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Frederick Sandys Auction Price Results

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Frederick Sandys (British, 1829-1904) - PORTRAIT OF MRS SUSANNA ROSE, 1863

Lot 59: Frederick Sandys (British, 1829-1904) - PORTRAIT OF MRS SUSANNA ROSE, 1863

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Description: pencil (mounted but unframed) signed in monogram and dated lower left

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Frederick Sandys (British, 1829-1904), PORTRAIT OF

Lot 160: Frederick Sandys (British, 1829-1904), PORTRAIT OF

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Description: Frederick Sandys (British, 1829-1904), PORTRAIT OF MRS SUSANNA ROSE, 1863, pencil (mounted but unframed), signed in monogram and dated lower left. 17 by 13cm., 6.5 by 5in.

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Frederick Sandys British, (1829-1904)

Lot 180: Frederick Sandys British, (1829-1904)

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Description: PORTRAIT OF MRS SUSANNA ROSE, 1863

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Anthony Frederick Augustus Sandys (1929-1904) Miniature of a young man, 4 x 3in.

Lot 870: Anthony Frederick Augustus Sandys (1929-1904) Miniature of a young man, 4 x 3in.

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Description: Anthony Frederick Augustus Sandys (1929-1904) oil on ivory, Miniature of a young man, monogrammed, 4 x 3in.

Condition Report: Small finger print mark at 9 o'clock. Monogram at 3.30. Slight undulation, slightly dirty. Ornate cast bronze frame. Ballpoint inscription verso with attribution. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.

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Attributed to Anthony Frederick Augustus Sandys (1832-1904) Portrait of a lady seated with a yoyo 15 x 11in.

Lot 1599: Attributed to Anthony Frederick Augustus Sandys (1832-1904) Portrait of a lady seated with a yoyo 15 x 11in.

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Description: Attributed to Anthony Frederick Augustus Sandys (1832-1904) pencil Portrait of a lady seated with a yoyo 15 x 11in.

Condition Report: Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.

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Pastel, Anthony Frederick Sandys, Portrait Gentleman

Lot 2177: Pastel, Anthony Frederick Sandys, Portrait Gentleman

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Description: Framed pastel, Portrait of a Gentleman, by Anthony Frederick Sandys (British, 1829-1904), signed lower right, sight: 18.75"h x 14.5"w, overall: 23.5"h x 19.75"w

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Sir John Everett Millais, Bt., P.R.A. (1829-1896)

Lot 7: Sir John Everett Millais, Bt., P.R.A. (1829-1896)

