A Century of Magic: The Animation of Walt Disney Studios Catalog Preview

A Century of Magic: the Animation of the Walt Disney Studios Animation Cels from the Collection of Janis Scaramucci and Domer 'Jay' Scaramucci

Fred Jones Jr. Museum of Art • University of Oklahoma

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© Disney

A Century of Magic: the Animation of the Walt Disney Studios

Fred Jones Jr. Museum of Art University of Oklahoma 555 Elm Avenue Norman, Oklahoma 73019

Fred Jones Jr. Museum of Art University of Oklahoma

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A Century of Magic: the Animation of the Walt Disney Studios

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A Century of Magic: the Animation of the Walt Disney Studios Animation Cels from the Collection of Janis Scaramucci and Domer 'Jay' Scaramucci

Fred Jones Jr. Museum of Art The University of Oklahoma a c e n t u ry o f m a g i c : t h e a n i m at i o n o f t h e wa lt d i s n e y s t u d i o s " v

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Mickey with Ladder and Paint Can Mickey’s Elephant, 1936; see cat. 1, page 48

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A Century of Magic: the Animation of the Walt Disney Studios Animation Cels from the Collection of Janis Scaramucci and Domer 'Jay' Scaramucci

ix Preface and Acknowledgments Ghislain d’Humières

1 Introduction Janis Scaramucci

7 Thoroughly Modern Mickey: American Art and the Animation of Walt Disney Studios Mark Andrew White

45 Catalogue of the Exhibition Mark Andrew White and Lucy Robertson

131 About the Venue

Fred Jones Jr. Museum of Art The University of Oklahoma a c e n t u r y o f m a g i c : t h e a n i m a t i o n o f t h e wa l t d i s n e y s t u d i o s " v i i

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Frollo and Esmeralda’s Image The Hunchback of Notre Dame, 1996, see cat. 71, page 118

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Preface and Acknowledgments Ghislain d’Humières Bill and Wylodean Saxon Director of the Fred Jones Jr. Museum of Art Like many of us, I was raised with Disney characters and stories surrounding my childhood in Europe. Since Bambi, which, like many, was my first Disney movie, I have been a fan of Disney Studios’ creations, humor, and groove throughout the past 40 years. It may seem obvious, but the impact of Walt Disney’s creations has reached out pretty much everywhere in the last 60 years and seems to be ageless.

When I discovered Janis Scaramucci’s collection, I immediately got keen on putting to-

gether an exhibition including the historical impact of Disney on our society, but also wanted to celebrate his creativity throughout the OU Arts District and the whole University of Oklahoma campus.

An interdisciplinary program will take place around the exhibition, including collabo-

rations with the OU Schools of Art, Music, Musical Theatre, Drama, and Dance, including an exciting Fantasia concert with created visual effects directly connected to live music, discussion on the influence of Disney on the web culture, and much more. A full day symposium with the School of Law, the School of Business, and the School of Journalism will explore copyright, intellectual property, branding, merchandising, and advertising.

The museum will be the stage for this diversified and intellectually challenging pro-

gram built around 83 beautiful animation cells from Janis’ collection covering a large part of Walt Disney’s career.

We are honored to welcome Dr. Richard Benefield, Founding Executive Director of

The Walt Disney Family Museum in San Francisco, who will share with us his passion and knowledge about the creativity of Mr. Disney.

Thank you to Janis and Dean Rich Taylor for their support. Thank you to Dr. Mark

White for the great essay and a special gratitude to all my staff for their hard work to make this exhibition possible.

Thank you especially to Walt Disney for having created a beautiful and extraordinary

world, which has influenced most of the children around the world and, later on, all of us grown ups, while always keeping a small part of our childhood imagination alive.

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Piglet Holding Popped Balloon Winnie the Pooh and a Day for Eyeore, 1983; see cat. 45, page 92

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Introduction janis scaramucci Twenty-five years ago, I went to the Walt Disney World Resort for the first time. My oldest daughter was a toddler, and I was living back home with my parents. I wandered into the Main Street Gallery looking for the perfect present to take home to my baby girl. I was studying art history at the University of Oklahoma at the time and was intrigued by animation art. Looking around in the gallery, I fell in love with a cel of a very forlorn Piglet holding the remnants of a popped balloon.

