"Alice" Adventures In Wonderland & Through The Looking-Glass

Artist: Donald A. Peters
Dimensions: 40"x30"
Medium: Acrylic painting
Signed: Ink by the artist
Condition: Excellent
Provenance: Created in 1989 and aquired by Diane Steele in 1991
Price: $29,000.00

Alice In Wonderland

Artist's Bio

DONALD A.PETERS
1921-2002

Since his birth in Indianapolis, Indiana on May 19, 1921, Don Peters has continually expressed his multifaceted talents. While serving in the US Marine Corps. at the age of 19, Don received his first international recognition from combat sketches made between 1942 and 1945. Exhibited in the National Galleries of London and throughout the US. These sketches earned Don a scholarship from the National Newspaperman's Association, metaphysics, spiritual space, romantic realism and miniaturism. His preference for the rapidly drying medium of acrylic allows Don to achieve drama in his color placement.

He began his career in Hollywood in 1953, where he worked with Walt Disney, M.G.M., Paramount, Twentieth Century Fox, Warner Brow., Columbia and Filmation. In 1964, Don won the Venice Film Festival award for his screenplay, "The Soldier." Also, in 1966, Don received the Academy Award Nomination for the original screenplay and story "Naked Prey". 1971 Don was a background Artists on the film Journey Back to OZ aka Return to OZ. Animated Musical Fantasy.

Don has exhibited in the Metropolitan Museum, the Whitney Museum and the National Pastel Society of New York.

His paintings and drawing were and are owned by H.R.H., The Prince of Wales, John Wayne, Bing Crosby, Lee Remake, Blake Edwards, Julie Andrew, Jane Withers, Peter Hurt, Bill Wellman, Jack Warden, Henry Mancini and others.

Don passed away quietly at his home in Hollywood Beach, CA October 4, 2002 at the age of eighty-one.

 

More about Don Peters from Wikipedia:

Don Peters was an illustrator and artist who created concept art for the original Planet of the Apes movie in the mid-1960s.

Planet of the Apes concept artwork (composite), possibly by Don Peters
Film producer Arthur P. Jacobs secured the rights to La Plan├Ęte des singes after reading Pierre Boulle's 1963 novel. He immediately set about turning the idea into a viable movie adaptation. He commissioned artists to produce a series of paintings and sketches inspired by the novel, to be used as a visual basis for the movie, later recalling, "I had sketches made, and went through six sets of artists to get the concept, but none of them were right. Finally, I hit on a seventh one, and said that's how it should look."[1] Associate producer Mort Abrahams remembered Jacobs assembling a huge 'merchandising book' with 130 pages of ideas to pitch the movie to film studios.[2] Don Peters had worked as a background artist at Walt Disney Productions during the 1950s, and more recently had contributed to Warner Bros. movies Gay Purr-ee (1962) and The Incredible Mr. Limpet (1964), before he was asked to illustrate concept paintings when the film was in development at Warners (approx. February 1964 to January 1965). Artist Mentor Huebner is perhaps more associated the Planet of the Apes concept artwork than Peters, having designed the distinctive Ape City later in the production.

Don Peters' Planet of the Apes concept artwork (composite)
It was during the early stages of development that the idea for the famous ending to the movie was devised. Jacobs claimed, "We were trying to make the audience believe it was another planet, which differs from Boulle's novel in which it WAS another planet. I thought that was rather predictable when we were doing the first screenplay. It's funny, I was having lunch with Blake Edwards, who at one point was going to direct it, at the Yugo Kosherarna Delicatessen in Burbank, across the street from Warner Bros. I said to him at the time. 'It doesn't work, it's too predictable.' Then I said, 'What if he was on the Earth the whole time and doesn't know it, and the audience doesn't know it.' Blake said, 'That's terrific. Let's get a hold of Rod [Serling].' As we walked out, after paying for the two ham sandwiches, we looked up, and there's this big Statue of Liberty on the wall of the delicatessen. We both looked at each other and said, 'Rosebud' (the key to the plot of 'Citizen Kane'). If we never had lunch in that delicatessen, I doubt that we would have had the Statue of Liberty as the end of the picture. I sent the finished script to Boulle, and he wrote back, saying he thought it was more inventive than his own ending, and wished that he had thought of it when he wrote the book."[1] Edwards, however, credited the Statue of Liberty ending to Don Peters, stating "As I recall it was pretty much Don".[3] Peters, for his part, claimed that it was his idea alone, because he first introduced the ruined Statue of Liberty scenes to the Apes project when he made the paintings to illustrate Rod Serling's movie script.[3] Mort Abrahams, meanwhile, believed "That was Rod's ending",[4] while Serling himself said (in 1972), "I always believed that was my idea," adding that it was "very possible" that the concept was a combination of four or five people thinking exactly the same thing at about the same time.[1] Speaking two years later, Serling said the idea was devised "in collaboration with Jacobs."[5] Undermining Jacobs' recollections, Pierre Boulle was less impressed, saying, "I disliked somewhat, the ending that was used - the Statue of Liberty... They had that final scene in mind from the first day.[1]

Don Peters' Mean Machine design
Peters later helped design the 1968-69 Hanna-Barbera cartoon series Wacky Races for Iwao Takamoto and Jerry Eisenberg, as Eisenberg recalled: "Iwao designed Penelope Pitstop and her car... And then there was some guy named Don Peters, who Iwao knew from his days at Disney, he was a designer. And he got Don to do some freelance help, and he designed that car that Dick Dastardly had, it looked like a Captain Nemo-type car, you know, like a submarine."[6] Peters then worked on animated series Hot Wheels (1969) before a long association with production company Filmation, working as a background artist on animated series Star Trek (1973-74), The New Adventures of Batman (1977), Flash Gordon (1979-80), Blackstar (1981), He-Man and the Masters of the Universe (1983-85), Ghostbusters (1986, the Filmation franchise) and She-Ra: Princess of Power (1985-87), and on feature movies Journey Back to Oz (in production at Filmation from 1964 until it was finally released in 1972) and The New Adventures of Pinocchio (1987). The company's plans to produce similar 'classic' sequels, such as Snow White: Happily Ever After (1990) and the abandoned Alice Returns to Wonderland and The Continuing Adventures of the Jungle Book, were challenged by a 1986 lawsuit from Walt Disney Productions,[7] before the studio was suddenly and unexpectedly closed down by it's parent company in 1989.