card painting for the Merrie Melodies short “The Little Dutch Plate.” The film elements for this short’s titles were lost when it was reissued in 1953 under the “Blue Ribbon” series, replaced by the short’s title in plain text over a background featuring a blue ribbon and Grand Shorts Award trophy. This original artwork has not been seen by the public for over 80 years, and is an incredibly rare and valuable piece of Warner Bros. animation history. Measuring 9.5” x 11.25” the artwork accomplished in gouache and cel paint is in good production-used condition with light warping to the text cel layer, light edge wear, and light discoloration from age to the background layer.

(Schlesinger, 1935) A page of four storyboards for the Merrie Melodies short “Little Dutch Plate.” With an image size of 7.75” x 10.5” on 9.5” x 12” animation paper, the graphite and colored pencil drawing displays in very good condition with light stains, wear, edge tears, and pinholes from production use.

(Schlesinger, 1935) An original concept drawing from the Merrie Melodies short “Little Dutch Plate.” With an image size of 3” x 3.25” on 9.5” x 12” animation paper, the graphite and colored pencil drawing displays in very good condition with creases and a full horizontal fold near the top.

(Schlesinger, 1935) An original production drawing of the boy and his piggy bank from the Merrie Melodies short “Little Dutch Plate.” With an image size of 3.75” x 6.25” on 9.5” x 12” animation paper, the graphite and colored pencil drawing is in good condition with creases, edge tears, and a fold at the top left corner.

(Schlesinger, 1935) An original hand-painted production cel of Charlie Chaplin as a mermaid from the Merrie Melodies short “Mr. and Mrs. is the Name.” With an image size of 1.5” x 3” on a 10” x 12.5” cel, the art is in good condition with spots of paint loss and scratches.

(Schlesinger, 1936) A collection of six original production cels from the Merrie Melodies short “I Love to Singa.” All six cels feature Fritz Owl with one including Owl Jolson. Measuring 9.75” x 12” with character image sizes ranging from 3.5” x 5.5” to 5.5” x 3.75”, the cels are in good production used condition with small spots of paint loss less than 0.25”, areas of light discoloration from pigment loss to the paint, rips to the registration holes, and light warping from age.

(Schlesinger, 1936) An original character study of Fritz the Owl from production of the Merrie Melodies short “I Love to Singa.” With character image sizes ranging from 2” x 2.5” to 4” x 3.5” on 9.5” x 12” animation paper, the graphite and colored pencil drawing displays in good production-used condition with light edge wear, pinholes, and discoloration from age.

(Schlesinger, 1936) An original character study of Owl Jolson from production of the Merrie Melodies short “I Love to Singa.” With character image sizes ranging from 1.25” x 1.75” to 2.5” x 3.5” on 9.5” x 12” animation paper, the graphite and color pencil drawing displays in good production-used condition with light edge wear, pinholes, and light discoloration from age.

(Schlesinger 1936) An original layout drawing of Simple Simon from the Merrie Melodies short “I Love To Singa.” Measuring 9.5” x 12” with a character image size of 6.5” x 11”, the graphite and colored pencil drawing is in very good production-used condition with a light 3” crease to the lower left corner, edge wear, and discoloration from age.

(Schlesinger, 1936) An original layout drawing of Simple Simon from the Merrie Melodies short “I Love to Singa.” Measuring 9.5” x 12” with a character image size of 8” x 10.5”, the graphite drawing is in very good production-used condition with light edge wear and discoloration from age.

(Schlesinger, 1936) A story drawing featuring the young scarecrow from the Merrie Melodies cartoon “I’d Love to Take Orders From You,” directed by Tex Avery. Avery can be seen in the documentary “Bugs Bunny Superstar” acting out this scene while Clampett filmed it. With an image size of 8.75” x 9”, the drawing accomplished in graphite is in good condition, with light wear from age including slight spotting.

(Schlesinger, 1935-37) Seven photo print model sheets from Looney Tunes and Merrie Melodies cartoons. Included are two from “The Girl on the Dutch Plate,” two from “Mr. and Mrs. Is The Name,” and one each from “The Country Mouse,” “Hollywood Capers,” and “I Only Have Eyes For You.” Each measuring 8” x 10”, the model sheets are in good production-used condition with pinholes, smudges, and handling wear, and a 2” tear in the top of the mermaid model sheet from “Mr. and Mrs. Is The Name.”

(Schlesinger, 1936) A layout drawing of Dan Cupid in his home from the Merrie Melodies cartoon “Don’t Look Now.” With an image size of 7.75” x 11” on 9.5” x 12” animation paper, the drawing accomplished in graphite and red pencil is in very good condition with light wear from production use, and slight discoloration from age.

(Schlesinger, 1930s) An original “submission by Bob Clampett and Chuck Jones” panel, likely from a story pitch. Accomplished in graphite on 9.5” x 12” animation paper with an image size of 2” x 3.25”, the piece is in good condition with light edge wear and creasing, a small spot of paper loss in the upper left corner, and light discoloration from age.

(Schlesinger, 1935) An original multi-layer production cel and background from the Merrie Melodies short “I Haven’t Got a Hat.” This short marked the debut of Porky Pig. This piece does not include Porky, but it is the only known surviving cel and background from this landmark film. The cels have been trimmed to 8.75” x 11.25” and are in good condition with areas of discoloration from pigment loss to the paint and light warping from age. The background accomplished in gouache and watercolor has been trimmed to 9” x 11.25” and is in good condition, stamped “Courtesy of the Bob Clampett Collection,” with edge wear and light discoloration from age.

(Schlesinger, 1935) An original layout drawing by Bob Clampett from the Merrie Melodies short “I Haven’t Got a Hat” which saw the debut of Porky Pig. Although Bob Clampett had labeled this drawing as the first Porky Pig scene to be animated, he does not actually appear until later in the short. With an image size of 5” x 6” on 9.5” x 12” animation paper, the graphite and colored pencil drawing displays in very good condition with a full horizontal fold, light creases, and spots of discoloration from age.

(Schlesinger, 1935) A layout drawing of the class from “I Haven’t Got a Hat.” With an image size of 7.75” x 10.5” on 9.5” x 12” animation paper, the layout drawing accomplished in graphite and colored pencil is in very good condition with light wear from age, and stamped “Courtesy of the Bob Clampett Collection” in the upper right corner.

(Schlesinger, 1935) A layout drawing of puppies Ham and Ex from the Merrie Melodies short “I Haven’t Got a Hat.” Accomplished in graphite and colored pencil with an image size of 2” x 3” on 9.5” x 12” animation paper, the drawing is in very good condition, stamped “Courtesy of the Bob Clampett Collection,” with light discoloration from age.

(Schlesinger, 1935) A layout drawing of Little Kitty from the Merrie Melodies short “I Haven’t Got a Hat.” Accomplished in graphite with an image size of 2.5” x 2.5” on 9.5” x 12” animation paper, the drawing is in very good condition, stamped “Courtesy of the Bob Clampett Collection,” with small smudges to the lower right corner, and light discoloration from age.

(Schlesinger, 1935) A layout drawing of the class from the Merrie Melodies short “I Haven’t Got a Hat.” Accomplished in graphite and colored pencil with an image size of 8.25” x 6” on 9.5” x 12” animation paper, the drawing is in very good condition with light discoloration from age.

(Schlesinger, 1935) A layout drawing of Oliver Owl and Beans the Cat from the Merrie Melodies short “I Haven’t Got a Hat.” Accomplished in graphite and colored pencil with an image size of 3.75” x 6.75” on 9.5” x 12” animation paper, the drawing is in very good condition, stamped “Courtesy of the Bob Clampett Collection,” with light handling wear and light discoloration from age including two small dark spots at lower left.

(Schlesinger, 1935) A layout drawing of Beans the Cat from the Merrie Melodies short “I Haven’t Got a Hat.” This cartoon was Beans’ first appearance. Accomplished in graphite and colored pencil with an image size of 2” x 3” on 9.5” x 12” animation paper, the drawing is in very good condition, stamped “Courtesy of the Bob Clampett Collection,” with light handling wear and light discoloration from age.

(Schlesinger, 1935) A layout drawing of Little Kitty from the Merrie Melodies short “I Haven’t Got a Hat.” Accomplished in graphite and colored pencil with an image size of 2.75” x 1.75” on 9.5” x 12” animation paper, the drawing is in very good condition, stamped “Courtesy of the Bob Clampett Collection,” with light discoloration from age.

(Schlesinger, 1935) A layout drawing of puppies Ham and Ex from the Merrie Melodies short “I Haven’t Got a Hat.” Accomplished in graphite and colored pencil with an image size of 2.25” x 3.25” on 9.5” x 12” animation paper, the drawing is in very good condition, stamped “Courtesy of the Bob Clampett Collection,” with light soiling and light discoloration from age.