This single sheet cel was presented on a white background and cost around $300. My daughter loved Winnie the Pooh and all the characters, so this artwork was the perfect memento. She loved Piglet, I loved art, and it would look perfect in her bedroom. And so this collection began, not with a mouse like The Walt Disney Company, but with a pig … or rather a Piglet.

This little single-cel image of Piglet was, for me, very provocative in many ways. Primar-

ily, I questioned whether or not the piece was even actually “art.” I often thought that animation art was not really art, at least the “art for art’s sake” purely aesthetic creation that I learned of in college. No, this piglet was subversive, more of a cultural artifact, a byproduct of a film than a “real” work of art. I felt rather rebellious for even owning it. But then again, it wasn’t for my collection, it was just something to hang in my daughter’s room. But that image of Piglet was so much more than that. The Piglet was to change the course of my life and most definitely to change what I believed to be true about art.

After living with Piglet for a few years, I began to notice some things about the artwork

that were unique and intriguing. The most astonishing revelation about the Piglet piece was its power to create happiness and a sense of well-being. Without fail, when I was in my daughter’s room and I looked at Piglet, I would smile. But it was much more than just a smile. It was a smile that came from the core of my being. Looking at Piglet caused me to feel loved, peaceful, and content. And Piglet, so disappointed that his balloon had burst, always incited in me all my motherly instincts. I wanted to comfort and protect him and reassure Piglet that everything was going to be okay. I noticed that the Piglet piece had an effect on others as well because every single person who stopped by and studied it for just a moment would, without fail, smile. Piglet had the profound ability to create a feeling of joy in everyone. And while there is this amazing sense of universality that the artwork creates happiness for all who look upon it, each person’s connection with the Piglet piece is intimately unique. My daughter lived with this piece in her

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room for a long time and I’ve often wondered what the piece taught her. I like to think that it showed her that there are disappointments in life, and that it’s okay to be sad. Yes, sad over something as trivial as a popped balloon, for in its inflated state, that simple red balloon had given Piglet great joy. Piglet wordlessly and lovingly gave my daughter, gave us all, permission to grieve about losses, even one as small as a popped balloon.

While the Piglet cel is an image of loss it also implied—no, it guaranteed—hope. For this

image is one of thousands that were painstakingly created to make an entire film. We know that Piglet felt joy before this moment. We know for certain that Piglet will recover and, to use the famous expression, “live happily ever after.” It validates the linear progression of our existence and the nature of our humanity. Just like the animated film has a beginning, middle, and end, so do our own lives, and Piglet’s suffering is momentary as is much of our own personal pain.

Over time the collection grew and Piglet was joined by other Disney animated charac-

ters, all with their own stories and their own lessons. I began to realize that many of the values I accepted and nurtured in myself and wanted for my children were reflected in Disney’s characters. I reminisced about the many, many Sunday nights I spent sitting cross-legged in front of a black-and-white television learning about life from Walt Disney on The Wonderful World of Disney.

Many people refer to Walt Disney as “Uncle Walt,” and it is a very fitting nickname. “Uncle Walt” taught me many things: to always let my conscience be my guide, that when I wished upon a star my dreams could come true, and to take care of myself and not be a fool so I could live to be 93!

Walt Disney taught me about the world and different cultures as well as history and geography. He taught me to appreciate art, music, color, and sound, weaving them together to create a story, to teach lessons, and to connect us to each other and the natural world. I learned about animals, plant life, and the solar system. And I learned about patriotism: how it is a privilege to be an American and that we as Americans have an immense global responsibility. Walt Disney was always excited about the future, about the land of tomorrow with its possibilities and technological wonders.

Yet he instilled in me the importance of the past and the lessons that history has to teach. Walt Disney taught me all these things and more, with a loving smile, a calm demeanor and a twinkle in his eye. When Walt Disney was presenting information, I paid attention because he truly made learning fun. Through animation and personification of such things as princesses, bears that like honey, toasters and automobiles, we have listened and learned all kinds of life lessons. Walt Disney fused art, music, storytelling, and technology with a bit of pixie dust to create a body of work that

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is unparalleled in its universal appeal. Everyone everywhere has in some way been exposed to Walt Disney’s magical legacy of animation art.

