Contact Seller
Radnorshire Fine Arts Ltd
Tel01982 570768Please quote Antiques Atlas.
Copper Engraving of the “Gran Candelabro” by Aless
Engraving of Southwick in the County of Southampton
Hans Holbein The Younger Self Portrait Engraving
Mezzotint Portrait Master John Crewe As Henry VIII
George Morland The Public House Door Mezzotint Engrav
George Morland Coloured Mezzotint Feeding The Pigs
1916 Lady Hamilton Large Mezzotint & Signature
1709 Frontis Engraving for The Loves of the Gods
Engraving Frontis for Premier Prince du Sang 1870
19th Century Engraving Plates
A Trio of Rare 18th C Engravings of Deer by Buffon
19th C Hand Coloured Engraving of Parakeets
Non UK callers :
+44 1982 570768
Stanley Anderson (1884-1966)
The Stone Breaker
Signed in pencil - Stanley Anderson [lower right] - further inscribed - The Stone-Breaker (line engraving) - [lower left ].
Engraving with black ink on cream wove paper. Mounted
Executed In 1940 and published by P. & D. Colnaghi (4 gns)
Very fine signed proof impression with crisp clarity of line as issued by the Print Collectors’ Club, with the Club’s monogram in the plate. From the only edition of 109 signed proofs.
Literature: Robert Meyrick And Harry Heuser, Stanley Anderson. Prints: A Catalogue Raisonné, London: Royal Academy of Arts, 2015, Page 230, No 226
Reproduced: RA Illustrated 1940 (p. 72)
Exhibited: RA 1940 (no. 1299) CAGM 1949 (no. 29)
At the end of the 1920’s Stanley Anderson moved away from the use of drypoint as his primary printmaking technique, favouring instead the linear clarity of pure line engraving. During the following two decades he used this technique to produce an outstanding body of remarkable images depicting the traditional crafts and activities of rural England. The Stone-Breaker is at the heart of this body of work dating from 1940, this outstanding study of a rural labourer was chosen by the Print Collectors’ Club as a presentation plate to represent one of the year’s finest examples of original printmaking in England.
Melancholy is tempered with anger, with a sense that steadfast manuel work - including the artist's own efforts - may be co-opted and corrupted in an age of destruction. Driving this home is the engraved inscription Anderson borrowed from the nineteenth-century humorist Thomas Hood, whose poem 'The Broken Dish' imagines the subjects of a willow-pattern plate as the hapless victims of a catastrophic event beyond their control. The quote from Hood which Stanley Anderson gives beneath the image reads “What’s life but full of care and doubt, with all its fine humanities”. The newspaper which lies on the ground in front of the weary workmen reads “Christian Times. Power politics and sentimentality breed greed and national idolatry, hence war. Christ’s way, the way to peace”.
'The Broken Dish' A poem by Thomas Hood
What's life but full of care and doubt
With all its fine humanities,
With parasols we walk about,
Long pigtails, and such vanities.
We plant pomegranate trees and things,
And go in gardens sporting,
With toys and fans of peacocks' wings,
To painted ladies courting.
We gather flowers of every hue,
And fish in boats for fishes,
Build summer-houses painted blue, -
But life's as frail as dishes!
Walking about their groves of trees,
Blue bridges and blue rivers,
How little thought them two Chinese,
They'd both be smashed to shivers!
Anderson, (Alfred Charles) Stanley (1884–1966), printmaker and watercolour painter. For seven years Anderson trained as a professional engraver in his father’s workshop. He was in his mid-twenties when he was awarded a scholarship to study printmaking at the Royal College of Art in London. He made a name for himself during the revival of line engraving as a mode of original graphic expression, when it had become all but obsolete in 1920s Britain. He also taught etching at the Goldsmiths’ College. By 1941, Anderson was a full member of the Royal Academy of Arts. He initially achieved fame as an etcher and drypointist in the renaissance of British etching during and after World War I. In 1929 he turned his skills to engraving on a copper plate, and he will chiefly be remembered for his engravings of English rural crafts dating from 1932, for which he was made CBE in 1951. Market scenes and street views that recall the Edwardian age. Rural scenes that have turned into sprawling conurbations. And yet, Anderson did not retreat into a romanticised past. He commented on the dramatic changes he observed in British society. To him, those changes were harmful to the human spirit. He saw modernity as a return to ‘barbarism in ethics, childish perversity in the arts and baser ambitions in living. PAYMENT OPTIONS
PayPal /Card transactions can be processed through PayPal on our company website. We also accept payment by cheque and bank transfer. Deferred payments can be accepted over an agreed period of time whilst paintings remain with us.