(Schlesinger, 1935) A layout drawing of Oliver Owl and Beans the Cat from the Merrie Melodies short “I Haven’t Got a Hat.” This cartoon was Beans’ first appearance. Accomplished in graphite and colored pencil with image sizes of 3.25” x 3.25” and 3.25” x 4.5” on 9.5” x 12” animation paper, the drawing is in very good condition, stamped “Courtesy of the Bob Clampett Collection,” with light handling wear and light discoloration from age.

(Schlesinger, 1935) A layout drawing of the class from “I Haven’t Got a Hat.” With an image size of 7.75” x 10.5” on 9.5” x 12” animation paper, the layout drawing accomplished in graphite and colored pencil is in very good condition with light wear from age, and stamped “Courtesy of the Bob Clampett Collection” in the upper right corner.

(Schlesinger, 1935) A layout drawing featuring Ham and Ex from the Merrie Melodies short “I Haven’t Got a Hat.” With a character image size of 6” x 6.75” on 9.5” x 12” animation paper, the graphite and colored pencil drawing is in good condition with full horizontal creases, stains, and discoloration from age.

(Schlesinger, 1935) An “I Haven’t Got a Hat” layout drawing of Oliver Owl and Beans the Cat. The short marked the debut of Beans, who would star in nine shorts for the studio. With character image sizes of 3.5” x 3.5” and 2.75” x 3.25” on 9.5” x 12” animation paper, the drawing is in good condition with a full horizontal fold at the top, creases, wear, and discoloration from age, which does not affect the character image.

(Schlesinger, 1935) An original layout drawing featuring Oliver Owl from the Merrie Melodies short “I Haven’t Got a Hat.” With a character image size of 8” x 10.5” on 9.5” x 12” animation paper, the graphite and color pencil drawing is in good condition with edge wear, discoloration from age, and a full horizontal fold at the top.

(Schlesinger, 1935) A photo print model sheet of the main characters in “I Haven’t Got a Hat.” This Merrie Melodies cartoon marked the debut of all of these characters, including eventual breakout star Porky Pig. Measuring 8” x 10”, the model sheet is in good production-used condition with torn pin holes, scuffing, and “Bob Clampett” stamped in the lower right corner.

(Hal Roach, 1935) A sheet of letterhead from Hal Roach Studios. Roach’s Our Gang Comedies inspired Beans the Cat and the early Looney Tunes cartoons, and silent stars Laurel and Hardy were often caricatured in animated cartoons from all the studios. Measuring 8.5” x 11”, the letterhead is in fine unused condition, with very light spotting from age.

(Schlesinger, 1935) An original layout drawing featuring Beans from the Looney Tunes short “A Cartoonist's Nightmare.” Measuring 9.5” x 12” with an image size of 8” x 10.25”, the graphite and colored pencil drawing is in very good condition with light edge wear and creasing from production use and light discoloration from age.

(Schlesinger, 1935) A layout drawing from “A Cartoonist’s Nightmare” featuring the cartoonist. With an image size of 8” x 10.5” on 9.5” x 12” animation paper, the graphite drawing is in very good condition with light creases and wear from production use.

(Schlesinger, 1935) A layout drawing featuring Beans and the Cartoonist from “A Cartoonist’s Nightmare.” With character image sizes of 1.25” x 1.25” and 1.75” x 5” on 9.5” x 12” animation paper, the graphite and colored pencil drawing is in very good condition with light creases and discoloration from age.

(Schlesinger, 1930s) A set of three story drawings from an unproduced Beans the Cat cartoon. The drawings feature Beans along with a bespectacled puppy character who, despite appearing in several Beans cartoons, is never named. Each with an image size of 7.5” x 10.5” on 9.5” x 12” animation paper, the drawings accomplished in graphite and color pencil are in very good condition with light wear from age.

(Schlesinger, 1935) An original story drawing for a deleted opening to the Looney Tunes short “Gold Diggers of ‘49.” This was the third cartoon to feature Schlesinger’s requested ensemble cast meant as an animated answer to Hal Roach’s “Our Gang,” which the note at the bottom of this drawing reinforces. This scene would have framed the short as a film created by the kids, instead of a separate stand-alone adventure. Measuring 9.5” x 12” the drawing is in good condition with edgewear and creasing from production use and light discoloration from age.

(Schlesinger, 1935) The original title card painting for the Looney Tunes short “Gold Diggers of ‘49,” the first short directed by Tex Avery. Measuring 9.75” x 12”, the card displays in good condition with edge and corner wear, paper loss and tears to the peg holes, a 0.5” x 0.25” rip to the upper left corner, and a 4” diagonal crack of paint loss to the upper right corner.

(Schlesinger, 1935) An original production background of a Western town from “Gold Diggers of ’49.” The short, directed by Tex Avery, was the second film to feature Porky. Accomplished in ink and watercolor and measuring 10.5” x 12.5”, the background is in good condition with stains, creases, pinholes from production use, and edge tears, particularly the top left corner.

(Schlesinger, 1935) An original production drawing of Porky Pig with a bag of “gold” from “Gold Diggers of ’49.” This short, the first directed for Warner Bros. by Tex Avery, transformed the child Porky Pig from "I Haven't Got a Hat" into an adult pig, marking a significant step forward in the evolution of the character. Measuring 5.5” x 7.5” on a 9.5” x 12” piece of drawing paper, the graphite and colored pencil drawing is in very good condition with light creases.

(Schlesinger, 1935) An original layout drawing of Porky Pig from “Gold Diggers of ’49.” With a character image size of 8.25” x 11” on 9.5” x 12” animation paper, the graphite and colored pencil drawing is in very good condition with light edge wear and discoloration from age.

(Schlesinger, 1935) A production layout drawing of Porky Pig from “Gold Diggers of ‘49,” the first Warner Bros. short directed by Tex Avery. Porky is depicted triumphantly holding his “bag of gold” that was returned to him by Beans—a bag that instead contains his lunch. Measuring 9.5” x 12”, the graphite and colored pencil drawing is in very good condition with light wear.

(Schlesinger, 1935) An original storyboard drawing of Porky from the Looney Tunes Short “Gold Diggers of '49,” drawn by Tex Avery. Measuring 9.5” x 12” with an image size of 8.25” x 4.5”, the graphite drawing is in good condition with edge wear, heavy creasing throughout, smudging, fingerprints, and light discoloration from age.

(Schlesinger, 1935) A production drawing from "Gold Diggers of '49" featuring Little Kitty and Porky Pig in his second appearance. With an image size of 5” x 5.5” on 9.5” x 12 animation paper, the graphite and colored pencil art is in fine condition.

(Schlesinger, 1935) An original storyboard panel featuring a gun-slinging bandit from the Looney Tunes short “Gold Diggers of '49.” Accomplished in graphite and colored pencil with a character image size of 6” x 8”, the 9.5” x 12” drawing is in fine production used condition with light discoloration from age.

(Schlesinger, 1935) An original production drawing of Beans from the Looney Tunes short “Gold Diggers of '49.” Accomplished in graphite and colored pencil with a character image size of 3.5” x 3.25”, the 9.5” x 12” drawing is in fine production used condition with light discoloration from age.

(Schlesinger, 1935) An original production drawing of Beans from the Looney Tunes Short “Gold Diggers of '49.” Accomplished in graphite and colored pencil with a character image size of 3” x 4”, the 9.5” x 12” drawing is in very good condition with light edge wear, a 0.25” stain toward the right center, and light discoloration from age.

(Schlesinger, 1935) An original storyboard drawing featuring Beans from the Looney Tunes Short “Gold Diggers of '49.” Accomplished in graphite and colored pencil, and measuring 9.5” x 12” the drawing is in fine production used condition with light discoloration from age.

(Schlesinger, 1935) An original storyboard drawing featuring a dog taking a bath from the Looney Tunes Short “Gold Diggers of '49.” Accomplished in graphite and colored pencil with a character image size of 5.75” x 6.25”, the 9.5” x 12” drawing is in fine production-used condition with light discoloration from age.

(Schlesinger, 1935) An original layout drawing of a cigar store from the Looney Tunes short “Gold Diggers of '49,” likely drawn by Tex Avery. Measuring 9.5” x 12”, the graphite drawing is in good condition with edge wear, creasing to the upper and bottom left corners, a paperclip oxidization stain to the reverse which is visible from the front, and light discoloration from age.

(Schlesinger, 1935) A music timing sheet for Beans in the Merrie Melodies short “Gold Diggers of ’49.” These sheets carefully document the characters and actions in each shot, along with their precise screen duration. The piece, which features notations in graphite and colored pencil, also includes a later inscription by Bob Clampett. In this inscription, he notes that he created Beans long before his "little propeller-loaded boy Beany." Measuring 9.5” x 12.5”, the timing sheet on Leon Schlesinger Productions paper displays in very good condition with light wear, a full horizontal crease from storage, and discoloration from age.

(Schlesinger, 1935) A pair of original story drawings for a deleted scene in “Gold Diggers of ‘49.” Featuring the ensemble cast from “I Haven’t Got a Hat,” this scene would have framed the short as a film created by the kids, instead of a separate stand-alone adventure. Measuring 9.5” x 12” each, the drawings are in good condition with edge wear and discoloration from age.