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Description: The Romans leaving Britain signed with monogram (lower left) and inscribed 'copyright reserved by the artist' (on the reverse) oil on panel 18 x 271/2 in. (45.7 x 69.9 cm.) PROVENANCE F.T. Turner (+); Christie's, London, 4 May 1878, lot 43 (320 gns to Permain). James Warren (+); Christie's, London, 18 March 1905, lot 38 (110 gns to Mitchell). Lovis Zollner by 1929. Anon. sale; Sotheby's, London, 13 July 1966, lot 124 (bt. Dawes). LITERATURE J.G. Millais, The Life and Letters of Sir John Everett Millais, London, 1899, vol. 1, pp. 386, 395; vol. 2, p. 472. EXHIBITION Newcastle-upon-Tyne, Palace of Art, North-East Coast Exhibition, 1929, no. 337. Newcastle-upon-Tyne, Laing Art Gallery, Pre-Raphaelites: Painters and Patrons in the North East, 1989-90, no. 71. NOTES The picture is a reduced version of one that Millais exhibited at the Royal Academy in 1865 (private collection). It was begun on 29 July that year and finished the following month before the large version was despatched to its owner, the Tyneside industrialist Sir Lowthian Bell. The small version follows the original remarkably closely; indeed, it deputised for it in the exhibition celebrating Bell and his fellow Victorian collectors in the North-East of England which was held at the Laing Art Gallery, Newcastle, in 1989. The composition represents an imaginary scene at the time when the Roman occupying forces were withdrawing from Britain in the late fourth and early fifth centuries AD. A Roman legionary is bidding a passionate farewell to his British mistress ('a tall, lithe, dark, savage Celt,' according to F.G. Stephens in his account of Sir Lowthian Bell's collection in the Athenaeum ), both of them knowing full well that he will never return. The composition was originally worked out in a highly-finished pen and sepia wash drawing dated 1853 (fig. 1), which is comparable in style and feeling to the well-known series of drawings on the theme of modern-life, love and marriage that Millais made that year (see The Pre-Raphaelites, exh. Tate Gallery, London, 1984, nos. 185-194, all illustrated in catalogue). Millais was currently deeply in love with Effie Ruskin, a crisis that was only to be resolved by the annulment of her marriage to the critic amid much scandalous gossip; and the modern-life drawings, which have such titles as Accepted, Rejected, The Ghost at the Wedding and Retribution, are generally regarded as reflecting his overwrought emotions at the time. The same could obviously be said of the drawing of a Roman legionary leaving his mistress. Indeed J.G. Millais more or less admitted that the design had deep personal significance for his father when he wrote that the subject was 'one which had always had a great attraction' for him. As for the question of why Millais returned to the design in the mid-1860s, it is perhaps best to see it as a response to the prevailing classicism. Many artists were currently moving in this direction, though the phenomenon took different forms. For G.F. Watts it was a revival of his early admiration for the Elgin Marbles. For many of the Pre-Raphaelites - Madox Brown, Rossetti, Burne-Jones, Frederick Sandys and others - it was a significant but passing phase, while for those artists whose roots lay in the European academic tradition - Leighton, Poynter, Alma-Tadema and, to some extent, Albert Moore - it was a process of self-discovery, the point at which they finally assumed their roles as presiding deities on the Victorian Olympus. Millais was the most un-classical of artists but even he had a brief flirtation with the ascendant mode, and The Romans leaving Britain, with its classical subject and the clear, form-revealing light in which the scene is bathed, is perhaps the outstanding example. Sir Lowthian Bell is believed to have paid œ1,500 for the original version. Ours was commissioned for œ400 by Ernest Gambart, the great Victorian picture-dealer whom Millais had known since the 1850s, and sold to Frederick Thomas Turner of 'The Cedars', Clapham Common. Turner collected cabinet-size pictures, and his taste was fairly academic. The forty-nine works in his posthumous sale at Christie's in May 1878 included examples of Frith, Hook, Phillip, Faed, Linnell and many others. Gambart's guiding hand is very evident in the selection, several of the artists with whom he was most closely associated, such as Rosa Bonheur and Alma-Tadema, also being present. Millais must have been one of Turner's favourite painters; he contributed a total of four works to the collection, the others being Charlie is my Darling, The Escape of a Heretic and Joan of Arc . The second Victorian collection in which our picture figured, that of James Warren of Capel House, Enfield, was somewhat similar in size and scope. Forty-eight pictures were in his sale at Christie's, with Elmore, Frith, Haylar, Huggins, Leslie, Linnell and others being represented. The Romans Leaving Britain, which, strangely enough, made considerably less on this occasion than it had done in 1878, was the only Millais. We are grateful to Malcolm Warner for his help in preparing this entry.

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Lot 14: Anthony Frederick Augustus Sandys (1832-1904) 'Saint George' 60 x45cm

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Description: Anthony Frederick Augustus Sandys (1832-1904) 'Saint George' 60 x45cm

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 Anthony Frederick Augustus Sandys , 1832-1904 the pearl 
 oil on canvas
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Lot 16: ANTHONY FREDERICK AUGUSTUS SANDYS (1829-1904)