CONDITION AND PRESENTATION
In our description, if a picture is shown to be framed then the frame will be included with the sale of the picture. Unless stated otherwise all unframed watercolours, drawings and prints have been mounted onto acid-free conservation board using either Japanese hinging paper or reversible wheat starch past. Unframed and mounted pictures are then wrapped in clear polyester film to protect both the picture and the mount. All conservation work has been carried out by accredited conservators.
SellerRadnorshire Fine Arts Ltd
View all stock from
Radnorshire Fine Arts Ltd
Private dealer
By appointment only
Powys
Mid Wales
Tel : 01982 570768
Non UK callers : +44 1982 570768
Signed in pencil - Stanley Anderson [lower right] - further inscribed - The Stone-Breaker (line engraving) - [lower left ].
Engraving with black ink on cream wove paper. Mounted
Executed In 1940 and published by P. & D. Colnaghi (4 gns)
Very fine signed proof impression with crisp clarity of line as issued by the Print Collectors’ Club, with the Club’s monogram in the plate. From the only edition of 109 signed proofs.
Literature: Robert Meyrick And Harry Heuser, Stanley Anderson. Prints: A Catalogue Raisonné, London: Royal Academy of Arts, 2015, Page 230, No 226
Reproduced: RA Illustrated 1940 (p. 72)
Exhibited: RA 1940 (no. 1299) CAGM 1949 (no. 29)
At the end of the 1920’s Stanley Anderson moved away from the use of drypoint as his primary printmaking technique, favouring instead the linear clarity of pure line engraving. During the following two decades he used this technique to produce an outstanding body of remarkable images depicting the traditional crafts and activities of rural England. The Stone-Breaker is at the heart of this body of work dating from 1940, this outstanding study of a rural labourer was chosen by the Print Collectors’ Club as a presentation plate to represent one of the year’s finest examples of original printmaking in England.
Melancholy is tempered with anger, with a sense that steadfast manuel work - including the artist's own efforts - may be co-opted and corrupted in an age of destruction. Driving this home is the engraved inscription Anderson borrowed from the nineteenth-century humorist Thomas Hood, whose poem 'The Broken Dish' imagines the subjects of a willow-pattern plate as the hapless victims of a catastrophic event beyond their control. The quote from Hood which Stanley Anderson gives beneath the image reads “What’s life but full of care and doubt, with all its fine humanities”. The newspaper which lies on the ground in front of the weary workmen reads “Christian Times. Power politics and sentimentality breed greed and national idolatry, hence war. Christ’s way, the way to peace”.
'The Broken Dish' A poem by Thomas Hood
What's life but full of care and doubt
With all its fine humanities,
With parasols we walk about,
Long pigtails, and such vanities.
We plant pomegranate trees and things,
And go in gardens sporting,
With toys and fans of peacocks' wings,
To painted ladies courting.
We gather flowers of every hue,
And fish in boats for fishes,
Build summer-houses painted blue, -
But life's as frail as dishes!
Walking about their groves of trees,
Blue bridges and blue rivers,
How little thought them two Chinese,
They'd both be smashed to shivers!
Anderson, (Alfred Charles) Stanley (1884–1966), printmaker and watercolour painter. For seven years Anderson trained as a professional engraver in his father’s workshop. He was in his mid-twenties when he was awarded a scholarship to study printmaking at the Royal College of Art in London. He made a name for himself during the revival of line engraving as a mode of original graphic expression, when it had become all but obsolete in 1920s Britain. He also taught etching at the Goldsmiths’ College. By 1941, Anderson was a full member of the Royal Academy of Arts. He initially achieved fame as an etcher and drypointist in the renaissance of British etching during and after World War I. In 1929 he turned his skills to engraving on a copper plate, and he will chiefly be remembered for his engravings of English rural crafts dating from 1932, for which he was made CBE in 1951. Market scenes and street views that recall the Edwardian age. Rural scenes that have turned into sprawling conurbations. And yet, Anderson did not retreat into a romanticised past. He commented on the dramatic changes he observed in British society. To him, those changes were harmful to the human spirit. He saw modernity as a return to ‘barbarism in ethics, childish perversity in the arts and baser ambitions in living. PAYMENT OPTIONS
PayPal /Card transactions can be processed through PayPal on our company website. We also accept payment by cheque and bank transfer. Deferred payments can be accepted over an agreed period of time whilst paintings remain with us.