(Schlesinger, 1936) A photo print model sheet for Porky Pig dated February 18, 1936. Model sheets were used to ensure character continuity of design on a production. Porky’s design varied from project to project until Bob Clampett standardized him in 1938. Measuring 8” x 10”, the model sheet is in very good condition with a pinhole and very light handling wear.

(Schlesinger, 1936) A picture report for the Looney Tunes short “The Blow Out,” the first to feature Porky Pig in a solo starring role. Animation units at Schlesinger screened each other’s completed cartoons for critique and comments, compiled into picture reports. Notes praising Porky’s personality – and nearly unanimous dislike of his appearance - give a rare insight into the development of a Looney Tunes icon. The report also includes the suggestion that Termite Terrace handle all of the Looney Tunes from then on. Typed on two sheets of 8.5” x 11” paper, the report is in good condition with light creases, horizontal folds, oxidation stains from paper clips to the first page, small tears to the upper edge of the second page, and discoloration from age.

NO LOT

(Schlesinger, 1936) An original storyboard drawing from the Looney Tunes short “Plane Dippy.” Accomplished in graphite and colored pencil with a 3” x 2.5” character image size, the 9.5” x 12” drawing is in fine condition with light discoloration from age.

(Schlesinger, 1936) An original storyboard drawing featuring Porky Pig from the Looney Tunes short “Plane Dippy.” Accomplished in graphite and colored pencil with an image size of 6” x 10”, the 9.5” x 12” drawing is in fine condition with light discoloration from age.

(Schlesinger, 1936) An original storyboard drawing featuring Porky Pig from the Looney Tunes short “Plane Dippy.” Accomplished in graphite and colored pencil and measuring 9.5” x 12”, the drawing is in very good condition with a light crease in the lower left corner and light discoloration from age.

(Schlesinger, 1936) An original storyboard drawing featuring Porky Pig from the Looney Tunes short “Plane Dippy.” Accomplished in graphite and colored pencil with an image size of 5” x 9.5”, the 9.5” x 12” drawing is in fine condition with light discoloration from age.

(Schlesinger, 1936) An original storyboard drawing of Porky from the Looney Tunes short “Plane Dippy.” Accomplished in graphite and colored pencil with an image size of 6.5” x 10”, the 9.5” x 12” drawing is in fine condition with light discoloration from age.

(Schlesinger, 1936) An original storyboard drawing featuring Porky Pig from the Looney Tunes short “Plane Dippy.” Accomplished in graphite and colored pencil with an image size of 6” x 8”, the 9.5” x 12”drawing is in fine condition with light discoloration from age.

(Schlesinger, 1936) A “Porky the Rain-Maker” layout drawing of Porky Pig and his father Phineas. With an image size of 8.75” x 11” on 9.5” x 12” animation paper, the drawing accomplished in graphite is in very good condition with very light discoloration from age.

(Schlesinger, 1936) A “Porky the Rain-Maker” story drawing of Porky Pig, his father Phineas, and animals celebrating the rain. This short was the first appearance of Phineas. With an image size of 7.5” x 10.25” on 9.5” x 12” animation paper, the drawing accomplished in graphite and colored pencils is in very good condition with a 0.25” spot of edge wear and very light discoloration from age.

(Schlesinger, 1936) A “Porky the Rain-Maker” story drawing. This cartoon marked the debut of Phineas Pig, Porky’s father. With an image size of 5.5” x 10.5” on 9.5” x 12” animation paper, the drawing accomplished in graphite and colored pencils is in very good condition with very light wear from age and handling, including a .25” hairline tear to the right side.

(Schlesinger, 1936) A “Porky the Rain-Maker” layout drawing of a protesting chicken spotting a lightning pill. With an image size of 7.5” x 11” on 9.5” x 12” animation paper, the drawing accomplished in graphite and red pencil is in very good condition with very light discoloration from age.

(Schlesinger, 1936) An original hand-drawn model sheet of the Blacksmith from the Porky Pig short “The Village Smithy.” Measuring 9.5” x 12”, the graphite and colored pencil model sheet is in good condition with discoloration from age, stains, and edge wear from production use.

(Schlesinger, 1936-37) A collection of five original production drawings of Porky Pig from the Tex Avery-directed Looney Tunes short, “The Village Smithy.” Measuring 9.5” x 12” each, the graphite and colored pencil drawings are in very good condition with light creases and discoloration from age.

(Schlesinger, 1936) An original production drawing of Porky Pig from “The Village Smithy.” With a character image size of 6” x 6” on 9.5” x 12” animation paper, the graphite and colored pencil drawing is in good condition with scratches, creases, and discoloration from age.

(Schlesinger, 1936) A production drawing of Porky Pig from “The Village Smithy.” With a character image size of 5.5” x 6.5” on 9.5” x 12” animation paper, the graphite and colored pencil drawing is in very good condition with light creases.

(Schlesinger, 1936) A production drawing of Porky Pig from “The Village Smithy.” With a character image size of 3.5” x 6” on 9.5” x 12” animation paper, the graphite and colored pencil drawing is in very good condition with light wear.

(Schlesinger, 1936) An original production drawing of Porky Pig working as a blacksmith’s assistant in “The Village Smithy.” With a character image size of 6” x 7.5” on 9.5” x 12” animation paper, the drawing is in fine condition.

(Schlesinger, 1937 A photo print model sheet of Porky Pig from the Looney Tunes cartoon “Porky the Wrestler.” The print measuring 8” x 10” is affixed to 10.5” x 12.5” animation paper, and is in good condition with light toning.

NO LOT

(Schlesinger, 1936-37) A collection of two production drawings and two hand-drawn model sheets from “Picador Porky.” The drawings were accomplished in graphite and colored pencil and feature Porky, Porky’s Stooges, and the bull. Measuring 9.5” x 12” each, the drawings are in very good condition with creases and discoloration from age.

NO LOT

(Schlesinger, 1937) A rough layout sketch of an automobile interior from “Porky’s Super Service.” Measuring 9.5” x 12”, the sketch accomplished in pencil is in very good condition with light wear typical of production use.

(Schlesinger, 1937) A pair of storyboard panels from the Bob Clampett-directed Looney Tunes short “Rover’s Rival.” This cartoon is the first to feature “The Merry-Go-Round Broke Down" theme during the opening titles, with Porky bursting through the drum and stuttering, "That's all, Folks!" at the end of the short. Measuring 6.25” x 8”, the panels, accomplished in graphite and colored pencil, display in very good production-used condition with creases, pinholes, and light discoloration from age.

(Schlesinger, 1937) A pair of storyboard drawings of Porky and a puppy from the Looney Tunes short “Rover’s Rival,” directed by Bob Clampett. With character image sizes of 4.5” x 8” and 4.5” x 9” on 9.5” x 12” animation paper, the graphite drawings are in fine production-used condition with light edge wear and discoloration from age.

(Schlesinger, 1937) Three pages of handwritten sheet music by Carl Stalling for the Looney Tunes short “The Case of the Stuttering Pig,” directed by Frank Tashlin. Handwritten with notations by Stalling in graphite, ink, and colored pencil on staff paper, the 12” x 9” sheet music is in fair condition with light creasing and edge wear from production use, light stains and discoloration from age, and yellowing tape along the edges of one sheet. The sheet music comes in the original production-used 14” x 10” folder inscribed and signed by Bob Clampett. The piece is in good condition with wear and tear and light discoloration from age.

(Schlesinger, 1937) Three storyboard panels of Porky and the Emperor from the Looney Tunes short “Porky’s Hero Agency,” directed by Bob Clampett. Accomplished in graphite and colored pencil and measuring 5.5” x 7.5” each, the panels display in very good production-used condition with creases, pinholes, and light discoloration from age.

(Schlesinger, 1937) A storyboard panel of Porky and his mother from the Looney Tunes short “Porky’s Hero Agency,” directed by Bob Clampett. Accomplished in graphite and colored pencils and measuring 5.5” x 7.5”, the panel displays in very good production-used condition with creases, pinholes with some corner tears, and light discoloration from age.

(Schlesinger, 1937) An original layout drawing from the Looney Tunes cartoon “Porky’s Hero Agency,” directed by Bob Clampett. With an image size of 4.25” x 9.25” on 9.5” x 12” animation paper, the drawing is in good condition with wear from production use and age including light smudges.

(Schlesinger, 1937) An original production drawing from the Looney Tunes cartoon “Porky’s Hero Agency,” directed by Bob Clampett. With an image size of 4.5” x 5.25” on 9.5” x 12” animation paper, the drawing is in very good condition with typical light wear from production use and age.

(Schlesinger, 1937) An original production cel from the Looney Tunes short “Porky’s Hero Agency,” directed by Bob Clampett. The hand-painted cel features caricatures of animators Jack Carey, Ernest Gee, Clampett, and Chuck Jones in the form of a human picket fence. With a character image size of 4.25" x 7.25" on a trimmed 9” x 12.25” cel, the piece is in good condition with light adhesive residue along the top edge, a 0.25” x 0.5” rip to the upper left corner, and light warping from age.