So, let’s turn our attention back for a moment to this first cel, the Piglet piece. Walt

Disney Studios used many of these cels with beautiful watercolor backgrounds to create actual animation features. The film, the entirety of this collection of cels used to illustrate the story, will undoubtedly be in existence forever in one medium or another. However, this single cel from the film has a very different, yet unknown, lifespan. The method of applying the thinnest layer of paint on a clear piece of celluloid results in a creation that is fragile and needs optimal conditions to promote longevity. The oldest cels in the collection bear the marks of time. The celluloid is shrinking, rippling and warping; the paint can crack and flake; under extreme conditions, cels made of nitrate can spontaneously combust. These cels have a lifespan not unlike human beings, making them precious as historical artifacts as well as singular works of art. It is this fragility that makes them that much more relatable to us and our inevitable mortality.

So, while Piglet and his friends are dependant on human awareness and care for their con-

tinued existence as an art form on cels, the lessons taught by the many Disney characters are timeless and without end. I have talked about Piglet’s influence, but many other characters have shaped me and my family. I would like to share a few of the gifts that Walt Disney has taught me.

Snow White taught me and my children to “whistle while you work” and that family

isn’t necessarily the family of your birth, but can be other people who love and care for you. In the case of Snow White, the Seven Dwarfs and the forest animals became her family when her stepmother wanted her dead.

Pinocchio showed me the importance of honesty and how important it is to listen to

your conscience when tempted by the ways of the world.

Bambi showed me the beauty and wonder of nature and all the creatures of the world.

We share this earth with many different life forms and we have a responsibility to be good stewards of our planet.

These are but a few examples of the wonderful fairy tales and fables that Walt Disney

brought to life on the big screen through animation art. In these adaptations and original stories, Walt Disney Studios depicts a world of good and evil, triumph and tragedy, success and failure, right and wrong. We learn through Dumbo and Quasimodo that some people are born physically different than most and not to judge by appearances. Baloo and Mowgli reassure us

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that all we really need are the “bare necessities of life.” There was rarely a parenting situation or moral question that could not be answered in some Disney film.

The collection in this catalog began with the purchase of the Piglet cel and grew into

what it is today. Over time, at many auctions around the world, with galleries and the Walt Disney Company, it evolved into what it is today. These are cels from Snow White and the Seven Dwarfs (1937) up through Roy Disney’s masterwork Fantastia 2000 (2000). It became my goal, at first, to own a cel from each of the major Disney feature films. Then it was to have a hero and a villain from each film. There are inevitable gaps, but overall the collection is a sound representation of Disney’s animation art. Of course, like any lifelong endeavor, there are many wonderful anecdotes regarding many of the purchases, and I have been blessed to meet many incredible people who have been in one way or another part of the Disney “family.” And I have had the joy of watching cartoons for most of my adult life!

It is the memories of it all that mean the most. Standing today in front of Piglet, I first

remember the exact moment in the film when Piglet glances down dejectedly at his burst balloon. Then I remember how my daughter used to look at Piglet with love and wonder in her eyes. Then I remember myself as a young girl and the love I felt from the films and their images.

Today, I get a tremendous sense of joy watching other people when they see these images for the first time, watching their faces transform, smiling with their own unique memories. Then I remember that my stepson Todd loved Mr. Toad, my stepdaughter Lisa loved The Fox and The Hound (1981) and all the dog movies, my daughter Jennifer loved Belle and the Three Fairies from Sleeping Beauty, my son Stuart loved Donald Duck, and my daughter Jessica loved Jasmine.

And as for me, well, I love the villains most of all, in particular, Cruella de Vil.

I am not an expert by any means in the study of animation art. I do not know much

of the technical jargon or all the dates and important milestones of the Walt Disney Studios.

Many wonderful books have been written on these subjects and are well worth reading. I am just a collector, and we as a family amassed this collection primarily for our own enjoyment.

I believed then, and still do, in surrounding myself with art that makes me happy. This collection of animation art has brought us great joy over the years, and I hope it delights you and your loved ones as well. My heartfelt admiration and gratitude goes out to Walt Disney and everyone who has ever worked for him in the creation of this very important piece of American history.

I am so proud to, in this very small way, be a part of “Uncle Walt’s” family.