CONDITION AND PRESENTATION
In our description, if a picture is shown to be framed then the frame will be included with the sale of the picture. Unless stated otherwise all unframed watercolours, drawings and prints have been mounted onto acid-free conservation board using either Japanese hinging paper or reversible wheat starch past. Unframed and mounted pictures are then wrapped in clear polyester film to protect both the picture and the mount. All conservation work has been carried out by accredited conservators.
Price The price has been listed in British Pounds.
Conversion rates as of 15/MAY/2024. Euro & Dollar prices will vary and should only be used as a guide.
Always confirm final price with dealer. SOLD
DimensionsSheet: 32.4 cm x 25.8 cm.
Plate: 18.2 cm x 14 cm.
Mount: 20 7/8 in x 16 in. (53 cm x 40.6 cm.)
Date 1940
1940s Antiques Material Paper
Origin British
Condition Very good condition. The print has been cleaned and mounted by an accredited paper conservator.
Item code as176a428
Status Sold
£0 
$0.00 
€0.00 
$
€
Conversion rates as of 15/MAY/2024. Euro & Dollar prices will vary and should only be used as a guide.
Always confirm final price with dealer. SOLD
Shipping information
All our prices include FREE packing and delivery within the UK.
If you live outside the UK and you wish to purchase a painting, please contact us by phone or e-mail for further details concerning shipping costs.
If you live outside the UK and you wish to purchase a painting, please contact us by phone or e-mail for further details concerning shipping costs.
Terms and conditions
Returns and Complaints
Great care and trouble has been taken to ensure that all details written for every picture are correct and the photos are of sufficient quality so that each item can be viewed in detail. If the purchaser can find a fault (by way of a photograph) as proof of damage in transit that is not present in our promotional photo i.e. a tear in the canvas, broken glass, broken frame, damage to surface of picture, then a full or part refund will be offered back to the purchaser depending on the extent of the damage. This will only apply within 24 hours of signing for the parcel.
If the parcel has arrived and appears to be damaged in some way please return the parcel to us (unopened) and we will refund the purchase price on receipt of the picture.
If the purchaser can prove with written evidence from three independent experts that our description was false or misleading in any way then a full refund will be offered back to the purchaser.
Every effort has been made to give our clients complete confidence and satisfaction when buying from our company.
Great care and trouble has been taken to ensure that all details written for every picture are correct and the photos are of sufficient quality so that each item can be viewed in detail. If the purchaser can find a fault (by way of a photograph) as proof of damage in transit that is not present in our promotional photo i.e. a tear in the canvas, broken glass, broken frame, damage to surface of picture, then a full or part refund will be offered back to the purchaser depending on the extent of the damage. This will only apply within 24 hours of signing for the parcel.
If the parcel has arrived and appears to be damaged in some way please return the parcel to us (unopened) and we will refund the purchase price on receipt of the picture.
If the purchaser can prove with written evidence from three independent experts that our description was false or misleading in any way then a full refund will be offered back to the purchaser.
Every effort has been made to give our clients complete confidence and satisfaction when buying from our company.
View all stock from
Radnorshire Fine Arts Ltd
Private dealerBy appointment only
Powys
Mid Wales
Tel : 01982 570768
Non UK callers : +44 1982 570768
You may also be interested in
Copper Engraving of the “Gran Candelabro” by Aless
Engraving of Southwick in the County of Southampton
Hans Holbein The Younger Self Portrait Engraving
Mezzotint Portrait Master John Crewe As Henry VIII
George Morland The Public House Door Mezzotint Engrav
George Morland Coloured Mezzotint Feeding The Pigs
1916 Lady Hamilton Large Mezzotint & Signature
1709 Frontis Engraving for The Loves of the Gods
Engraving Frontis for Premier Prince du Sang 1870
19th Century Engraving Plates
A Trio of Rare 18th C Engravings of Deer by Buffon
19th C Hand Coloured Engraving of Parakeets