(Schlesinger, 1937) An original statue of Porky Pig. Bob Clampett had very few of these statues made, with one painted and photographed for the title card of the Looney Tunes short “Porky’s Hero Agency” and the rest given to top members of his unit. This statue is not the one used for the title card; however, it is the only one known to have survived. Measuring 9” x 5.5” x 5” deep, the chalkware statue is in fair condition with separation from the base repaired with glue with visible residue, multiple chips and scratches, and a missing section of the tail. This item does not come from the Bob Clampett Collection.

(Schlesinger, 1937) A pair of rough Lobby Card drawings for the Looney Tunes short “Porky and Gabby,” directed by Ub Iwerks. Accomplished in graphite, both drawings measure 9.5” x 12” and range from very good to fine condition with light edge wear and creasing from production use and light discoloration from age.

(Schlesinger, 1937) A hand-drawn model of Porky Pig from “Porky and Gabby” directed by Ub Iwerks. The page includes eight drawings of Porky and a single image of Gabby Goat, who made his debut in this film. With an overall image size of 7” x 10.5” on 9.5” x 12” animation paper, the drawing is in very good condition with light wear typical of production use and age.

(Schlesinger, 1937) A rough layout drawing for the Looney Tunes cartoon “Porky and Gabby.” This was very likely drawn by Ub Iwerks, early in his work on the short. With a full-page image on 9.5" x 12" animation paper, the drawing is in very good condition, with light wear from production use, slight wear and tear around the top peg holes, and slight discoloration from age.

(Schlesinger, 1937) An original storyboard drawing of Porky Pig from the Looney Tunes short “Porky and Gabby,” directed by Ub Iwerks. Accomplished in graphite with a 3” x 2.25” character image size, the 9.5” x 12” drawing is in fine production-used condition with light discoloration from age.

(Schlesinger, 1937) A rough layout drawing for the Looney Tunes cartoon “Porky and Gabby.” With a full-page image on 9.5" x 12" animation paper, the drawing is in very good condition, with light wear from production use, and slight discoloration from age.

(Schlesinger, 1937) A rough drawing for the Looney Tunes cartoon “Porky and Gabby.” With an image size of 6.25” x 6.5” on 9.5" x 12" animation paper, the drawing is in very good condition with very light wear from production use and slight discoloration from age.

(Schlesinger, 1937) An original storyboard drawing of Porky Pig from the Looney Tunes short “Porky and Gabby.” While the final shot in the cartoon varies slightly, this drawing was used as a rough for one of the short’s lobby cards. Accomplished in graphite, the drawing measures 9.5” x 12” with an image size of 10” x 8” and is in fine production-used condition with light discoloration from age.

(Schlesinger, 1937) An original production drawing from the Looney Tunes short “Porky and Gabby,” directed by Ub Iwerks. Accomplished in graphite, the drawing measures 9.5” x 12” with a character image size of 3.5” x 5.5”, and is in fine production-used condition with light discoloration from age.

(Schlesinger, 1937) A partial animation drawing of what appears to be Porky from the Looney Tunes short “Porky and Gabby.” Measuring 9.5” x 12” with a character image size of 3” x 2”, the graphite drawing is in fine production-used condition with light discoloration from age.

(Schlesinger, 1937) The original unused title cel for the Looney Tunes short "Porky's Badtime Story," initially titled "It Happened All Night." This title was a play on the 1934 film "It Happened One Night," but was considered too suggestive. Clampett was asked to come up with a new title, leaving this cel unused and unseen by the public. This rare cel is paired with a printed reproduction of the scene-matching background. Measuring 9.75” x 12.25”, the cel is in very good condition with two areas of tape residue along the top left edge measuring 0.5” and 1”, a 0.5” x 0.75 sticker on the reverse of the lower left side with “CE 34-5” written in graphite, a few small spots of paint loss, light discoloration, and warping from age.

(Schlesinger, 1937) A multi-layer hand-painted production cels, title cel, and original background from “Porky’s Badtime Story.” This Porky and Gabby short marked Bob Clampett’s first time receiving directorial credit. After the short’s title, “It Happened All Night,” was deemed too suggestive, Clampett came up with the new title. With image sizes from 1.75” x 2.25” to 5.25” x 7.25” on 9.5” x 11.5” cels and the original 9.5” x 11.5” background, the pieces present well but vary from poor to good condition with paint loss, stains, warping, wear, and tears up to 5” long. An incredible piece of animation history, this is one of only two background setups known to exist from this film.

(Schlesinger, 1937) A pair of story drawings from the Looney Tunes short, “Porky’s Badtime Story,” directed by Bob Clampett. Accomplished in graphite and measuring 9.5” x 12”, the drawings are in good to very good condition with light smudging, one with a pinhole to the lower left corner, and light discoloration from age.

(Schlesinger, 1937) A collection of seven storyboard pages with nine panels for the Looney Tunes short “Porky’s Badtime Story,” directed by Bob Clampett. The panels range in size from 5” x 6” to 5” x 12” and are accomplished in graphite and colored pencil. Each is in good condition with edge wear, creasing, pinholes and corner tears from production use, and light discoloration from age.

(Schlesinger, 1937) A Studio animation draft for the Looney Tunes short “Porky’s Badtime Story.” The draft details each sequence and scene of the cartoon, identifying lead animators, length of film footage, and other production specifics. This draft marks Bob Clampett’s promotion to a full director after the original supervisor, Ub Iwerks, left mid-production. Measuring 15” x 10.5”, the draft is in good condition with a horizontal fold through the center, edge wear from production use, a small 0.25” rip to the bottom left corner, and light discoloration from age.

(Schlesinger, 1937) An original production layout drawing of a bedroom from the Looney Tunes cartoon “Porky’s Badtime Story,” directed by Bob Clampett. Accomplished in graphite on the full 9.5” x 12” animation paper, the drawing is in good condition, with smudges and wear from original production use, and discoloration from age.

(Schlesinger, 1937) A collection of five storyboard panels featuring Porky and Gabby from the Looney Tunes short “Get Rich Quick Porky,” directed by Bob Clampett. Ranging in size from 6” x 8” to 6” x 8.5”, the panels, accomplished in graphite, display in very good production-used condition with creases, pinholes, and light discoloration from age.

(Schlesinger, 1937) An original storyboard panel of Porky Pig from the Bob Clampett-directed Looney Tunes short “Get Rich Quick Porky.” Accomplished in graphite and measuring 9.5” x 12” with a character image size of 6.5” x 9”, the drawing is in fine production-used condition with light discoloration from age.

(Schlesinger, 1937) An original storyboard panel of Porky and Honest John from the Looney Tunes short “Get Rich Quick Porky,” directed by Bob Clampett. Accomplished in graphite and measuring 9.5” x 12” with an image size of 6.5” x 8.5”, the drawing is in very good production-used condition with light creasing, edge wear, a small 0.5” rip to the top left edge, and light discoloration from age.

(Schlesinger, 1937) An original production drawing from the Bob Clampett-directed Looney Tunes short “Get Rich Quick Porky.” The drawing features Porky Pig and Gabby Goat, a short-lived sidekick for Porky who appeared in only 3 theatrical shorts before being replaced by Daffy. With a character image size of 5.5” x 9.5” on 9.5” x 12” animation paper, the graphite drawing is in very good production-used condition with light discoloration, edge wear, and slight creasing.

(Schlesinger, 1937) An original production drawing from the Looney Tunes short “Get Rich Quick Porky” directed by Bob Clampett. The drawing, possibly by Iwerks, features Porky Pig and Gabby Goat in his third and final theatrical appearance. Accomplished in graphite and measuring 9.5” x 12” with a character image size of 4.5” x 7.5” the drawing is in very good production-used condition with light discoloration and light creasing and edge wear from production use.

(Schlesinger, 1937) An original production drawing of Porky Pig from the Looney Tunes short “Get Rich Quick Porky,” directed by Bob Clampett. Accomplished in graphite and measuring 9.5” x 12” with a character image size of 6.25” x 9”, the drawing is in fine production-used condition with light discoloration from age.

(Schlesinger, 1938) A board listing the production order of the Looney Tunes shorts to be directed by Bob Clampett from 1938 through late 1941. A correction for short number 20 is written on the back noting the title’s change to “Chicken Jitters.” Accomplished in paint and graphite on 11” x 14” chipboard, the piece displays in good condition with edge wear and dulled corners, with paint loss from production use.

(Schlesinger, 1938) A collection of nine storyboard panels featuring Porky Pig from the Bob Clampett-directed Looney Tunes short “Porky’s Pappa.” Accomplished in graphite and colored pencil and measuring 5.5” x 7.5”, the panels display in very good production-used condition with creases, pinholes with some corner tears, and light discoloration from age.

