From: neil@celia.UUCP (Neil Richmond)
Newsgroups: rec.arts.animation
Subject: Re: How to Determine if Original cel (Was Re: Lady & Tramp Cel Question)
Date: 9 Apr 92 17:17:07 GMT
Reply-To: celia!neil@usc.edu (Neil Richmond)
Organization: Rhythm & Hues, Inc., Hollywood

In article <!q2tltc@rpi.edu> ncc1701@acm.rpi.edu writes:
>This brings up a question I had the other day:
>
>How can one tell, if someone claims that a cel is a "production" cel, if it
>really is?  Someone's told me that I should look for scene numbers or
>some such, but that can always be scribbled on.  I ask because I am
>looking into getting an original production cel for a friend, as well
>as having had the chance of buying one last weekend and not doing so because
>I didn't want to spend money on an un-original (i.e. copy :-)  (Yes,
>the cel was painted, not litho'd, but that doesn't necessarily mean anything)
>
>Any help, etc etc.  Thanks!  :-)

There is no way to really tell if a cel has been under the camera or not. It
helps if there are frame numbers or production numbers, but often a drawing
would be pulled and several copies are inked and painted for color model
reference for the painters. Sometimes an inker/painter would make a copy to
bring home for themselves. These sometimes find their way into the market. I
have a friend who is a professional cel restorer and in his view these are 
all production cels because they were made during the production. Another
common sight is a cel that has been trimmed. There are no frame markings or
punches at all on these cels. If you are buying the cel from a dealer, I
wouldn't worry too much. Most dealers are knowledgeable enough to spot
a fake. Most are reputable enough, that they wouldn't pass on a fake and
most are reputable enough not to try and pass a limited edition or sericel
off as an original. Some people object to restoration. It does not hurt the
value and for most people, it enhances the value. My friend is very careful
to try and use similar materials and, very important, COLORS used in the 
original production/studio when he restores a cel. He will repair damaged 
ink lines, if requested, but does not re-ink. I would get an issue of
Storyboard Magazine, if you are serious. Most current dealers have ads in
this magazine. It is THE magazine of the animation art collectors world.

By the way, if you find the cels of your favorite studio/picture to expensive,
you might look into drawings. They can be very interesting and they average
about half the prices of cels. This is mainly what I collect, for various
reasons. 

The approximate breakdown of expense for cels is determined by

The studio. 
	Highest is Disney, then Warners, then Fleisher, Walter Lanz, MGM
	    Hanna Barbera, etc

The character. 
	Mickeys are a lot. Bugs Bunnies are a lot. Spiderman is cheap.

The pose. 
	Large, front facing, eyes open, no registration ( missing parts due
	  to obscuring objects) Full figure, no body parts obscuring the face

Backgrounds. 
	Increase the price, especially if it is a studio original master

Age
	If it is an old film it will more expensive

Condition
	If it is a cel and has flaking paint, it can lower the cost

Autograph
	Believe it or not, if it has someone's signature on it, it will
	increase the cost. For cels, this is ridiculous, because some
	older animators will sign anything and none of them EVER touched
	a cel during the process, so practically no way for them to know
	if the cel was from a pose they animated or from one animated by
	an assistant or an inbetweener

For Drawings
	key frames are more valuable than in betweens because it is likely
	to have been done by a senior animator. Roughs are usually less
	valuable than cleanups. layouts can be very valuable. also storyboard
	drawings and concept drawings

neil
	
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Only 2823 shopping days left till the next millenium! 
Neil F. Richmond         INTERNET: celia!neil@usc.edu
Rhythm & Hues Inc.       UUCP: ...{ames,hplabs}!lll-tis!celia!neil)