Peter Ellenshaw Practically Perfect - From Disney Mary Poppins Giclee On Canvas
Status: In Stock Available | Condition: New | Edition:Limited Edition Giclee On Canvas | Edition Size: 395 | Dim:18 x 36 | Peter Ellenshaw| Item #: cepractically
Price: $ 1,100.00 USD..
9/18/2025 $366.67 1st payment
10/18/2025 $366.67 2nd payment
11/17/2025 $366.67 3rd & final payment
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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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Peter Ellenshaw Practically Perfect - From Disney Mary Poppins Giclee On Canvas is eligible for 3 equal layaway payments in store, with a credit card of $366.67 made every 30 days over a period of three months. US & Canada orders only.
Merging cinematic artistry with breathtaking visual storytelling, these iconic landscape paintings capture fantasy, sci-fi, and Disney-inspired environments with masterful use of light, color, and atmosphere. Known for visionary matte painting techniques, each piece transforms classic Disney movie scenes and grand fantasy landscapes into immersive and luminous works of fine art. Featuring richly textured compositions and dreamlike scenic details, these paintings evoke a timeless sense of wonder and nostalgia. Whether depicting romanticized castles, futuristic cityscapes, or vast, sweeping landscapes, these collectible fine art prints stand as a testament to cinematic world-building and masterful scenic realism, making them a must-have for Disney fans, fantasy enthusiasts, and fine art collectors alike.
Practically Perfect Giclee on Canvas - cepractically
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Practically Perfect - From Disney Mary Poppins Giclee On Canvas by Peter Ellenshaw is signed by the artist and comes with a certificate of authenticity.
image Copyright © 2025 by Peter Ellenshaw
Peter Ellenshaw bio
Born in 1913, barely a year before World War I was to assail England with bomb-dropping zeppelins and an economic downturn that would last for decades, master painter Peter Ellenshaw would spend his early years in hardship. "War was the devil that haunted all of us, driving out happier memories," he writes in is pictorial autobiography, "Ellenshaw Under Glass" (Camphor Tree Publishers, 2003). Ellenshaw s father died in 1921, and his mother soon married the groundskeeper on an estate in Kent. Ellenshaw s biological father had family living in Wilton Castle, near Enniscorthy, Ireland, and prior to his father s death, Peter had been attending a private school in which he was taught, among other things, fine social graces. This ended abruptly as his mother remarried and his family moved into cramped living quarters on the estate his new stepfather tended to. Here, instead of kindly doffing his hat for the ladies, the seven-year old Ellenshaw was enlisted for the purpose of holding the lantern while the latrines were emptied at night. Recurrent and frequent childhood illnesses left Peter unable to pass the basic entrance exams for grammar school, and at his mother s suggestion, he became an auto mechanic at 14. Simultaneously, his mother also encouraged him to develop his artistic talent, especially painting and drawing. It was in this manner that Peter managed to keep his floundering self-esteem afloat. "[I] Certainly developed an inferiority complex," he wrote years later. "because in England, dirty unskilled work was the lowest rung on the social ladder." It was around this time that Ellenshaw had a chance meeting with a local artist who would later mentor him not only in painting on canvas, but in painting on glass for the purpose of creating matte backgrounds for film. This man would play a pivotal role in his life in several ways. Percy "Pop" Day, as he was called, was to become a legend in pioneering visual effects for film. Later a recipient of the O.B.E., Day s relationship with Ellenshaw became one of mentor-apprentice, as the younger of the two began working alongside the elder doing visual effect work for studios. After serving his country as an RAF pilot in World War II, Ellenshaw returned to work for Mr. Day at the studios. After a brief yearlong stint at MGM, Ellenshaw left in 1947 upon receiving a call to work for Walt Disney Studios on the film, "Treasure Island". As it turned out, his partnership with Disney would last over thirty years and earn him five Oscar nominations. For his work on "Mary Poppins" in which he recreated scenes of Edwardian London in 102 different mattes, he won an Academy Award. Walt Disney became Ellenshaw s mentor and friend, spurring him on continually to perfect his craft and push the creative envelope. "Walt was the dominant figure in my life for all those years," he wrote years later. "He talked to me as a father would. I cherished our relationship." However, after Walt Disney passed away in 1968, making movies wasn t the same anymore. "After Walt was gone, things were different," he wrote in his autobiography. "I ceased to be as interested in film making." At this time more than ever, Ellenshaw became more engrossed with "his second career" – painting landscapes for the sheer beauty of it. By 1968, it was occupying every possible spare moment as he scurried to keep up with the demand created by galleries and collectors. Disney s "The Black Hole" in 1976 was Ellenshaw s last film for Disney Studios, viewed both as an artistic masterpiece and a cinematic failure. Ellenshaw began to broaden his Hollywood horizons at that point, working on "Superman IV" with son Harrison in 1984. The work of Peter Ellenshaw is represented in both public and private galleries worldwide. He has been the recipient of numerous honors and awards, including those by the American Film Institute, the Museum of Modern Art in New York, the Film Institute in Chicago, the Academy of Motion Picture Arts and Sciences, the R.W. Norton Art Museum in Shreveport, Louisiana, and the Disney Legends Awards. Now in his nineties, Peter Ellenshaw still enjoys the daily regimen of "his second career" and paints nearly every day.
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