(Schlesinger, 1938) A collection of six storyboard panels featuring Porky, Daffy, and the Ducklings from the Looney Tunes short “What Price Porky,” directed by Bob Clampett. Accomplished in graphite and measuring 5.5” x 7.5” each, the panels display in very good production-used condition with creases, pinholes with some corner tears, and light discoloration from age.

(Schlesinger, 1938) An original hand-painted production cel of Porky Pig on a boat in silhouette, used as the background for “Porky’s Five & Ten” title card. Measuring 10” x 12.5”, the cel is in fair condition with paint loss, paint chipping, scratches, wear, and pinholes at the corners from production use.

(Schlesinger, 1938) A storyboard panel from the Bob Clampett-direct Looney Tunes short “Porky’s Five & Ten.” Accomplished in graphite and colored pencil, the panel features Porky and his five-and-dime store on Boola-Boola Island, which did not end up being used in the final production. Measuring 6” x 7.75”, the panel displays in very good production-used condition with creases, pinholes with some corner tears, and light discoloration from age.

(Schlesinger, 1938) An early story drawing for the Looney Tunes short “Porky’s Party,” directed by Bob Clampett. Though he does not appear in the film, this drawing shows that Gabby Goat was originally planned to co-star alongside Porky. Accomplished in graphite and measuring 9.5” x 12”, the drawings is in very good production-used condition with light edge wear, creases, and discoloration from age.

(Schlesinger, 1938) An early story drawing for the Looney Tunes short “Porky’s Party,” directed by Bob Clampett. Though he does not appear in the film, this drawing shows that Gabby Goat was originally planned to co-star alongside Porky. Accomplished in graphite and measuring 9.5” x 12”, the drawings is in very good production-used condition with light edge wear, creases, and discoloration from age.

(Schlesinger, 1938) An early story drawing for the Looney Tunes short “Porky’s Party,” directed by Bob Clampett. Though he does not appear in the film, this drawing shows that Gabby Goat was originally planned to co-star alongside Porky. Accomplished in graphite and measuring 9.5” x 12”, the drawings is in very good production-used condition with light edge wear, creases, and discoloration from age.

(Schlesinger, 1938) A story drawing of Porky Pig from “Porky’s Party,” directed by Bob Clampett. Accomplished in graphite on 9.5” x 12” animation paper, the drawing is by Clampett and the notes are in his handwriting. The artwork is in fine condition with light discoloration from age.

(Schlesinger, 1938) A story drawing of Porky Pig from “Porky’s Party,” directed by Bob Clampett. Accomplished in graphite on 9.5” x 12” animation paper, the drawing is by Clampett, and the notes are in his handwriting. The artwork is in fine condition with light discoloration from age.

(Schlesinger, 1938) A story development sketch for “Porky’s Party” by Bob Clampett. Clampett explored both the structure of the rarely seen character Goosey and an odd cross between his anatomy and Porky Pig’s. The page also includes another character’s face and a rough outline of Porky. with an overall image size of 8” x 9.75” on 9.5” x 12” animation paper, the drawing accomplished in pencil displays in good condition with edge wear and creasing mainly to the top and left edges of the paper.

NO LOT

(Schlesinger, 1938) A collection of 10 storyboard panels from the Looney Tunes short “Porky in Wackyland,” directed by Bob Clampett. Accomplished in graphite, the panels feature Porky and the Do-Do and production drawings from the Looney Tunes short, “Porky & Daffy” on the reverse. This was not uncommon, as Warner Bros. would save money by cutting old production drawings into quarters for the backs to be used as storyboard paper. Ranging in size from 6” x 8” to 8” x 9.5”, the panels display in very good production-used condition with creases, thumbtack holes, corner tears, and light discoloration from age.

(Schlesinger, 1938) An original storyboard drawing from the Looney Tunes short “Porky in Wackyland” directed by Bob Clampett. Accomplished in graphite, the drawing depicting Porky watching a very surreal sunrise measures 9.5” x 12” and is in very good condition with light edge wear and creasing from production use and light discoloration from age.

(Clampett, 1970s-80s) A photo print of an original model sheet of the Do-Do Bird from the 1938 Looney Tunes short “Porky in Wackyland,” directed by Bob Clampett. Measuring 11” x 14”, the glossy photo is in good condition with light corner wear and adhesive residue along the bottom edge.

(Schlesinger, 1938) A page of character development drawings for Pinky Pig. Originally conceived as a trouble-making nephew for Porky, Pinky only appeared in two Looney Tunes shorts. Measuring 9.5” x 12” with character images ranging in size from 2” x 1” to 5” x 3.5”, the drawing is in very good condition with light edge wear and creasing from production use and light discoloration from age.

(Schlesinger, 1938) Three storyboard panels from the Looney Tunes short “Porky’s Naughty Nephew,” directed by Bob Clampett. Accomplished in graphite and measuring 6.75” x 8”, the panels display in very good production-used condition with creases, pinholes with some corner tears, edge tears, and light discoloration from age.

(Schlesinger, 1938) A pair of storyboard panels from the Bob Clampett-directed Looney Tunes short “Porky in Egypt.” Accomplished in graphite, the panels feature Porky on Bumpy the Camel and a production drawing from the Looney Tunes short, “Injun Trouble” on the reverse side of one of the pages. This was not uncommon, as Warner Bros. would save money by cutting old production drawings into quarters for the backs to be used as storyboard paper. Ranging in size from 5.75” x 8” to 6.25” x 8”, the panels display in very good production-used condition with creases, pinholes with some corner tears, and light discoloration from age.

(Schlesinger, 1943) A group of three character concept drawings from the Merrie Melodies short “Tin Pan Alley Cats” directed by Bob Clampett. In this cartoon, which has the distinction of being one of the infamous "Censored 11”, Clampett revisited many of his wackiest and most surreal creations that had been seen five years earlier in “Porky in Wackyland.” Accomplished in graphite and colored pencil, the drawings measure 9.5” x 12” with character image sizes ranging from 2.75” x 2.75” to 5.25” x 3” and are in good condition with light edge wear and creasing from production use, one with a horizontal fold 1” from the top which does not affect the image, and light discoloration from age.

(Schlesinger, 1939) Bob Clampett’s redesign of Porky Pig on three sheets of drawings. The drawings focus on Porky’s redesigned face, torso, and rump. With image sizes ranging from 1.5” x 1.5” to 2.5” x 5.5” on 9.5” x 12” animation paper, the graphite and colored pencil drawings are in very good condition with light creases, wear, discoloration from age, and tape on the reverse from production use. Each drawing is stamped with “Courtesy of the Bob Clampett Collection.”

(Schlesinger, 1939) Three sketches from Bob Clampett's 1939 redesign of Porky Pig. Each stamped "Courtesy of the Bob Clampett Collection," the drawings accomplished in graphite and color pencils have image sizes from 4.5" x 3.5" to 10" x 7.5" on 9.5" x 12" animation paper and are in very good condition with light wear from handling and age.

(Schlesinger, 1939) Three sheets of concept drawings for Bob Clampett’s redesign of Porky Pig, adjusting his age and giving the character consistency in appearance and personality. With image sizes from 1.75” x 2.75” to 3.5” x 5” on 9.5” x 12” animation paper, the graphite and colored pencil drawings are in good to very good condition with light creases, a corner fold, edge wear, tape on the reverse from production use, and discoloration from age. Each drawing is stamped with “Courtesy of the Bob Clampett Collection.”

(Schlesinger, 1939) Bob Clampett’s redesign of Porky Pig on three sheets of drawings. Here Clampett focuses on Porky’s redesigned face, torso, and rump. With image sizes ranging from 1.5” x 1.5” to 2.5” x 5.5” on 9.5” x 12” animation paper, the graphite and colored pencil drawings are in very good condition with light creases, wear, discoloration from age, and tape on the reverse from production use. Each drawing is stamped with “Courtesy of the Bob Clampett Collection.”

(Schlesinger, 1930s) A sheet of model drawings of Porky Pig wearing a polka-dotted bow tie. The sheet includes four complete views of Porky, and two partial drawings. With images up to 3.5” x 3.75” each on the 9.5” x 12” animation paper, the drawings accomplished in graphite and red pencil are in very good condition with light wear from age and handling that includes faint paper clip marks at the top and bottom.

(Schlesinger, 1939) The original hand-painted title card and background from the Looney Tunes short “Porky’s Picnic,” directed by Bob Clampett. With an image size of 7.25” x 7.5” on a 10” x 12.5” cel with the original 10” x 12.5” background, the piece displays in very good condition with light edge tears, spots of paint loss, scratches, scuffs, and tape from production use.

(Schlesinger, 1939) A collection of five storyboard panels of Porky and the Lone Stranger from the Looney Tunes short “The Lone Stranger and Porky,” directed by Bob Clampett. Accomplished in graphite and ranging in size from 6” x 8.25” to 8” x 8”, the panels display in very good production-used condition with creases, pinholes with some corner tears, and light discoloration from age.

(Schlesinger, 1939) An original production drawing from “The Lone Stranger and Porky.” With an image size of 8.75” x 8.75” on 9.5” x 12” animation paper, the graphite drawing is in good condition with creases, edge wear, tears, and a fold at the top left corner.

