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254:, near Thame, Oxfordshire, and began producing the engravings of country crafts for which he is best known. Each was based on detailed preliminary sketches and sold in a limited edition of around 40 or 60, at the Royal Academy or other exhibitions. In many cases, background biographical information is known about the craftsmen featured and their tools and techniques. Anderson often knew them personally and saw them as his equals. His depictions are of real people carrying out their day-to-day work with the actual tools they used.
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portrait. Both reflect
Anderson's disdain for modern tendencies in art and ask whether such things can even be art. The newspaper on the right has an article titled "Hollywood Divorce" on one page and a picture feature titled "CIVILIZATION!" on the other. This page includes images of weapons of war,
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Anderson was a traditionalist in his working methods, in his taste (he disliked modern art) and in his concern for the threat to rural crafts, and critics have identified in this series a high level of consistency between the laborious craftsmanship of the men
Anderson depicted and the painstaking
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In the early inter-war years
Anderson's work was mainly composed of portraits, landscapes and street scenes. From the 1920s he began to add social comment and ironic commentary, which increased in the 1930s as his work became more mature and began to reflect his growing disillusionment with modern
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near Thame made in 1939. Ing had died by the time the engraving was published the following year. She was the only woman featured in the series, though not the only woman in
Anderson's work generally. By 1939, the hand making of lace, once common in the village, was very much in decline.
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in his right hand and arm, line engraving on copper became increasingly painful for
Anderson. He engraved his last plate in 1953 and thereafter concentrated on watercolour paintings of country scenes which were sold at the annual exhibition of the Royal Academy of Arts.
207:'s musing about the nature of man. The scene depicts two men having a discussion in a library reading room, where newspapers may be consulted for nothing by those that cannot afford to buy their own copy. The woman behind them has a hole in the heel of her stocking.
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as an associate in 1910, becoming a fellow in 1923. He was one of a number of young artists associated with the
Painter-Etchers during the war years and immediately afterwards that were credited with reinvigorating that institution.
242:(1941) three men sit at a pub table drinking beer. One is evidently a gentleman of the road. On the wall behind them a small poster advertises the performance of "Cinema Dope for Machine Slaves".
297:
at Oxford. They won again at York in 1948. The engraving shows Rupert Timms making the gate with
Anderson's design pinned up on the wall behind him. The Timms developed a business as ornamental
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who aimed to revive rural crafts. The task was to create a wrought iron gate. The Timms built the gate to a design by
Anderson and won first prize in the competition which was held at the 1947
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that there was a "stampede" each year to buy
Anderson's paintings which often sold out within minutes of the opening, one collector being seen in running shoes to beat the competition.
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and worked with his father Ralph until Ralph's death in 1960. Work for the Timms began to decline after World War Two so in 1947 they entered a competition for blacksmiths run by the
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methods that he used in his engravings, making both subject and method examples of traditional
English craft. It was for this body of work that Anderson was awarded his CBE in 1951.
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people in gas-masks, a bishop blessing soldiers, a worker and a top-hatted boss on their knees praying before machinery in the shape of a £ sign, and a march of the unemployed.
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The country crafts series was unnumbered and a large number of other works were completed on similar countryside subjects, depicting characters such as
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as a main artist in 1928 and as part of group shows in 1924, 1926, 1928, 1930 and 1938. He exhibited at the annual exhibitions of the
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230:(1933). On the facing page is an image of a child's stick drawing, referring to Read's interest in the art of children, and a crude
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based on Anderson's original design and they made gates St. Mary's Church, Thame, and Elm Park Recreation Ground, also in Thame.
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271:(1944) shows Arthur Ing of Long Crendon, son of Dorcas Ing, using his bat on the hip of a cottage as he repairs or renews a
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During the First World War Anderson did munitions work in Woolwich. He did not see active service due to a heart condition.
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Anderson was born in Bristol on 11 May 1884, the son of Alfred Ernest Anderson, a silver engraver. He was educated at
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Anderson's artistic career began in earnest in 1909. He won an engraving scholarship of £50 per year from the
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Material relating to Stanley Anderson may be found in the James Laver and Harold Wright collections at the
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53:. Anderson was principally known for the series of highly detailed engravings of traditional British
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Anderson married Lillian Phelps in 1910. They had children, Ivan (1911) and Maxim (1914–1959).
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Drury, Alfred Paul Dalou; Lowe, Ian (2004). "Anderson, (Alfred Charles) Stanley".
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260:, for instance, was based on studies of Dorcas Ing (aged 87 at the time) of
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564:. James Laver (1899–1975) was a writer and art critic and a keeper at the
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In 1925, he became the engraving tutor at Goldsmiths' where he taught
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136:. From 1930 to 1952 he was a member of the Engraving Faculty at the
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engraving apprenticeship during which he learned to etch on metal.
73:. Against Stanley's wishes, his father arranged for him to begin a
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499:(1943), other countryside activities, horses and other subjects.
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The stands on which the newspapers are displayed have the labels
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that he completed over a twenty-year period beginning in 1933.
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Stanley Anderson works in the collection of the Royal Academy
516:, secretary to the Royal Academy until 1968, recalled in
203:(1936), Anderson deployed ironic humour in commenting on
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Stanley Anderson's London, two short Royal Academy films
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Online catalogue of prints by Stanley Anderson CBE RA RE
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An Abiding Standard The Prints of Stanley Anderson RA.