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Description: An Album of Watercolours of Birds including Ivory-billed Woodpeckers; A Cuckoo on a Perch; A White-fronted Goose; A Snow Partridge; A Common Buzzard; A Peregrine Falcon; A Merlin; A Honey Buzzard; A Montagu's Harrier; A Spotted Sandpiper; A Red Crested Pochard; and A Nutcracker and details of claws, beaks and feathers of various birds eight signed, eight dated variously from "28 April 1842" to "Dec. 1844" and thirty-five inscribed; pencil and watercolour heightened with gum arabic, the album bound in 19th century brown half morroco, red morroco label with "J.H. Gurney" on upper cover (rubbed), 58 drawings laid on the pages of the album 22 3/8 x 17 3/4 in. (568 x 451 mm.); and smaller, the album 25 1/2 x 20 1/4 in. (648 x 521 mm.) overall Sandys is best known today as a member of the Pre-Raphaelite circle who specialised in highly finished portrait drawings, either in coloured chalks or oils. He also executed fine woodcuts and produced many illustrations for The Cornhill, Once a Week, Good Words and The Argosy among other magazines, as well as illustrating poems for Swinburne and Christina Rossetti. Sandys was the son of a portrait painter and drawing master, and his talent was recognised early on by the Rev. Mr. Bulwer, Rector of Stody, a keen amateur artist and a pupil of Cotman. With encouragement from Bulwer and his family, Sandys obtained a place at one of the new Government Schools of Design, where he copied from casts and copies, flowers, foliage and architecture. Sandys also exhibited his work in the annual exhibitions of the Art Union, the earliest exhibit being in 1839 when he was ten. His skill won him much acclaim locally and some professional work so before he arrived in London he had already executed drawings of professional quality for both the Antiquities of Norwich and The Birds of Norfolk. Sandys drawings of The Birds of Norfolk were commissioned by John Henry Gurney, the Norwich banker, with a view to using them as the basis for his book on the subject, published circa 1844. The Gurneys were patrons to a number of artists of the Norwich School. In London Sandys studied at the RA Schools under George Richmond and Samuel Lawrence (who taught him to draw in chalks).

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ANTHONY FREDERICK AUGUSTUS SANDYS 1832-1904

Lot 16: ANTHONY FREDERICK AUGUSTUS SANDYS 1832-1904

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Description: PROPERTY OF A GENTLEMANSTUDY FOR ANTIGONEmeasurements note52 by 41 cm., 20 1/2 by 16 1/2 in.signed and inscribed c.l.: Study for/ Antigone/ F. Sandys.black, white and red chalksPROVENANCETheodore Rossi (a Norwich picture dealer) in 1883;Lt. Col. Edward S. Trafford of Wroxham Hall by 1905 and thence by descent EXHIBITEDNorwich, Fine Art Exhibition in Aid of the New Norfolk and Norwich Hospital, 20-25 August 1883, no. 16;Norwich, Norwich Art Circle, 45th Exhibition, Including Some Work by the Late F. A. Sandys, May 1905, no. 72 LITERATUREBetty Elzea, Frederick Sandys 1829-1904, A Catalogue Raisonné, 2001, p. 260, cat. no. 4.3NOTESandys wrote of the present drawing and its pendant Faustine (Sotheby's Belgravia, 5 November 1974, lot 36), which depicts the malevolent Roman Empress of Swinburne's poem, in a letter dated 10 July 1880 to Charles Augustus Howell, 'they are the best drawings I have ever done' (MS letter, John Rylands University Library, Manchester). Antigone was the daughter of Jocasta and Oedipus of Sophocles' Thebean tragedy, condemned by her uncle King Creon to be walled-up alive in a tower but spirited away by her cousin Haemon. Sandys drew Antigone startled by her captors, in a pose which is very similar to that of a contemporary painting of the same title painted by Leighton (sold in these rooms, 6 October 1980, lot 44).

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Mrs Elizabeth Clabburn

Lot 27: Mrs Elizabeth Clabburn

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Description: Anthony Frederick Augustus Sandys (1829-1904) Mrs Elizabeth Clabburn signed with monogram (lower left) and inscribed 'Elizabeth Clabburn/Aged.75.' (upper right) oil on mahogany panel 24 x 19 5/8 in. (60.9 x 49.8 cm.)

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Anthony Frederick Augustus Sandys (1829-1904)

Lot 29: Anthony Frederick Augustus Sandys (1829-1904)

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Description: Anthony Frederick Augustus Sandys (1829-1904) Proud Maisie signed, inscribed and dated 'Proud Maisie. 1903. F Sandys.' (upper right)pencil and red chalk on paper 14 1/8 x 10 5/8 in. (35.8 x 27 cm.)

