Clarkson Frederick Stanfield
English Painter, 1793-1867 He is often wrongly referred to as William Clarkson Stanfield. The son of Mary Hoad and James Field Stanfield, an Irish actor and author, he was apprenticed to a heraldic coach painter at the age of 12, but in 1808 he abandoned this and went to sea in a collier. In 1812 he was press-ganged and spent two years on HMS Namur, the guard-ship at Sheerness. After being discharged as the result of an injury in 1814, he joined the merchant navy, sailing to China in the Indiaman Warley in 1815. Soon after his return in 1816 he missed his ship and became a scene painter, first at the Royalty Theatre, Stepney, and then at the Royal Coburg, Lambeth. There he was later joined by David Roberts, who became a lifelong friend, and in 1822 both men were employed as scene painters at the Theatre Royal, Drury Lane. During the next 12 years Stanfield established himself as the most talented scene painter of his day, causing a sensation with some of his huge moving dioramas such as the scenes of Venice in the pantomine Harlequin and Little Thumb (1831). Meanwhile he was building an equally impressive reputation as an easel painter. He first exhibited at the Royal Academy in 1820 and continued to exhibit there regularly until his death. He was elected ARA in 1832 and RA in 1835.
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Clarkson Frederick Stanfield Burg Eltz (mk22) oil painting


Burg Eltz (mk22)
1838 Oil on wood panel 51 x 40.5 cm Bonn,Rheinisches Landesmuseum
Painting ID::  22811 		Clarkson Frederick Stanfield
Burg Eltz (mk22)
1838 Oil on wood panel 51 x 40.5 cm Bonn,Rheinisches Landesmuseum
   
   
     
Clarkson Frederick Stanfield The Opening of London Bridge (mk25) oil painting


The Opening of London Bridge (mk25)
I August 1831 1832
Painting ID::  24311 		Clarkson Frederick Stanfield
The Opening of London Bridge (mk25)
I August 1831 1832
   
   
     
Clarkson Frederick Stanfield On the Dogger Bank oil painting


On the Dogger Bank
1846 Oil on canvas 76.1 x 69.8 cm(30 x 27 1/2in) Victoria and Albert Museum London (mk63)
Painting ID::  27965 		Clarkson Frederick Stanfield
On the Dogger Bank
1846 Oil on canvas 76.1 x 69.8 cm(30 x 27 1/2in) Victoria and Albert Museum London (mk63)
   
   
     
Clarkson Frederick Stanfield Venice:The Dogana and the Salute oil painting


Venice:The Dogana and the Salute
1831 watercolour and bodycolour 22.2 cm x 31.8 cm(8 3/4 x 12 1/2 in)British Museum London (mk63)
Painting ID::  28214 		Clarkson Frederick Stanfield
Venice:The Dogana and the Salute
1831 watercolour and bodycolour 22.2 cm x 31.8 cm(8 3/4 x 12 1/2 in)British Museum London (mk63)
   
   
     
Clarkson Frederick Stanfield Action and Capture of the Spanish Xebeque Frigate El Gamo oil painting


Action and Capture of the Spanish Xebeque Frigate El Gamo
Date 1845[1] Medium Oil on canvas Dimensions Width: 183.9 cm (72.4 in). Height: 132.1 cm (52.01 in). cyf
Painting ID::  72219 		Clarkson Frederick Stanfield
Action and Capture of the Spanish Xebeque Frigate El Gamo
Date 1845[1] Medium Oil on canvas Dimensions Width: 183.9 cm (72.4 in). Height: 132.1 cm (52.01 in). cyf
   
   
     
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     Clarkson Frederick Stanfield
     English Painter, 1793-1867 He is often wrongly referred to as William Clarkson Stanfield. The son of Mary Hoad and James Field Stanfield, an Irish actor and author, he was apprenticed to a heraldic coach painter at the age of 12, but in 1808 he abandoned this and went to sea in a collier. In 1812 he was press-ganged and spent two years on HMS Namur, the guard-ship at Sheerness. After being discharged as the result of an injury in 1814, he joined the merchant navy, sailing to China in the Indiaman Warley in 1815. Soon after his return in 1816 he missed his ship and became a scene painter, first at the Royalty Theatre, Stepney, and then at the Royal Coburg, Lambeth. There he was later joined by David Roberts, who became a lifelong friend, and in 1822 both men were employed as scene painters at the Theatre Royal, Drury Lane. During the next 12 years Stanfield established himself as the most talented scene painter of his day, causing a sensation with some of his huge moving dioramas such as the scenes of Venice in the pantomine Harlequin and Little Thumb (1831). Meanwhile he was building an equally impressive reputation as an easel painter. He first exhibited at the Royal Academy in 1820 and continued to exhibit there regularly until his death. He was elected ARA in 1832 and RA in 1835.

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