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Cruella Angry on Phone One Hundred and One Dalmatians, 1961; see cat. 38, page 85

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Fig. 1 Snow White Leaning Over Well Snow White and the Seven Dwarfs, 1937; detail, see cat. 6, page 53

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Thoroughly Modern Mickey: American Art and the Animation of Walt Disney Studios mark andrew white The animation of Walt Disney and Walt Disney Studios has played a profound role in American popular culture, and the studios’ influence on the history of film, and especially animation, is unquestionably important, though often the subject of debate. Disney’s animated features and shorts have been contentious for much of the twentieth century. Proponents have lauded the imagination and artistry of Disney, while detractors have disparaged insipid plots, uninspired artwork, and offensive treatments of race and sex. Among the questions and controversies regarding Disney’s presence in American culture, none has been more persistent than that of Disney’s value as art. Beginning in the 1930s, both artists and critics debated as to whether Disney’s films should also be considered art, and some critics heralded the shorts and features as a modern and distinctly American art form. These arguments, often nationalistic in tone, gradually subsided during World War II, and postwar critics, far more sympathetic to an art international or universal in spirit, regarded the features as popular entertainment with little or no relation to the primary concerns of modernism. But with the advent of Pop Art in the 1960s, artists and critics alike began to rethink the role Disney’s films had in American culture, and they adopted a far less adversarial stance. A survey of these critical opinions offers insights into the changing definitions of American art and the import of Disney’s role in American culture.

By the late 1930s, Disney had achieved critical and popular recognition for iconic char-

acters such as Mickey Mouse, for the whimsical shorts he had produced since the late 1920s, and for his first animated feature, Snow White and the Seven Dwarfs (1937; fig. 1). As his notoriety increased, art historians and critics began to assess the ramifications of his work. Numerous critics argued that Disney’s animation not only met the basic aesthetic definition of art but also demonstrated an affinity with art historical precedents, yet the popularity of the shorts challenged the pretentions and refinement of fine art. Some critics read nationalistic implications into his success and questioned whether the comic and cartoon was a distinctive form of American art, democratic because of its distribution and appeal. In this regard, Disney’s example could translate into an entirely new medium for American artists. A critic for Art News, in a 1933 article on color shorts such as King Neptune, argued that “Mr. Disney has started a new art that is destined to go a long way.” He imagined “possible Redons of the screen” and “the screen made thrilling with scenes from Moby Dick drawn and colored by Rockwell Kent.”1

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Fig. 2 Pluto Digging a Hole T-Bone for Two, 1942; see cat. 4, page 51

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Cartoonist Al Hirschfeld went so far as to reprimand art critics for neglecting the ar-

tistic value of both the animated shorts and Snow White and the Seven Dwarfs. Although he considered the attempt at realism in Snow White and the Prince a mistake, he celebrated the Dwarfs and the “tremendous magic of well directed lines.”2 Disney, Hirschfeld opined, should stick with characters such as Mickey, who constituted “great art.” Eminent art critic Erwin Panofsky largely agreed with Hirschfeld and considered the early shorts and some sequences in later films were “a chemically pure distillation of cinematic possibilities.” Disney was at his best when he chose to “animate, that is to say endow lifeless things with life, or living things with a different kind of life. It effects metamorphosis, and such a metamorphosis is wonderfully present in Disney’s animals, plants, thunderclouds and railroad trains” (fig. 2).3

The arguments of Panofsky and Hirschfeld necessitated a redefinition of cartoons as

art yet largely disconnected from the history of art. Critic Dorothy Grafly was careful to praise Disney’s artistic qualities while also constructing an art historical pedigree for his animation that would add some legitimacy. She praised the technical achievement, “whimsy and imagination,” and narrative accessibility of Disney’s shorts. More importantly, she situated them as a “direct lineal descendent of primitive art” and an inheritor of the tradition of pictographic forms of communication such as prehistoric cave paintings and Egyptian hieroglyphics. But Disney’s animation also was a new folk art and “probably the first genuinely American art since that of the indigenous Indian.”4 Grafly believed, as did many American artists and critics, that Native American art constituted a potential resource for the development of an American art, distinct from that of Europe. In a later article, she compared Snow White and the Seven Dwarfs to Benjamin West’s The Death of General Wolfe (1770; National Gallery of Canada), widely regarded by historians as one of the first significant American contributions to Western art.5 Yet her definition of an American art also required an appeal to the common man, and she was careful to note that Disney “is painting his picture not for himself but for the public.” 6

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Nala and Reflection The Lion King, 1994 see cat. 62, page 109

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A Century of Magic: the Animation of the Walt Disney Studios Animation Cels from the Collection of Janis Scaramucci and Domer 'Jay' Scaramucci

Mark Andrew White and Lucy Robertson

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Captain Hook on His Ship Peter Pan, 1953; see cat. 29, page 76

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The Art of Animation and Animation as Art Traditional animated films begin with pencil sketches that help to establish character design.