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An Abiding Standard: The Prints of Stanley Anderson RA
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In 1933, Anderson bought a cottage ("Old Timbers") in
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Lot 138 Stanley Anderson What a piece of work is man.
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Stanley Anderson, Royal Academy, review: 'engaging'.
568:. Harold Wright (1885–1961) was a print dealer with
528:Anderson died at his home at Darobey, Church Lane,
281:(1948) depicts Rupert Timms who was born 1912 in
226:, the influential critic of the day and his book
16:British engraver, etcher and watercolour painter
875:University of Glasgow. Retrieved 24 March 2015.
916:Stanley Anderson: Prints: A Catalogue Raisonné
845:Royal Academy of Arts. Retrieved 3 March 2015.
188:(1922), in the tramp-like figures lounging in
123:Royal Society of Painter-Etchers and Engravers
1001:Academics of Goldsmiths, University of London
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894:(online ed.). Oxford University Press.
89:became a documentary director and producer.
863:, 27 February 2015. Retrieved 3 March 2015.
192:(1925), and in the flute playing busker in
41:(11 May 1884 – 4 March 1966) was a British
986:Members of the Order of the British Empire
914:Meyrick, Robert and Harry Heuser. (2015)
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285:near Thame. He came from a long line of
936:3 artworks by or after Stanley Anderson
918:. London: Royal Academy of Arts. 272pp
891:Oxford Dictionary of National Biography
704:Royal Academy. Retrieved 24 March 2015.
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69:, Bristol, and took evening classes at
873:Material relating to Stanley Anderson.
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811:"Stanley Anderson" by R.J.E. Inglis,
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291:Royal Agricultural Society of England
67:Merchant Venturers' Technical College
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625:"Mr. Stanley Anderson." Paul Drury,
532:, Buckinghamshire, on 4 March 1966.
175:, Stanley Anderson. Engraving, 1936.
667:. British Pavilion in Venice, 2013.
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795:Bonhams. Retrieved 10 March 2015.
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548:and Dr Harry Heuser ran at the
148:(1939). He participated in the
30:Alfred Charles Stanley Anderson
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654:Stanley Anderson (1884–1966).
158:California Society of Etchers
908:UK public library membership
201:What a piece of work is Man
173:What a piece of work is Man
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833:. Retrieved 24 March 2015.
831:Stanley Anderson CBE RA RE
566:Victoria and Albert Museum
180:life. This can be seen in
154:Chicago Society of Etchers
144:for the Royal Academy was
789:Lot 136 Stanley Anderson
723:. Retrieved 7 March 2015.
679:"Mr. Stanley Anderson".
61:Early life and education
25:Stanley Anderson in 1921
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765:Stanley Anderson, 1925.
751:Stanley Anderson, 1922.
737:Stanley Anderson, 1922.
689:, 18 March 1966, p. 14.
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544:, curated by Professor
900:10.1093/ref:odnb/30412
412:Trimming and Faggoting
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138:British School at Rome
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762:The National Gallery.
659:24 March 2015 at the
562:University of Glasgow
550:Royal Academy of Arts
484:The Clothes Peg Maker
246:Country crafts series
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71:Bristol School of Art
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1006:Artists from Bristol
817:, Vol. 6, pp. 23–42.
190:The National Gallery
103:Royal College of Art
996:English printmakers
860:The Daily Telegraph
663:Tom Overton, 2009.
101:and studied at the
99:British Institution
51:watercolour painter
991:Royal Academicians
814:Tools & Trades
716:Zoomable version.
570:Colnaghi & Co.
497:The Country Pedlar
370:Purbeck Quarry Men
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111:Goldsmiths College
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981:British engravers
906:(Subscription or
827:Acknowledgements.
586:Gerald Brockhurst
507:After developing
376:The Hurdle Makers
134:Graham Sutherland
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121:. He joined the
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976:1966 deaths
971:1884 births
536:Exhibitions
442:The Saddler
299:blacksmiths
186:By-Products
107:Frank Short
965:Categories
910:required.)
607:References
495:(1933) or
454:The Cooper
358:The Hedger
295:Royal Show
734:Wreckage.
686:The Times
627:The Times
530:Chearsley
518:The Times
448:The Smith
220:Frycassee
109:, and at
657:Archived
575:See also
509:neuritis
287:farriers
252:Towersey
196:(1932).
184:(1922),
182:Wreckage
156:and the
117:and the
81:Marriage
75:heraldic
43:engraver
721:Bonhams
702:, 1939.
486:, 1953.
480:, 1948.
474:, 1948.
468:, 1948.
462:, 1947.
456:, 1947.
450:, 1946.
444:, 1946.
438:, 1945.
432:, 1945.
426:, 1944.
420:, 1944.
414:, 1943.
408:, 1942.
402:, 1942.
396:, 1942.
390:, 1940.
384:, 1939.
378:, 1937.
372:, 1936.
366:, 1935.
360:, 1934.
346:, 1948.
331:, 1944.
316:, 1939.
228:Art Now
940:Art UK
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904:
556:Papers
205:Hamlet
105:under
93:Career
55:crafts
47:etcher
524:Death
87:Maxim
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942:site
920:ISBN
218:and
49:and
896:doi
238:In
199:In
34:CBE
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275:.
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45:,
38:RA
902:.
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