Harrison Ellenshaw Cinderellas Moonlight Arrival Hand-Embellished Giclee on Canvas
Status: In Stock Available | Condition: New | Edition:Limited Edition Hand-Embellished Giclee on Canvas | Edition Size: 195 | Dim:12 x 16 | Harrison Ellenshaw| Item #: cehecma
Price: $ 295.00 USD..
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Art Terminologies
Giclée - A computerized reproduction technique in which the image and topography are generated from a digital file and printed by a special ink jet printer, using ink, acrylic or oil paints. Giclée printing offers one of the highest degree of accuracy and richness of color available in any reproduction techniques
Lithography - Printing technique using a planographic process in which prints are pulled on a special press from a flat stone or metal surface that has been chemically sensitized so that ink sticks only to the design areas and is repelled by the non-image areas. Lithography was invented in 1798 in Germany by Alois Senefelder.
Serigraphy (Silk-screen) - A printing technique that makes use of a squeegee to force ink directly onto a piece of paper or canvas through a stencil creating an image on a screen of silk or other fine fabric with an impermeable substance. Serigraphy differs from most other printing in that its color areas are paint films rather than printing ink stains.
Remarque – Additional enhancements by the artist on some or all of the final prints within an edition
Artist's Proof (AP) - Print intended for the artist's personal use. It is common practice to reserve approximately ten percent of an edition as artist's proofs, although this figure can be higher. The artist's proof is sometimes referred to by its French épreuve d'artist (abbreviation E.A.). Artist's proofs can be distinguished by the abbreviation AP or E.A., commonly on the lower left of the work.
“Gallery wrapped” is a way of finishing a canvas artwork so it’s ready to hang without needing an additional frame. The canvas is stretched tightly over thick wooden stretcher bars, and the edges of the canvas are wrapped around the sides and stapled on the back.
Stretched - When a canvas is described as stretched, it means the artwork has been pulled tightly over a wooden frame (called stretcher bars) and secured on the back. This process keeps the canvas flat and smooth, ready to hang on the wall or to be placed inside an outer frame.
Hand Embellished - When an artwork is hand embellished, the artist (or a skilled studio artisan) personally adds paint, texture, or other details by hand on top of the printed or finished piece. This gives each artwork unique highlights and depth, making no two pieces exactly alike — even within the same edition.
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Status: In Stock Available
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Harrison Ellenshaw is a legendary matte painter and visual effects artist, renowned for his work on Star Wars, The Empire Strikes Back, and Tron. As the son of Disney legend Peter Ellenshaw, he followed in his father’s footsteps, creating cinematic landscapes that have shaped the visual storytelling of classic films. Beyond Hollywood, Ellenshaw has gained recognition in Disney Fine Art, painting collectible Disney scenes in his signature contemporary impressionist style. His work continues to captivate art collectors and film enthusiasts, blending the magic of cinema and fine art.
Cinderella's Moonlight Arrival - cehecma
NOTES: Hand-Textured Gicl"e on Canvas.
Cinderellas Moonlight Arrival Hand-Embellished Giclee on Canvas by Harrison Ellenshaw is signed by the artist and comes with a certificate of authenticity.
image Copyright © 2025 by Harrison Ellenshaw
Harrison Ellenshaw bio
Many sons growing up in the shadow of a famous father feel that they want to carve their own paths in life. "That was me," says Harrison Ellenshaw, son of Disney Legend and master painter Peter Ellenshaw, who won an Oscar for his visual effects work on "Mary Poppins" and was nominated a total of five times for the Academy Award. "I had grown up fascinated by my father's painting." Harrison says. "He would sometimes give me canvas and paints." I have photographs of me painting when I was a small boy. My father's life was painting, even during meals he would bring the canvases he was working on into the kitchen and sit and eat and look, criticizing his own work. My mother was not always pleased that this was how the family spent mealtime, but she understood his passion. But I found both this passion and his incredible talent intimidating. I was convinced I could never live up to any of it." Harrison graduated from Whittier College with a BA in psychology. By then, in the early 70s, the country was in the throes of a recession and Harrison found it difficult to find a job. "I remember driving with my father one day," he recalls, "and he said, "Well, you know, just for the time being, if you're interested, the matte department at Disney is looking for apprentices. " The department head at that time was Alan Maley, who had worked as a matte artist with Harrison s father in years past. "So I went and talked to Alan, and we agreed that we'd give it six months." "Alan became my mentor," Harrison says, "and it was due to his enthusiasm and encouragement that I really got bitten by the film bug. It had been very unique growing up having a father who knew and worked for Walt Disney -- he was a living legend, an icon. But in a sense I took being in a 'show business family for granted. It was Alan who showed me what was so special about film -- about matte paintings; how your work on shots could be an integral part of telling a story." After about four years, Alan Maley retired. "He told me I could take over as department head," Harrison remembers. "It usually takes twelve years as a journeyman to become a department head. The studio was a little hesitant and I was scared to death." Maley offered to return to give Harrison a hand if necessary, so he took the job. Then, Harrison got a phenomenal break. "Fate smiled on me, as it had for my father," he says humbly. "I got a chance to do some work on Star Wars ". At this point, a tale of two Ellenshaws becomes the tale of two separate Ellenshaws, as this is where Harrison begins to really strike out on his own, away from his father s legacy. His work on "Star Wars" was so well received that he was asked to return to work on "The Empire Strikes Back". By this time, having clearly carved a niche for himself, Harrison had no problem working with his father on Disney s "The Black Hole" in 1979. Harrison then went solo again to add his unforgettable touch to "Tron", one of the most unique and visually stunning films ever, now a cult classic. After work on "Captain Eo," "Superman IV," "Ghost" and other films, a memorable year for Harrison was 1989, when he worked on "Dick Tracy". "The matte paintings were visually the star of that film," he recalls. "And by then I was doing some fine art painting on my own. But it was around that time when I was working on this incredibly colorful film that an exhibition of Fauve artists came to the Los Angeles County Museum of Art." Fauve, which in French means "wild beasts", was a name given to a group of up and coming rebel French artists in the 1900s, who included among their ranks Henri Matisse and Andre Derain. The Fauve painters took a traditional art form and began using forms and colors which were not found in nature, painting familiar objects with startlingly "wrong" colors, in an attempt to "liberate color". "Up until this point I had been painting trees with black, gray and brown trunks and green leaves," he points out. "And then I came across the Fauves, who were only in existence a few years, and their intense use of color. They had done something I really enjoyed and appreciated. So I began to paint far more colorfully than I had in the past. Today, I enjoy painting as much as ever and I enjoy doing things that are really colorful. The great thing is that now with the giclee process of making prints, you can match the colors perfectly." UPDATE: in 2016 Harrison Ellenshaw received a Lifetime Achievement Award from the Art Directors Guild for his historic contribution to the field of production design. With a career spanning several decades, Harrison has continually pushed the envelope of his craft, be it on film, or on canvas
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