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Lot 33: ANTHONY FREDERICK AUGUSTUS SANDYS (1829-1904)

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Description: MIRANDA red and black chalks 14 1/2 x 11 7/8 in. (36.8 x 30.2 cm.) PROVENANCE James Anderson Rose; dagger?? (+) Christie's, 5 May 1891, probably lot 89a, Study of a Head (12 gns. to Myers); or lot 89b, Portrait of a Lady, chalk (2 1/2 gns to Way). LITERATURE Century Guild Hobby Horse, 10, April 1888, repr. frontispiece Perey Bate, "The Late Frederick Sandys: A Retrospect", Studio, vol. 33. October 1904, p.4 (illustrated). This is a long-lost drawing which was well known in its day. It was reproduced by Herbert Horne in the Century Guild Hobby Horse, one of the most influential organs of the Arts and Crafts movement, and again in the Studio at the time of Sandys's death. It belonged to James Anderson Rose, a solicitor with an office off the Strand and a house on Wandsworth Common. Rose knew many of the Pre-Raphaelites and formed a fine collection of their work, as well as sharing their enthusiasm for blue and white Chinese porcelain. His posthumous sale at Christie's included fourteen drawings by Sandys. Miranda was probably one of two added at the last minute since they have "a" and "b" numbers and the entries are hand-written in the catalogue. Sandys's habit was to make a composition drawing, then trace it onto a support as the basis for a painting when he had a prospective buyer in view. In the case of the Miranda drawing, there is a related painting dating from about 1867-8 (private collection; exh. Frederick Sandys, Brighton and Sheffield, 1974, no. 70, repr. in cat. pl. 41). The painting corresponds closely to the drawing in size and reproduces all its main elements, although the girl's features are a little softer in the painting. The model was Mary Emma Jones (see lot 57). We are grateful to Betty Elzea for her help in preparing this entry. The drawing will appear in her forthcoming catalogue raisonne of Sandys's work.

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Lot 33: SANDYS, Frederick (1832-1904, British)

Description: Miranda, black col chk Works on paper (12x15in).

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Lot 35: SIR JOHN EVERETT MILLAIS, BT., P.R.A. (BRITISH, 1829-1896)