The action is then outlined on a storyboard. Once the important scenes have been planned, pencil artists draft the beginning and end or the extremes of a character’s movements. Assistant animators provide the transitional stages of that movement and then clean-up animators refine the drawings. Inkers and painters, using gouache paint, then transfer the finished drawings to thousands of transparent celluloid or acetate sheets, commonly known as cels. A single frame of an animated film might contain multiple cels layered one on top of another to depict the movements of the respective characters. Those cels are then photographed against a large watercolor background that provided a setting for the action. Disney animation traditionally used 24 cels per second of film. For a 90-minute feature, approximately 129,600 cels would have been created. In 1961, the Disney Studios began using Xerox line-on processing, which photocopied the drawings directly onto the cels and eliminated the step of inking.

Many of the images included in A Century of Magic are constructed of multiple cels, and

the object should not be considered a painting with a uniform, flat surface, but a layered image, similar to a relief. The individual cels often create unintentional shadows on the background providing a sense of three-dimensionality, although Disney artists often animated intended shadows on separate cels. The images in A Century of Magic are often divorced from their original context in the feature film or animated short, and many do not depict clearly recognizable scenes.

When Disney Studios began to sell these cels as framed works of art in 1937, individual

cels often were taken from different sequences of the film to create a pleasing pictorial composition, resulting in an ambiguous image with a tenuous tie to the narrative. On occasion, the cels were cut down by the staff to create a smaller composition, easily sold through commercial galleries such as Courvoisier. Disney Studios rarely sold the watercolor backgrounds with the cels, so new backgrounds were produced by either the studio artists or Courvoisier artists. Although the background was drawn from the imagery of the film, it did not always match the scene depicted on the cels. For example, catalogue number 29 depicts Captain Hook standing aboard the Jolly Roger, yet the cel actually appeared in a scene set in Skull Rock, where a frightened Hook hangs precariously from a ledge while the hungry Crocodile waits below.

Many of the cels represented in the illustrated checklist depict clearly-recognizable

scenes from the features films, and accompanying descriptions provide a context for the image.

In other instances, the cels cannot be associated with a specific scene and must be appreciated for their association with the film and their artistic value.

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1.

Mickey with Ladder and Paint Can Mickey’s Elephant, 1936 Ink and gouache on celluloid, 8¾ x 11½ in.

Mickey has just received the elephant Bobo as a present from the Rajah of Gahboon. Mickey proceeds to build a house for Bobo, but Pluto grows jealous. Pluto blows red pepper in Bobo’s face, and the elephant begins sneezing uncontrollably. Mickey is blown off his feet several times because of the ferocity of Bobo’s sneezes.

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2.

Ferdinand the Bull, 1938 Ink and gouache on celluloid, 9¼ x 9¾ in.

Ferdinand was unlike the other bulls who hoped to fight in the bullfights in Madrid. He preferred smelling the flowers and relaxing under a cork tree. But when Ferdinand is stung by a bee, he runs through the fields, breaking through stone walls and uprooting trees. The men from the town believe that he is the most ferocious bull of all. When Ferdinand enters the arena, he refuses to fight and is soon returned to pasture, where he can continue to smell the flowers.

Ferdinand the Bull was based on the 1936 children’s book

by Munro Leaf. The short won Disney an Oscar that same year for Best Short Subject. This cel was sold through Courvoisier Galleries and is a composite of two different scenes from the short.

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3.

The Three Little Pigs with Log and Hammer The Practical Pig, 1939 Ink and gouache on celluloid, 9 x 9½ in.

Practical Pig is hard at work on a lie detector machine, when his two brothers appear and tease him for working instead of playing. They are headed for the swimming hole, but Practical Pig warns them “that the Big Bad Wolf is near.” When the two brothers are later caught by the Big Bad Wolf, they wish they had heeded Practical Pig’s warning.

This cel was sold through Courvoisier Galleries, and the background they prepared differs from that of the original film, which sets the scene inside Practical Pig’s brick home.

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4.

Pluto Digging a Hole T-Bone for Two, 1942 Ink and gouache on celluloid, 8 x 10 in.