(Schlesinger, 1939) A gag drawing of The Lone Stranger from the Looney Tunes short “The Lone Stranger and Porky.” The Bob Clampett-directed short parodies the original 1938 serial, with this double-sided drawing featuring a face reveal gag that did not make the final cut. A note on the drawing from Clampett to composer Carl Stalling reads “Carl: Terrific Fanfare from here swelling right to end.” With an image size of 7” x 10” on 9” x 12” animation paper, the graphite and colored pencil drawing is in very good condition with light wear and scuffs from production use.

(Schlesinger, 1939) A trio of character studies of the walrus boss in “Porky’s Tire Trouble.” Accomplished in pencil with gouache accents to one, the three drawings have image sizes from 3” x 3.25” to 6.25” x 5.25” on 9.5” x 12” animation paper. The drawings are in good to very good condition with expected wear from production use including pin holes, smudges, and handling wear.

(Schlesinger, 1939) A set of five storyboard panels from the Looney Tunes short “Kristopher Kolumbus Jr.” directed by Bob Clampett. Aside from one gag billboard, these are ideas that do not appear in the final film. With image sizes up to 4” x 7” on 6.25” x 9” paper, the drawings are in good condition with much wear from production use including pinholes, small tears, and smudges.

(Schlesinger, 1939) Three production drawings from the Looney Tunes short starring Porky Pig, “Kristopher Kolumbus Jr.” Each graphite and colored pencil drawing measures 9.5” x 12” overall, with character image sizes from 3” x 3.75” to 7” x 7.5”. The drawings are in good to very good condition with light creases, a full horizontal fold to one, wear from production use, and discoloration from age.

(Schlesinger, 1939) A collection of five storyboard panels of Porky and I. Killem from the Bob Clampett-directed Looney Tunes short “Polar Pals.” The reverse of the panels feature production drawings from the earlier Looney Tunes shorts, “Porky’s Movie Mystery” and “Porky’s Tire Trouble.” It was not uncommon for Warner Bros. to save money by cutting old production drawings into quarters and using the backs as storyboard paper. Measuring 6” x 8”, the panels accomplished in graphite display in very good production-used condition with creases, pinholes, some corner tears, and light discoloration from age.

(Schlesinger, 1939) A collection of eight storyboard panels featuring Porky and Daffy from the Bob Clampett-directed Looney Tunes short “Scalp Trouble.” Measuring 6.5” x 9.5” each, the panels, accomplished in graphite, display in very good production-used condition with creases, pinholes with corner tears, and light discoloration from age.

NO LOT

(Schlesinger, 1939) Three original hand-painted production cels of Uncle Sam from the Porky Pig-starring Merrie Melodies short “Old Glory.” With character sizes from 5.5” x 8” to 9” x 10.25” on cels measuring from 9” x 10.25” to 9” x 11.75”, the pieces display in good condition with heavy paint loss, scratches, and wear from production use.

(Schlesinger, 1939) An original hand-painted production cel of Paul Revere from “Old Glory.” The patriotic short, directed by Chuck Jones, features Uncle Sam teaching Porky Pig about U.S. history and why he should learn the Pledge of Allegiance. With a character image size of 8” x 9” on a 9” x 11.75” cel, the piece is in fair condition with heavy paint loss, scratches, and warping.

(Schlesinger, 1939) An original hand-painted production cel of George Washington from the Porky Pig-starring short “Old Glory,” directed by Chuck Jones. With a character image size measuring 8” x 10” on a 9” x 12” cel, the piece displays in good condition with scratches, wear, and heavy paint loss, particularly Washington’s left arm.

(Schlesinger, 1939) An original hand-painted production cel of drummers and a fife player from the Merrie Melodies short “Old Glory.” With a character image size of 7” x 7.5” on a 9” x 11.75” cel, the piece displays in good condition with paint loss, scratches, wear, and warping.

(Schlesinger, 1939) Three storyboard panels featuring Porky Pig from the Looney Tunes short “Porky’s Hotel,” directed by Bob Clampett. Accomplished in graphite and ranging in size from 6” x 9.5” to 6.5” x 9.5”, the panels display in very good production-used condition with creases, pinholes with some corner tears, and light discoloration from age.

(Schlesinger, 1939) An original storyboard drawing from the Looney Tunes short “Porky’s Hotel,” directed by Bob Clampett. Accomplished in colored pencil with a character image size of 8.5” x 10”, the 9.5” x 12” drawing is in very good condition with light edge wear from production use, a paperclip oxidization stain on the reverse, and light discoloration from age.

(Schlesinger, 1939) A collection of 10 storyboard panels from the Looney Tunes short “Jeepers Creepers,” directed by Bob Clampett. Accomplished in graphite, the panels feature Porky, the Ghost, and a production drawing from the Looney Tunes short, “Porky’s Movie Mystery” on the reverse of one of the pages. This was not uncommon, as Warner Bros. would save money by cutting old production drawings into quarters for the backs to be used as storyboard paper. Ranging in size from 5.75” x 9.5” to 6.25” x 9.5”, the boards display in very good production-used condition with creases, pinholes with some corner tears, and light discoloration from age.

(Schlesinger, 1939) An original layout drawing of Police Officer Porky Pig from the Bob Clampett-directed short “Jeepers Creepers.” With a character image size of 4” x 5.5” on 9.5” x 12” animation paper and accomplished in orange colored pencil, the drawing is in very good condition with light smudges from handling, which do not affect the image.

(Schlesinger, 1939) An original layout drawing of Porky Pig and the ghost from “Jeepers Creepers.” Measuring 5.5” x 7.5” on 9.5” x 12” animation paper and accomplished in blue colored pencil, the drawing is in very good condition with light creases and smudges from handling.

(Schlesinger, 1939) Carl Stalling’s complete score to the Looney Tunes short “Jeepers Creepers,” directed by Bob Clampett. The 36-page score was handwritten by Stalling in graphite and colored pencil on staff paper stamped “Leon Schlesinger Productions-Music Dept.” Each page measures 12” x 9” and displays in very good condition with light creasing and edge wear from production use and light discoloration from age.

(Schlesinger, 1939) A collection of 11 storyboard panels featuring Porky Pig, Petunia, and Pinky from the Looney Tunes short “Naughty Neighbors,” directed by Bob Clampett. Ranging in size from 5.75” x 9.5” to 6.5” x 9.5”, the graphite panels are in good condition with edge wear, pinholes and slight corner tears from production use, and light discoloration from age.

(Schlesinger, 1939) The original multi-layered title cel for the Looney Tunes short “Pied Piper Porky,” directed by Bob Clampett. Measuring 10” x 12.25” the cel displays in good condition with areas of tape to the corners and pegholes from production use and warping from age.

(Schlesinger, 1939) A collection of four storyboard panels featuring Porky and a rat from the Looney Tunes short “Pied Piper Porky,” directed by Bob Clampett. Measuring 6” x 9.5”, the panels, accomplished in graphite, display in very good production-used condition with creases, pinholes with some corner tears, and light discoloration from age.

(Schlesinger, 1939) The original layout drawing for the title card seen on the sixteen Looney Tunes cartoons from “Porky’s Hotel” in 1939 through “Patient Porky” in 1940. The design reflects the changes Bob Clampett had begun to make to Porky in an effort to make him more appealing to the audience. Accomplished in graphite and measuring 9.5” x 12” with a character image size of 4” x 4.25”, the drawing displays in good condition stamped “Courtesy of the Bob Clampett Collection,” with light edge wear and creasing from production use and light discoloration from age.

(Schlesinger, 1939) A trio of storyboard panels for the Looney Tunes short “The Film Fan” directed by Tex Avery. The panels feature Porky in the audience between two ducks, with one of a “standing on their heads” gag that was cut from the film. With image sizes from 4” x 5” up to 4.5” x 7” on paper up to 6.25” x 9.5”, the drawings accomplished in graphite are in good production-used condition with pinholes, smudges, and two small tears to corners that do not affect the images.

(Schlesinger, 1940) A collection of five storyboard panels featuring Porky and Daffy from the Looney Tunes short “Porky’s Last Stand,” directed by Bob Clampett. Accomplished in graphite and ranging in size from 5.5” x 9.5” to 6.5” x 9.5”, the panels display in good condition with creases and pinholes from production use and light discoloration from age.

(Schlesinger, 1940) A pair of storyboard panels from the Looney Tunes short ”Africa Squeaks,” directed by Bob Clampett. Accomplished in graphite and measuring 6.25” x 9.5” the panels display in good condition with creases, pinholes with tears from production use, and light discoloration from age.

(Schlesinger, 1940) A set of five storyboard panels from the Looney Tunes short “Ali-Baba Bound,” directed by Bob Clampett. The panels depict Porky Pig as a legionnaire, with an informant modeled on actor George Raft, who originated the “gangster flipping a coin” trope. WIth image sizes up to 5.5” x 6” and 4” x 7” on 6.5” x 9.25” paper, the drawings are in good condition with much wear from production use including pinholes, small tears, and smudges.