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Description: A DREAM OF THE PAST: SIR ISUMBRAS AT THE FORD OIL ON PANEL 103/4 X 14.3/8IN. (27.3 X 36.5CM.) PROVENANCE JOHN MORLEY; CHRISTIE'S, LONDON, 16 MAY 1896, LOT 43 (AS THE GOOD KNIGHT ), 860 GNS. TO VOKINS FOR HOWARD MORLEY, WHO BEQUEATHED IT TO THE HON. CHARLES LAWRENCE, LATER LORD LAWRENCE OF KINGSGATE. LITERATURE M. H. SPIELMANN, MILLAIS AND HIS WORKS, WITH SPECIAL REFERENCE TO THE EXHIBITION AT THE ROYAL ACADEMY, 1898, 1898, PP. 178 (NO. 346), 183 (AS THE GOOD KNIGHT ). J. G. MILLAIS, THE LIFE AND LETTERS OF SIR JOHN EVERETT MILLAIS, 1899, VOL. II, P. 486 (AS THE GOOD KNIGHT ). MILLAIS, P.R.B., P.R.A., EXH. CAT., WALKER ART, LIVERPOOL, AND ROYAL ACADEMY, LONDON, 1967, PP. 42-3, NO. 55. NOTES THE PRESENT PICTURE IS A SMALL AUTOGRAPH VERSION OF MILLAIS' WELL-KNOWN PAINTING IN THE LADY LEVER ART GALLERY, PORT SUNLIGHT (FIG. 1). WHEN THIS WAS EXHIBITED AT THE ROYAL ACADEMY IN 1857, IT WAS ACCOMPANIED IN THE CATALOGUE BY SOME VERSES PURPORTING TO COME FROM AN OLD METRICAL ROMANCE BUT IN FACT WRITTEN IN MOCK MIDDLE ENGLISH BY THE VERSATILE TOM TAYLOR, DRAMATIST AND ART-CRITIC OF THE TIMES . THE LINES DESCRIBE HOW AN ELDERLY KNIGHT CARRIES TWO WOODCUTTER'S CHILDREN OVER A FORD ON HIS CHARGER, AN ANIMAL SO ENORMOUS THAT IN LONDE WAS NONE HIS PEER. N'AS HORS BUT BY HIM SEEMED SMALLE. THE KNYGHTE HIM YCLEPED LAUNCIVAL; BUT LORDS AT BORDE AND GROOMS IN STALLE YCLEPT HIM GRAUND DESTRERE. EXECUTED IN THE WINTER OF 1856 WHEN MILLAIS AND HIS WIFE WERE LIVING AT ANNAT LODGE NEAR BOWERSWELL IN PERTHSHIRE, THE PORT SUNLIGHT PICTURE MARKED A TURNING-POINT IN MILLAIS' CAREER. THE SUBJECT WAS CERTAINLY PRE-RAPHAELITE, AND MILLAIS TOOK GREAT PAINS TO STUDY EACH DETAIL FROM NATURE, BUT THE COMPARATIVELY FREE HANDLING HERALDED THE MORE RAPID AND PAINTERLY STYLE THAT CHARACTERISES HIS LATER WORK. JOHN RUSKIN, WHO HAD CHAMPIONED THE EARLIER PRODUCTS OF THE PRE-RAPHAELITE BROTHERHOOD, WAS APPALLED. 'THE CHANGE IN HIS MANNER...', HE WROTE IN ACADEMY NOTES, 'IS NOT MERELY FALL - IT IS CATASTROPHE; NOT MERELY A LOSS OF POWER, BUT A REVERSAL OF PRINCIPLE'. THE PICTURE ALSO EXCITED A GOOD DEAL OF MERRIMENT. THE ARTIST FREDERICK SANDYS PUBLISHED A SATIRICAL PRINT ENTITLED A NIGHTMARE, IN WHICH THE COMPOSITION WAS ADAPTED TO SHOW MILLAIS AND HIS FELLOW PRE-RAPHAELITE BROTHERS, ROSSETTI AND HOLMAN HUNT, RIDING ON A BRAYING ASS (FIG. 2), AND MANY CRITICS HAD FUN AT THE EXPENSE OF THE COLOSSAL HORSE THAT MILLAIS HAD PAINTED IN ACCORDANCE WITH TOM TAYLOR'S TEXT. THIS HORSE HAD GIVEN MILLAIS IMMENSE TROUBLE. NOT ONLY HAD HE PAINTED IT OUT OF DOORS IN BITTER WEATHER; HE HAD ALSO ALTERED IT DRAMATICALLY, ENLARGING IT UNTIL IT ALMOST TOUCHED THE FRAME WHEN THE DEALER ERNEST GAMBART TOLD HIM THAT IT WAS TOO SMALL. CLEARLY HE HAD OVER-REACTED, AND WHEN THE PICTURE RETURNED UNSOLD FROM THE ACADEMY, HE TOOK OUT THE OFFENDING BEAST AND REPAINTED IT FROM ANOTHER MODEL. THE HORSE WAS TO