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| Clarkson Frederick Stanfield R.A. albumen print Royal Academy of Arts, London |
Clarkson Frederick Stanfield went to sea at eleven to escape apprenticeship to a drunken coach painter, was pressed into the Royal Navy in 1812, then took up scene painting at the Royalty Theatre, London after being discharged for injury in 1816. Known for stunning romantic effects, often created in partnership with David Roberts, the artist introduced moving dioramas into Christmas pantomimes and Easter spectacles, titled "Adventures of a Ship of War" (1825), "Napoleon’s Passage of the Simplon" (1830) and "Niagara" (1832). While touring painted panoramas around major British and European cities, Stanfield contributed to the exhibitions of the British Institution and Royal Academy, and was elected Associate at the latter in 1835 through the support of the "Sailor King" William IV. In 1844, he became first curator of the Naval Gallery at Greenwich.
For a more comprehensive biography of Stanfield see part 1 , and for earlier works, see parts 1 - 6 also.
This is part 7 of a 7-part series on the works of Clarkson Frederick Stanfield:
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| 1846 A Love Story illustration to 'The Battle of Life' by Charles Dickens wood-engraving 9.8 x 7 cm © The Trustees of the British Museum |
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| 1846 A Love Story illustration to 'The Battle of Life' by Charles Dickens wood-engraving 11.2 x 7 cm © The Trustees of the British Museum |
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| 1846 The Battle of Life by Charles Dickens published by Bradbury & Evans Illustrations were by Stanfield, Daniel Maclise, Richard Doyle, and John Leech Battlefield in Sunset block cut by Thomas Williams 10.7 x 7 cm |
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| 1846 The Battle of Life by Charles Dickens published by Bradbury & Evans Illustrations were by Stanfield, Daniel Maclise, Richard Doyle, and John Leech View of an Inn wood engraving by Thomas Williams 9.8 x 7.1 cm |
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| 1846 The Decoration of the Garden Pavilion in the grounds of Buckingham Palace (Various artist contributors) engraving 16.2 x 27.5 cm |
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| 1847-54 Scotland Delineated Barnbogle Castle lithograph printed with grey tone-block by Kames Leighton Leitch 27.5 x 40.4 cm |
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| 1847-54 Scotland Delineated 1852 Dunbar lithograph by Léon Jean Baptiste Sabatier 30.7 x 45.7 cm |
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| 1847-54 Scotland Delineated 1852 Edinburgh, from the firth of Forth lithograph printed with beige tone-block by James Duffield Harding 28.8 x 40 cm |
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| 1847-54 Scotland Delineated 1852 Rothsay Castle, Island of Bute lithograph by Lowes Cato Dickinson |
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| 1848 The Allegro & Il Penseroso of Milton, issued by the Art Union Ancona wood engraving by W.T. Green 11 x 15.2 cm |
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| 1848 The Allegro & Il Penseroso of Milton, issued by the Art Union Ruined Church wood engraving by W.T. Green 11.3 x 15.6 cm |
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| 1848 The Haunted Man by Charles Dickens Four sailors climbing on mast in storm wood engraving by Thomas Williams 12.5 x 7.7 cm |
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| 1848 The Haunted Man by Charles Dickens Lord Keep My Memory Green block cut by Thomas Williams 11.4 x 7 cm |
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| 1848 The Life and Adventures of Oliver Goldsmith by John Forster 1848 (The President's Dinner) at the Royal Academy in Somerset House in 1767-1776 wood engraving by Thomas Williams 13.7 x 8.5 cm |
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| c1848 View of an Eastern Fortress etching and engraving by James Harfield Kernot 15 x 22.5 cm |
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| 1850 Sketches after English Landscape Painters published by Marvy and Thackeray Landscape with a Wagon etching, aquatint and soft-ground etching by Louis Marvy 20.8 x 26 cm |
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| 1851 Illustration to 'Rhine Song' from Watt's 'Lyrics of the Heart' etching and engraving |
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| 1852 Landscapes by Eminent English Masters No.9 Grecian Temple lithograph with white printed highlights by Willaim Gauci 49 x 31.2 cm |
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| 1852 Landscapes by Eminent English Masters No.15 Coast Scene lithograph with white printed highlights by William Gauci 30.8 x 48.2 cm |
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| 1854 In the Gulf of Venice etching and engraving by Robert William Wallis published in The Art Journal 25-3 x 33.6 cm |
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| 1854 Portsmouth Harbour etching by Robert Brandard 32.1 x 44.8 cm |
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| 1854 The opening of the New London Bridge etching and engraving by Thomas Abiel Prior 23.5 x 32.2 cm |
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| 1857 Works of the Sketching Society 1857 Flora and Zephyrus colour photomechanical reproduction 28.8 x 24.6 cm |
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| 1857 Works of the Sketching Society 1857 Giving a Lesson colour photomechanical reproduction 24.5 x 33.8 cm |
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| 1859 Vietri, illustration to 'The Art Journal' etching and engraving by William Miller 24.3 x 32.5 cm |
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| 1868 The Abandoned (printed in The Leisure Hour) wood engraving 13.3 x 23.5 cm Royal Academy of Arts, London |
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| n.d. The Abandoned wood engraving 13 x 22.5 cm Royal Academy of Arts, London |
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| 1883 The Tiber etching by William Finden 14.8 x 15 cm |
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| c1900 The Tower of London lithograph after a watercolour by Stanfiled |
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| 1905-06 Portsmouth Harbour photogravure 29 x 40 cm |
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| n.d. Cologne with bridge in the distance etching 6.3 x 9.2 cm © The Trustees of the British Museum |
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| n.d. Fight on a Quayside wood engraving 9.8 x 8.3 cm |
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| n.d. Mountain Village engraving by Charles Heath National Gallery of Victoria, Melbourne |
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| n.d. Seascape in approaching Storm lithograph 18 x 25.7 cm |
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| n.d. St Michaels' Mount (?) engraving and etching, printed on chine collé by Robert William Wallis 15.1 x 22.6 cm |
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| n.d. St. Michael's Mount, in Cornwall etching and engraving by William Le Petit 22.4 x 28.5 cm |
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| n.d. The Dungeon of Chillon etching and engraving by Edward Finden 15 x 10 cm |
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| n.d. The Wreck of the Swift wood engraving by W.T. Green 17.3 x 11.9 cm |
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| n.d. Vegetation of Victoria View of a Valley etching by James Redaway 22.3 x 29.5 cm |
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| n.d. View of a Church block cut by Thomas Williams 6.2 x 7.3 cm |
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| n.d. View of a river flowing across a town etching by Robert Brandard 15.1 x 22.9 cm |
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| n.d. View of Lake Como etching by Robert William Wallis published in a Landscape Annual 9.9 x 13.5 cm |
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| n.d. Untitled engraving by R. Welles National Gallery of Victoria, Melbourne |