(Schlesinger, 1940) The original multi-layer hand-painted title cel for “Pilgrim Porky,” directed by Bob Clampett. With image sizes from 6” x 8.5” to 8” x 11.5” on a pair of 10” x 12.75” cels, the piece is in poor condition with heavy tears throughout, missing pieces, scratches, and wear.

(Schlesinger, 1940) A collection of four storyboard panels from the Bob Clampett-directed Looney Tunes short “Slap Happy Pappy.” The reverse of one of the panels features a production drawing of Daffy Duck from the Looney Tunes short “Porky’s Last Stand.” It was not uncommon for Warner Bros. to save money by cutting old production drawings into quarters and using the backs as storyboard paper. Ranging in size from 6.25” x 7.5” to 6” x 10”, the panels, accomplished in graphite, display in very good production-used condition with creases, pinholes, some corner tears, and light discoloration from age.

(Schlesinger, 1940) A collection of seven storyboard panels from the Looney Tunes short “Porky’s Poor Fish,” directed by Bob Clampett. Accomplished in graphite, the panels feature Porky, the cat, several fish, and a production drawing from the Looney Tunes short, “Porky’s Last Stand” on the reverse side of one of the pages. This was not uncommon, as Warner Bros. would save money by cutting old production drawings into quarters for the backs to be used as storyboard paper. Ranging in size from 6.25” x 7” to 6.5” x 8.5”, the panels display in very good production-used condition with creases, pinholes with some corner tears, and light discoloration from age.

(Schlesinger, 1940) Three storyboard panels featuring Porky and The Old Timer from the Bob Clampett-directed Looney Tunes short “The Chewin’ Bruin.” Accomplished in graphite and ranging in size from 6” x 7” to 6” x 8”, the panels display in very good production-used condition with creases, pinholes, some corner tears, and light discoloration from age.

(Warner Bros., 1940) A photo from a storyboard session for the Looney Tunes short “Prehistoric Porky," directed by Bob Clampett. Pictured from left to right, are Melvin “Tubby” Millar, Clampett, and Warren Foster. Measuring 8” x 10” the glossy photo is in very good condition with toning from age.

(Schlesinger, 1940) An original storyboard panel from the Looney Tunes short “Prehistoric Porky,” directed by Bob Clampett. Accomplished in graphite on 7” x 12” animation paper, the drawing is in good condition with edge wear and pinholes from production use, a vertical fold running the length of the paper, a 1.5” tear on the bottom edge, and light discoloration from age.

(Schlesinger, 1940) A collection of eight storyboard panels featuring Porky and Rover from the Looney Tunes short “Prehistoric Porky,” directed by Bob Clampett. Accomplished in graphite and ranging in size from 6.25” x 7.25” to 6.25” x 8.75”, the panels display in very good production-used condition with creases, pinholes, some corner tears, and light discoloration from age.

(Schlesinger, 1940) A pair of storyboard panels for unused gags from “Prehistoric Porky” directed by Bob Clampett. In the cartoon as released, the saber-toothed tiger is all black rather than striped, most likely for ease of animation. With image sizes of 4.65” x 8.5” and 4” x 10.25” on 6.5” x 10.75” and 6.25” x 12” trimmed animation paper, the graphite drawings display in very good condition with typical light wear from age and original production use including pinholes at corners and some smudging. The animation paper is re-used from earlier work, with perforations in the middle and fragments of old drawings on the back.

(Schlesinger, 1940) A collection of seven storyboard panels from the Bob Clampett-directed Looney Tunes short “The Timid Toreador.” Accomplished in graphite, the panels feature Porky, Slapsie Maxie Rosenbull, "The Brown Sombrero" cantina and its band, and production drawings from a different Looney Tunes short, “The Chewin Bruin” on the reverse. It was not uncommon for Warner Bros. to save money by cutting old production drawings into quarters and using the backs as storyboard paper. Ranging in size from 6.75” x 8.25” to 6.75” x 9.25”, the panels display in very good production-used condition with creases, pinholes, some corner tears, and light discoloration from age.

(Schlesinger, 1940) The original title cel for the Porky Pig-starring Looney Tunes short “Ali-Baba Bound,” directed by Bob Clampett. Measuring 10” x 12”, the cel is in good condition with a few small spots of paint loss, a piece of tape measuring 0.75” x .5” in each corner, and light discoloration from age. Please note that this cel is clear and does not include the black background that was added in photography for better legibility of the cel’s text.

(Schlesinger, 1940) A layout drawing of the first Looney Tunes title card showing Porky Pig bursting from a drum. This layout was featured at the beginning of all five Looney Tunes shorts from “Calling Dr. Porky” through “The Timid Toreador” and is one of the most well-known images of the character, inspired by his iconic "That's All Folks" closing. With a character image size of 6” x 5.5” on 9.5” x 12” animation paper, the graphite and colored pencil drawing is in good condition stamped “Courtesy of the Bob Clampett Collection,” with light edge wear and creasing from production use and light discoloration from age.

(Schlesinger, 1941) A Bob Clampett-signed layout drawing for the revised Looney Tunes title card of Porky Pig bursting through a drum. As Porky's design evolved, Clampett created this drawing as an update to the previous title card. This new version was used at the beginning of the nine Looney Tunes shorts from “Porky’s Snooze Reel” through “The Henpecked Duck.” With an image size of 5” x 6” on 9.5” x 12” animation paper, the graphite and colored pencil drawing displays in good condition with light edge wear and creasing, light discoloration from age, and a 3” x 12” strip of pegbar paper taped to the bottom and folded back. This piece is stamped “Courtesy of the Bob Clampett Collection.”

(Warner Bros., 1940s) A model sheet for Porky Pig as he appeared starting in 1945. Model sheets such as this were distributed to animators to ensure consistency of character design. Measuring 11” x 14”, the model sheet is in very good to fine condition, with very slight edge wear.

(Schlesinger, 1941) An original photostat model sheet and negative print from “Porky’s Pooch” of the homeless Scotty dog in the cartoon’s opening. Model sheets such as this were distributed to animators and crew working on the film to ensure character design continuity. The negative was used to create the positive prints. Measuring 11” x 14” and 10.5” x 14.25”, the model sheets are in very good condition with pinholes in the positive, and light wear from production use.

(Schlesinger, 1944) A pair of identical photostat model sheets for the 1945 Merrie Melodies cartoon “Wagon Heels.” This cartoon was a remake of the 1938 cartoon “Injun Trouble” with some changes to the gags, and a very different design to the Injun Joe character. Each measuring 8” x 10”, the model sheets are in very good condition with pinholes, waviness to the paper, and a small area of each colored in with crayon from the original production.

(Schlesinger, 1943) An original hand-painted production cel of Porky Pig from the Looney Tunes cartoon “Yankee Doodle Daffy,” directed by Friz Freleng. With a character image size of 2” x 3.25” on a 9.75” x 11.75” cel, the piece displays in good condition with slight paint lifting with a spot of separation across the character’s middle, and stamped “Courtesy of the Bob Clampett Collection.”

(Schlesinger, 1940s) A production-used photo print of a “That’s all Folks!” Porky Pig illustration with a hand-written Leon Schlesinger copyright. Measuring 10.25” x 8” and taped to a 9” x 11” piece of black paper with a plastic protective sheet, the photo is in good condition with edge wear, creases, folds to the top right corner, pinholes, and toning.

(Clampett, 1934-35) An original hand-painted concept title treatment for “Warlord of Mars,” based on Edgar Rice Burroughs's “Barsoom” series. Accomplished in gouache, with an image size of 4” x 5.25” on 6.75” x 10.75” artist board, and displayed in a 10.25” x 11” matte, the painting is in very good condition with scratches, while the matte displays in fair condition with pinholes, water damage, creases, folds, and discoloration from age.

(Clampett, 1934-35) A concept painting from Bob Clampett’s canceled “Warlord of Mars.” This watercolor piece showcases an early look at the the otherworldly terrain of Barsoom and the planet’s unusual gravity. Measuring 5.5” x 10” on heavy paper and adhered to 5.75” x 10” artist board, the art displays in very good condition with light wear, scratches, and spots of discoloration from age.

(Clampett, 1934-35) An original concept drawing of John Carter from Bob Clampett’s canceled “Warlord of Mars” film. With an image size of 5.75” x 8.5” on 9.5” x 12” paper, the graphite and colored pencil drawing displays in very good condition with light creases and a fold at the top right corner.

(Clampett, 1934-35) An original concept drawing of a mad scientist from “Warlord of Mars.” On the reverse, Clampett wrote a list of books in Edgar Rice Burroughs' Barsoom series. He emphasized in blue marker that this drawing is of Ras Thavas from "The Master Mind of Mars," and based on storyboards, this character was intended to be in Clampett's film. With an image size of 4” x 7” on 9.5” x 12” paper, the graphite and colored pencil drawing is in good condition with creases, spots of discoloration from age, and edge wear.