Pluto discovers a bone, but Butch the bulldog takes it away from him. Pluto then tricks Butch into thinking there is another bigger bone buried in the ground nearby, so Butch scares Pluto away from the hole and begins digging for the imaginary bone. As Butch digs deeper and deeper in search of the bone, Pluto comes out of hiding to reclaim the original bone.

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About the Fred Jones Jr. Museum of Art University of Oklahoma

The University of Oklahoma’s Fred Jones Jr. Museum of Art is one of the finest university art museums in the United States. Strengths of the nearly 16,000-object permanent collection (including the approx. 3,300-object Eugene B. Adkins Collection and the more than 3,500-object James T. Bialac Native American Art Collection) are French Impressionism, twentieth-century American painting and sculpture, traditional and contemporary Native American art, art of the American West, ceramics, photography, contemporary art, Asian art, and graphics from the sixteenth century to the present.

Ghislain d’Humières After studying history and art history at the Sorbonne in Paris, d'Humières became a specialist in eighteenth-century furniture for Sotheby’s London, and then transferred to New York. He became the director of the jewelry department at Christie’s of Los Angeles and then transferred to Christie’s in Geneva where he was in charge of international clients from Europe and South America. In 2004, the Fine Arts Museum of San Francisco hired him as assistant director in charge of the opening of the new de Young Museum. Following that appointment, d'Humières joined the University of Oklahoma as the Bill and Wylodean Saxon Director of the Fred Jones Jr. Museum of Art, where he has overseen the construction of the Stuart Wing, which opened in 2011.

Mark Andrew White Mark White (B.A., Oklahoma State University; M.A., Ph.D., University of Kansas) is the Eugene B. Adkins Curator at the Fred Jones Jr. Museum of Art, University of Oklahoma. He specializes in American and Native American art of the twentieth century, with a particular focus on the Southwest. After completing his Ph.D. at the University of Kansas in 1999, he joined the faculty at Oklahoma State University in 2000. In 2008, he joined the Fred Jones Jr. Museum of Art and recently curated the reinstallation of the museum after the recent expansion. He is the author of numerous articles and exhibition catalogues on diverse artists, including George Bellows, Peter Blume, Alexandre Hogue, Oscar Howe, and Olinka Hrdy.

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Publication Notes

Copyright © 2011 The University of Oklahoma.

Cover Images

This catalogue has been published in conjunction with the exhibition

top row, left to right:

A Century of Magic: The Animation of Walt Disney Studios; Animation Cels from

The Queen

the Collection of Janis Scaramucci and Domer 'Jay' Scaramucci at the Fred Jones

Snow White, and the Seven Dwarfs, 1937

Jr. Museum of Art, March 3 – September 16, 2012

cat. 7; page 54.

No part of this publication may be reproduced or used in any form

Mickey as the Sorcerer’s Apprentice

without the written consent of the Fred Jones Jr. Museum of Art.

Fantasia, 1940 cat. 12; page 59

Catalogue author: Mark Andrew White Catalogue editors: Michael Bendure and Mark Andrew White

middle row, left to right:

Catalogue design: Eric H. Anderson

Pocahontas Sits with Grandmother Willow

Photography: Todd Stewart

Pocahontas, 1995 cat. 66; page 113

Fred Jones Jr. Museum of Art, The University of Oklahoma

Aladdin with Genie

555 Elm Avenue, Norman, Oklahoma 73019-3003

Aladdin, 1992

phone: 405.325.3272; fax: 325.7696

cat. 59; page 106

www.ou.edu/fjjma Tinker Bell with Sewing Supplies Library of Congress Control Number: 2011943032

Peter Pan, 1953

isbn: 978-0-9717187-9-1

cat. 27; page 74

All images © Disney.

bottom row, left to right: Mowgli in a Trance on Kaa

Winnie the Pooh & Friends © Disney. Based on the "Winnie the

The Jungle Book, 1967

Pooh" works, by A.A. Milne and E.H. Shepard.

cat. 50; page 97

All Tarzan materials © 2002 Edgar Rice Burroughs, Inc. and

Lady and Tramp

Disney Enterprises, Inc. All Rights Reserved.

Lady and the Tramp, 1955 cat. 31; page 78

This catalogue was printed by the University of Oklahoma Printing Services and is issued by the University of Oklahoma.

Nala and Reflection

1,000 copies have been printed and distributed at no cost to the

The Lion King, 1994

taxpayers of Oklahoma.

cat. 62; page 109

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68805-FJJMA-Text.indd 132

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