
I originally purchased this from the U.S. Museum and Gallery Archives in 1992. This is a Museum edition Serigraph signed and numbered by the artist. It is number M3 of an edition of only 80 copies. I have rarely (I want to say never, but could have missed one) seen a Museum Edition of Mr Earle's work for sale; they are very rare. Included will be the original certificate of registration. I have kept this in the shipping tube that I received it and never had it mounted or framed. The dimensions are 36 1/4" tall by 46 1/2" tall (image is 30" x 40"). Price: $5,000 shipping included within the USA.
This print was produced as part of a 75th anniversary series. I will ship internationally for this item, using Postal Service International Priority Mail. I have had questions about what makes a Museum Quality edition different from a non-MQ. Well, from my research:
The first photo is from a web site to give a proper rendition of what this art looks like. The second photo is a closeup of the number on the print. Finally the third is showing the actual print spread out.
From the Eyvind Earle site is this information/background:
Born in New York in 1916, Eyvind Earle began his prolific career at the age of ten when his father, Ferdinand Earle, gave him a challenging choice: read 50 pages of a book or paint a picture every day. Earle choose both. From the time of his first one-man showing in France when he was 14, Earle’s fame had grown steadily. At the age of 21, Earle bicycled across country from Hollywood to New York, paying his way by painting 42 watercolors. In 1937, he opened at the Charles Morgan Galleries, his first of many one-man shows in New York. Two years later at his third consecutive showing at the gallery, the response to his work was so positive that the exhibition sold out and the Metropolitan Museum of Art purchased one of his paintings for their permanent collection. His earliest work was strictly realistic, but after having studied the work of a variety of masters such as Van Gogh, Cézanne, Rockwell, Kent and Georgia O’Keefe, Earle by the age of 21, came into his own unique style. His oeuvre is characterized by a simplicity, directness and surety of handling.
In 1951 Earle joined Walt Disney studios as an assistant background painter. Earle intrigued Disney in 1953 when he created the look of "Toot, Whistle, Plunk and Boom" an animated short that won an Academy Award and a Cannes Film Festival Award. Disney kept the artist busy for the rest of decade, painting the settings for such stories as "Peter Pan", "For Whom the Bulls Toil", "Working for Peanuts", "Pigs is Pigs", "Paul Bunyan" and "Lady and the Tramp". Earle was responsible for the styling, background and colors for the highly acclaimed movie "Sleeping Beauty" and gave the movie its magical, medieval look. He also painted the dioramas for Sleeping Beauty’s Castle at Disneyland in Anaheim, California.