(Clampett, 1934-35) A concept drawing of a Thoat from Bob Clampett’s unrealized “Warlord of Mars” film, based on the John Carter Barsoom book series by Edgar Rice Burroughs. These eight-legged beasts were native to Mars, or "Barsoom" as it is known in the series. Measuring 9” x 10”, the graphite drawing on artist board is in good condition with creases, scratches, stains, edge wear, discoloration from age, and material loss on the reverse from display.

(Clampett, 1934-35) A figure study drawing from Bob Clampett’s “Warlord of Mars” working toward animating realistic yet stylized human characters. Measuring 9.5” x 12”, the graphite drawing is in good condition with creases throughout, edge wear, and discoloration from age.

(Clampett, 1934-35) A concept drawing and a description of a Thoat, the Martian horses that the Thark ride in Edgar Rice Burrough’s Barsoom series. With an image size of 5” x 5.5” on a 5.5” x 10” artist board, the graphite drawing is in fair condition with creases, cracks, stains, wear, and discoloration from age.

(Clampett, 1934-35) A color key drawing with hand-written notations of a Thoat and rider from Bob Clampett’s “Warlord of Mars.” With an image size of 8” x 12” on 9.5” x 12” animation paper, the graphite and color pencil drawing displays in good condition with creases throughout, edge wear, stains, and discoloration from age.

(Clampett, 1970s) A “Warlords of Mars” Thoat and rider color key drawing with hand-written notations from “Warlord of Mars.” This piece was created decades after the project was shelved, for presentations and the 1976 Jim Steranko’s Mediascene magazine feature covering the history of the project. With an image size of 8.25” x 10.75” on 10.5” x 12.5” animation paper, the graphite and colored pencil drawing is in good condition with creases, edge wear, stains, and discoloration from age.

(Clampett, 1934-35) An original concept drawing of a figure in an otherworldly cavern from “Warlord of Mars,” accomplished in watercolor and charcoal. With an image size of 3.5” x 4.75” on a 4.25” x 5.5” artist board, the piece is in very good condition with light wear and discoloration from age.

(Clampett, 1934-35) An original concept drawing from the Bob Clampett and Burroughs family collaboration “Warlord of Mars,” based on the Barsoom series of books. This sci-fi piece, accomplished in charcoal and a rainbow palette of watercolors, depicts several silhouetted figures approaching a spinning column. With an image size of 3.75” x 4.5” on a 4.5” x 5.75” artist board, the concept displays in very good condition with light wear, spots of discoloration from age, and a crease at the top left corner.

(Clampett, 1934-35) An otherworldly original concept drawing from Bob Clampett’s canceled “Warlord of Mars.” The piece depicts black pirate rocket ships emerging from a volcano lair to loot and plunder Martian cities. Accomplished in watercolor and charcoal, with an image size of 3.5” x 4.25” on a 4.25” x 5.5” artist board, the piece is in very good condition with light wear and scratches, including a 0.25” scratch on the left side.

(Clampett, 1934-35) A collection of nine pages of graphite storyboard drawings and dialogue for “Warlord of Mars” Chapter I, The Black Pirates of Barsoom. The pages include sequences where John Carter is captured, encounters a mad scientist, and learns about the warring factions of Barsoom. Measuring 9.5” x 12” each, the pages are in good to very good condition with creases, discoloration from age, stains, and edge wear from production use.

(Clampett, 1934-35) A collection of four pages of timing sheets, a production schedule, and budget breakdown for Bob Clampett’s “Warlord of Mars.” The documents refer to the production as “Tarzan,” though the descriptions clearly call out John Carter and his exploits jumping over crevices and engaging in sword fights, meaning “Tarzan” was possibly a playful code name for this Edgar Rice Burroughs adaptation. Ranging in size from 8.5” x 22” to 9.5” x 12” and accomplished in graphite and colored pencil, the documents are in good condition with creases, folds, tears, stains, and wear from production use.

(Clampett, 1970s) A hand-painted “Warlord of Mars” cel of a green Thark, a four-armed native of Mars, riding into battle atop an eight-legged Thoat. This piece was created decades after the project was shelved, possibly for the 1976 Jim Steranko’s Mediascene magazine feature covering the history of the project. With an image size of 7.75” x 12” on a 10.5” x 12.5” cel, the piece is in very good condition with light wear, surface scratches, and spots of discoloration.

(Clampett, 1970s) A hand-painted “Warlord of Mars” cel of Thark riding a Thoat. This artwork was featured on the cover of a 1976 issue of Jim Steranko’s Mediascene magazine, with an article detailing the history of the canceled project. The cel was likely created specifically for the magazine's cover. With an image size of 8.5” x 11.5” on a 10.5” x 12.5” cel, the piece displays in very good condition with spots of paint loss, line loss, stains, scratches, and wear.

(Clampett, 1934-35) An original multi-layer cel and watercolor background from Bob Clampett’s “Warlord of Mars.” The images range from 0.75” x 1” to 2.25” x 4.25” on 9.75” x 12.25” cels, while the hand-painted background measures 10” x 13.25”. The pieces are in fair to good condition with scratches, paint loss, warping, stains which do not affect the image, wear at the peg holes, tape on the background from production use.

(Schlesinger, 1936) A goodbye drawing signed by the staff of Leon Schlesinger Productions given to Bob Clampett when he left the studio in 1936. The card features a hand-drawn illustration of Bob being given the boot from the studio, a farewell poem, and 103 signatures including Leon Schlesinger, Chuck Jones, Tex Avery, Friz Freleng, Bob McKimson, and Carl Stalling. Accomplished in graphite, colored pencil, and ink, and measuring 35.25” x 12.25”, the drawing has been rolled and displays in very good condition with light edge wear and creasing from handling and light discoloration from age.

(Clampett, 1936-37) A treatment and storyboards for the animated opening to “When’s Your Birthday?” starring Joe. E. Brown as an astrology-obsessed boxer. The opening sequence was the very first animation to be directed by Bob Clampett. It depicts astrology heaven with the signs of the zodiac brawling amongst themselves, and Taurus the Bull representing the hero of the film. Included in the lot are a two-page typewritten treatment of the animated opening followed by the first page of the live action that followed, and a storyboard set with a title page, two full-page panels, and seven pages of four panels each. The treatment measures 8.5” x 11” and is in fair condition, with folds, edge wear, oxidation marks from a paper clip, discoloration from age, and pencil marks including notes written on the back of one page, most likely by Clampett. The storyboard pages are accomplished in graphite and colored pencil, measuring 9.5” x 12”, and are in good production-used condition with handling wear, a 3” piece of the top border missing from one page, and discoloration from age. The Heaven panel is signed on the top by Bob Clampett, and two pages are stamped from the Bob Clampett collection.

(MGM, 1936-37) An original storyboard drawing for the full-color animated opening to “When’s Your Birthday?” starring Joe E. Brown as an astrology-obsessed boxer. Bob Clampett drew this image of the gates to “Astrological Heaven” with color pencils, noting camera movement and transition on the bottom. Measuring 8.5” x 12” on 9.5” x 12” animation paper, the drawing is in very good condition, with expected light wear from production use and age.

(Schlesinger, 1936) An original color model drawing of Johnny Weissmuller and Lupe Vélez from the Merrie Melodies short “The CooCoo Nut Grove.” Accomplished in graphite and colored pencil, with a character image size of 6.25” x 7.5” on 9.5” x 12” animation paper, the drawing is in good production-used condition with light creasing, including a horizontal crease along the middle, edge wear, tape residue to the left edge, and light discoloration from age.

(Schlesinger, 1936) A pair of production cels of Stan Laurel as a monkey and “Tarzan” actor Johnny Weissmuller and his wife Lupe Vélez from the Merrie Melodies short “The CooCoo Nut Grove.” Both cels are trimmed to the character image measuring 5.5” x 3.5” and 7.25” x 8”, and are in good to very good condition with 0.25” x 0.25” areas of tape in each corner which do not affect the image and light spots of paint loss and heavy paint loss on Vélez’s face of the “Tarzan” cel.

(Schlesinger, 1936) An original production cel of a Wallace Beery caricature from the Merrie Melodies short “The CooCoo Nut Grove.” The cel has been trimmed to image and measures 4.5” x 5.75” and is in good condition with light scuffs, pieces of tape in each corner measuring 0.25” x 0.25”, and light warping from age.

(Schlesinger, 1933-1941) A collection of four celebrity caricatures from Merrie Melodies shorts. Featured are production drawings of Frankenstein’s Monster from “Hollywood Steps Out,” Gary Cooper from “The CooCoo Nut Groove,” and two of Greta Garbo from “I’ve Got to Sing a Torch Song,” including her take on the iconic “That’s all, Folks!” With image sizes ranging from 2.5” x 5.25” to 9.5” x 12” on 9.5” x 12” drawing paper, with the Frankenstein art stamped “Courtesy of the Bob Clampett Collection,” the pieces are in good to very condition with light edge wear, creases, and discoloration from age.