BE RETOUCHED YET AGAIN BEFORE THE PICTURE APPEARED AT HIS RETROSPECTIVE EXHIBITION AT THE GROSVENOR GALLERY IN 1886. EVEN THIS, HOWEVER, WAS NOT THE END OF THE STORY. MILLAIS ALTERED THE PICTURE FOR A FOURTH TIME WITHIN A FEW YEARS OF HIS DEATH, AND OUR PANEL IS A FASCINATING RECORD OF THE COMPOSITION BEFORE HE MADE THESE FINAL CHANGES. IN 1887 THE PORT SUNLIGHT PAINTING ENTERED THE COLLECION OF ROBERT HENRY BENSON. A WEALTHY BANKER WHOSE NAME LIVES ON IN THE FIRM OF KLEINWORT BENSON, BENSON HAD MARRIED EVELYN HOLFORD, THE DAUGHTER OF ROBERT HOLFORD, THE MAECENAS OF DORCHESTER HOUSE; AND, LIKE HIS FATHER-IN-LAW, HE WAS AN OUTSTANDING COLLECTOR OF OLD MASTER AND MODERN PAINTINGS. HIS ITALIAN OLD MASTERS WERE BOUGHT EN BLOC IN 1927 BY SIR JOSEPH DUVEEN, WHO TOOK THEM TO AMERICA WHERE MANY ARE NOW AMONG THE GREAT TREASURES IN MUSEUMS. MUSIC, ONE OF HIS NUMEROUS WORKS BY BURNE-JONES, WHOM HE KNEW WELL, WAS SOLD IN THESE ROOMS ON 14 MARCH 1997. AS BENSON LATER RECORDED FOR MILLAIS' SON AND BIOGRAPHER (SEE J. G. MILLAIS, OP. CIT., VOL. I, PP. 317-9), HE FELT THAT THE HORSE IN SIR ISUMBRAS WOULD BE IMPROVED BY 'SOME TRAPPINGS', AND ASKED MILLAIS TO ADD THEM. MILLAIS FOR HIS PART 'JUMPED AT THE IDEA, SAYING THAT HE SHOULD LIKE TO HAVE THE CHANCE OF IMPROVING THE OUTLINE' OF THE ANIMAL, AND TO 'RELIEVE AND BREAK [ITS] BLACKNESS'. IN FACT BY THE TIME THE ALTERATIONS WERE MADE IN 1892, BENSON AND HIS WIFE HAD COLLECTED EXTENSIVE DATA ON THE SUBJECT OF HORSE-TRAPPINGS, NOTABLY 'IN THE ESCORIAL, IN THE ARMOURY AT MADRID', WHILE THEIR IDEAS ON THE WHOLE CONCEPTION OF THE HORSE HAD DEVELOPED. THEY SENT MILLAIS A PHOTOGRAPH OF THE PICTURE, INDICATING THE DESIRED CHANGES, 'VIZ., A FULLER THROAT, A CREST, A DILATED NOSTRIL, A TWISTED TAIL, A DEEPER GIRTH (TO GIVE THE HORSE STRENGTH TO CARRY THE MAN IN ARMOUR, NOT TO SPEAK OF THE CHILDREN), A BROAD BRIDLE, INSTEAD OF THE THIN GREEN AND YELLOW REIN, AND LASTLY THE TRAPPINGS. WE ALSO WANTED THE GREEN AND YELLOW BRIDLE ABOLISHED, AND A CERTAIN GARISH FLOWER BY THE HORSE'S EAR'. MILLAIS KEPT THE PICTURE A MONTH, AND THE BENSONS BEGAN TO FEAR THAT THEY HAD OFFENDED HIM, OR THAT HE WAS FINDING IT DIFFICULT 'TO MATCH THE WORK OF 1857'. IN THE EVENT, HOWEVER, EVERYONE WAS HAPPY, ARTIST AND OWNERS ALL FEELING THAT THE PICTURE HAD BEEN GREATLY IMPROVED. WITH THE AID OF OUR VERSION AND BENSON'S ACCOUNT, THE CHANGES CAN BE PRECISELY MEASURED. THE HORSE IN THE BIG PICTURE DOES INDEED HAD A DIFFERENT 'OUTLINE', INCLUDING A 'FULLER THROAT', A MORE 'TWISTED TAIL' AND A 'DEEPER GIRTH', WHILE ITS 'BLACKNESS' HAS BEEN 'RELIEVED' BY MAKING THE BRIDLE 'BROADER' AND ADDING VARIOUS 'TRAPPINGS', AND THE 'GREEN AND YELLOW REINS' AND THE 'GARISH FLOWER BY THE HORSE'S EAR' HAVE BEEN 'ABOLISHED'. MILLAIS ALSO SEEMS TO HAVE TAKEN THE OPPORTUNITY TO ADD ONE TELLING DETAIL THAT THE BENSONS HAD EITHER NOT THOUGHT OR DARED TO SUGGEST, THE TWO FIGURES WHO ENLIVEN THE DISTANT LANDSCAPE AT UPPER RIGHT.

