The recording session for “Dr. Seuss’ How the Grinch Stole Christmas”. Top, drawing of the guitarist (part of a full orchestra led by Eugene Poddany) by Chuck Jones, graphite on sketch pad paper, 14″ x 11″, 1966. Bottom: Chuck Jones, left, with Ted Geisel, AKA Dr. Seuss, at the recording session for their “Dr. Seuss’ How the Grinch Stole Christmas.”
“Maurice–can you a sort of malevolent face out of this BLDG – ?”
Chuck Jones to Maurice Noble regarding his background layout (above) for “Claws for Alarm” 1954, starring Porky Pig and Sylvester. Graphite and red pencil on 12 field animation paper.
Top: Layout drawing by Chuck Jones, graphite on 12 field animation paper.
Mine, mine, mine. Sketches of Daffy Duck by Chuck Jones, graphite and red pencil on 12 field animation paper, circa 1980s.
Chuck Jones on a scaffold creating a mural on the wall of London’s Museum of the Moving Image in advance of his retrospective held there in the late 1980s. The museum has since closed, but we believe that the mural still exists. Can any of you confirm?
Inspired by Chuck Jones, a monster mash-up by artist Mike Kupka, acrylic on canvas, 24″ x 18″, 2017.
“Linda at Six”, oil on canvas, 18″ x 12″, by Chuck Jones, 1943. Linda Jones Clough, the only child of Chuck Jones and his wife, Dorothy, recalls playing a ‘game’ with her father where she would select a book from their extensive library and bring it to her father and he would recite the first paragraph without opening the cover.
Linda Clough would go on to found Linda Jones Enterprises, the representative and publisher of Chuck Jones original and limited edition artwork as well as produce many of her father’s later film work, including “Mrs. Doubtfire” and “Peter and the Wolf” for which she won an Emmy Award in 1996.
Concept designs for the 1978 Neiman Marcus Holiday catalog by Chuck Jones.
Top: hand-painted cel art with collage and mixed media, 12″ x 10″
Bottom: gouache on gray wove paper with collage and mixed media, 10″ x 12″
The Neiman Marcus marketing people thought Wile E. Coyote was an appropriate icon for their catalog seeing how he had such tremendous experience with ordering from the ACME catalog.
The amazing John Alvin, cinema artist supreme, and his interpretation of what the movie poster for “What’s Opera, Doc?” should have looked like. Mixed media on art board, 24″ x 18″, 2006.
Shown: Key master, original production background, gouache on art board, with its matching cel art, gouache on acetate, 12.5″ x 10.5″.
Wile E. Coyote – Genius.
Character model studies, graphite on 12 field animation paper by Chuck Jones, circa late 1950s.