Figure 1.--Anne Anderson is one of the figures from the Golden Age of illustrationthat does not get the recognition sge deserves. She is best known fir her fairy tale work, but she did much more than just fairy tales. Here is a an illustration of a contemporary boy from 'Out Tots Bumper Books'. The illustration is known as "Robin at the window" and was captioned, "Come , Robin Redbreast, eat out of my hand." It was probably drawn in the 1920s, but we believe smocks were more common in England before World War I. Notice the boy is wearing a smock. The photigraphic record does not show many Engkish boys wearing smocks. We suspect that among affluent families smocks were more important than suggested by the ophotigraphic record/ Note the Art Nouveau vase placed in the image for nogood reason.

We do not have any information on Scottish or Argentine illustrators. We do note Anne Anderson who was born in Scotland (1874), but she was raised in Argentina. Anderson chose to settle in England. And it was in England that she pursued her illustration. She is surely one of the most prolific illustrators focusing on children to illustrate children's books. Her illustrations are charming and a sparkling addition to the Golden Age of illustration. She is not among the best known major illustrators, in part because she worked in England and not America. She is generally associated with the Art Nouveau school. Annie as she was known as a child was born in Scotland (1874). Her parents were James and Grace Anderson. As far as we can tell, Scotland had no impact on hr, except perhaps through her parents. Annie had five siblings (four brothers and one sister). As might be expected she was closest to her younger sister--Grace. He parents owned a buines in Argentina. We have no details on the business. As a result, howeever, the children spent their childhood in Argentina, but again we do not know of any Argentine influence. The British community in Argentina was generally insular, not integrating unto Argentine society. As young women. Annie and Grace returned to Britain to pursue their adult lives. While still in Argentina she became interested in pursuing a career in illustration. They returned to Britain around the turn-of-the 20th century. It was at this time that she began Anderson her work as an illustrator. It was during the Edwardian Era. She immediately found work and some success. Her first commissions were not for fairy tales. She did, for example illustrations for a book on Chaucer. Over time she turned to fairy tales and other books for younger children. We do not have a lot of detail., but her success enabled her to purchase a cottage in Berkshire (by 1910). After establishing herself as an illustrator, she married a somewhat older man, the artist Alan Wright (1864-1959). They marries at the Burghfield Common Parish Church in Berkshire (1912). Wright moved into Anderson's Berkshire cottage. The two collaborated, but art historians generally the principal and Anderson continued to work under her maiden name. Her husband before the marriage had been a successful illustrator. He illustrated a book for Baron Corvo (1898). Corvo was an English writer, artist, photographer and eccentric. He was also a homosexual, at the time a huge a scandalous matter similar to the Oscar Wilde experience. The book caused a scandal which severely damaged if not ruined Wright's reputation. Thus Wright found it difficult to sell his work, especially for children's books. This was all about the time Anderson arrived in England. It is not the sort of thing that you would think an illustrator involved in children's books would want to get involved with. But Anderson plunged right into the middle of it. Wright was primarily an artist, but also did illustrations. And his illustrations had similarities with Anderson's work which eased their collaboration. Collaboration with Anderson provided an unsullied way of selling his work. And for whatever reason Anderson's career was unaffected. It is difficult to know what was his work and what was Anderson's illustrations. It is believed that Wright did much of the work on animals and birds. Anderson's primary body of work illustrating children's book, with more than a hundred books published with her illustrations. Her Art Nouveau illustrations featured vivid colors and characteristic black lines for figures. She was particularly popular after World War I (1914-18). She is perhaps best known for her fairy tale illustrations such as books with the classic works of Hans Christian Andersen, the Grimm Brothers, and other fairy tale stories. Her fairy tale illustrations were extraordinarily influential, so much so that the modern vision of these characters are strongly impacted by her work. While fairy tale illustrations are perhaps best known most of the books she illustrated were not fairy takes. She illustrated many annuals which were popular at the time. Blackie's and Cassell's annuals were especially important. She not only illustrated books, but also actually wrote books she wrote and of course illustrated,books with both fairy tale and non-fairy tale themes. Anderson appears to have had a business flare. She also pursued other markets such as greeting cards which at the time were mostly postcards. She also provided art work for Royal Doulton China. She mostly painted, but she also did some etchings. Her work was influenced contemporaries, especially Charles Robinson and Jessie Marion King. Her husband's influence was also important because their work essentially merged. For some reason, her later years are not well documented. This we see her death reported variously in the 1930s-50s, perhaos because she was no longer as active by the 1940s.

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Created: 2:25 PM 7/24/2024
Last updated: 2:25 PM 7/24/2024