(Walt Disney Studios, late 1970s) Scarce original pre-production concept layout artwork for Catfish Bend, an unfinished and canceled Disney animated film that would have been released in 1981. Created by Disney animator and art director Ken Anderson, the set-up consists of an overlay cel in gouache and green Xerox line that depicts two small mouse characters rowing a boat to their stilt house overlooking a pond with tall grass and cattails. The impressively detailed cel is applied over a hand-painted background accomplished in ink and watercolor on artist board. The total image measures 15 x 11, and the full set-up is displayed under a presentation mat that measures 20 x 16; under the presentation mat is the original mat, which is signed and inscribed in red felt tip, “To Bill, From Ken Anderson, Catfish Bend.” In fine condition.
Ken Anderson (1909–1993) was an influential animator, art director, and storyboard artist at Walt Disney Studios, who was deemed a ‘jack of all trades’ by Walt Disney. After a brief stint at MGM, Anderson joined Disney in 1934 and began as an inbetweener before advancing to animator and layout artist, contributing to Three Orphan Kittens (1935) and designing key layouts for Snow White and the Seven Dwarfs (1937), including the dwarfs’ cottage model. He went on to serve as art director for Pinocchio (1940) and Fantasia (1940), and later collaborated with Mary Blair to adapt her colorful style for The Three Caballeros (1944) and Song of the South (1946). Anderson also worked on story development for Melody Time (1948), So Dear to My Heart (1948), and Cinderella (1950).
In the 1950s, Anderson helped shape Disneyland’s early attractions as part of WED Enterprises (now Walt Disney Imagineering), designing several Fantasyland ‘dark rides.’ Returning to film, he served as production designer on Sleeping Beauty (1959) and pioneered the use of xerography in One Hundred and One Dalmatians (1961). His later Disney work included background and character designs for The Jungle Book (1967), The Aristocats (1970), Robin Hood (1973), The Rescuers (1977), and Pete’s Dragon (1977), cementing his legacy as one of the studio’s most versatile and innovative artists.