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Lot 38: Anthony Frederick Augustus Sandys (1829-1904)

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Description: portrait of mrs christy and her two sons, stephen and basil, signed and dated F Sandys/1900 l.r., bears title on fragments of an old label attached to the backboard, coloured chalks over traces of pencil, 81 by 73cm.; 32 by 283/4in.

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                                        Anthony Frederick Augustus Sandys (British, 1829-1904)

Lot 38: Anthony Frederick Augustus Sandys (British, 1829-1904)

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Description: Anthony Frederick Augustus Sandys (British, 1829-1904) Portrait of Julia Smith Caldwell oil on canvas 44 x 29½ (111.8 x 75 cm.)

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Lot 40: Anthony Frederick Augustus Sandys (1829-1904)

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Description: Portrait of Julia Smith Caldwell oil on canvas 44 x 291/2 in. (112 x 75 cm.) NOTES Julia Smith Caldwell (1873-1933) was the daughter of Josiah and Anita Smith Caldwell. The trio came from a distinguished Connecticut family who used to visit England in the 1880s and '90s for the shooting and social life. Julia married Loftus Joseph Wigram Arkwright (1866-1950) of Parndon Hall, Essex, on 6 June 1894. The Caldwells had some colourful connections. Julia's uncle, Jack Caldwell, was largely responsible for starting the Spanish-American war over Cuba in 1898. Due to a misunderstanding, a despatch he sent to the New York Tribune resulted in the USS Maine being sent to Havana, where the Spaniards had replaced the mooring buoy with a mine. The Maine was sunk, thus precipitating the war. Julia's neice, Diana Caldwell, was the femme fatale in the 'White Mischief' case in Kenya in 1940. Lord Errol, Diana's lover, was murdered, and her husband, Sir Delves Broughton, was tried for the murder and acquitted. There are still Caldwells living in Stamford, Connecticut. The painting was executed at Easton Lodge, Essex, the home of the Earl and Countess of Warwick, with whom Julia had made friends; the house has now been demolished, but the picture's background can be identified. 'Daisy' Warwick was an extravagant eccentric who threw lavish parties at Easton and gave away diamonds as prizes. She and Julia collected stamps and are said to have been 'friendly rivals'. Sandys was an exceptionally slow and meticulous worker, and there is a letter to his daughter Winifred, still in the possession of his family, complaining that he could 'not get more than three hours a day for sitting from Miss Caldwell.' A preliminary study for the portrait is in a private collection.

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Lot 40: SANDYS, Frederick (1832-1904, British)

Description: Portrait of Julia Smith Caldwell Oil Painting (30x44in).

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Lot 41: Anthony Frederick Augustus Sandys (1829-1904)

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Description: The Pearl (?) oil on canvas 16 x 12 in. (40.6 x 30.5 cm.) NOTES This newly discovered and hitherto unpublished picture dates from the mid-1860s. The model is reminiscent of Mary Emma Jones, an actress whose stage name was Miss Clive. Sandys probably met her in 1866, about the time that she made a sensational but (as it turned out) abortive professional debut as Constance in King John at the Queen's Theatre, London. She became his mistress, living with him as his wife and eventually bearing him seven daughters and two sons. She was also a constant muse, modelling for many of his paintings and drawings. Her first definite appearance in his work dates from 1867. The subject of the picture has not been identified. The pose is similar (in reverse) to that of the figure in The Magdalen, a painting now in the Norwich Museum (exh. Frederick Sandys, Brighton and Sheffield, 1974, no. 54, repr. in cat., pl. 26). This has been dated as early as 1862, some four years before Sandys met Mary Jones, although it was not exhibited until the winter of 1865-6, when Ernest Gambart showed it in the Winter Exhibition of British Artists at his French Gallery in Pall Mall. A mid-1860s date for our picture is further indicated by its frame, which is of a type often seen on Sandys's work of this period. It is possible that the picture should be identified with one of two missing works: The Ear Drop, which, like The Magdalen, was exhibited by Gambart in the winter of 1865-6, or The Pearl, which was shown at the National Exhibition, Leeds, in 1868 by its owner, Edward Salt. We are grateful to Betty Elzea for her help in preparing this entry. The picture will appear in her forthcoming catalogue raisonn‚ of Sandys's work.

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Lot 43: Anthony Frederick Augustus Sandys (1829-1904)

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Description: mrs christy and her two sons, stephen and basil signed and dated F Sandys 1900. l.l.; bears title on a fragmented label attached to the backboard, coloured chalks 81 by 73 cm.; 32 by 28 3/4 in.

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Study for Antigone

Lot 45: Study for Antigone

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Description: Anthony Frederick Augustus Sandys (1829-1904) Study for Antigone signed and inscribed 'Study for/Antigone/F. Sandys.' (centre left) pencil, black, red and white chalk 19¾ x 15 3/8 in. (50.2 x 39.1 cm.)

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ANTHONY FREDERICK AUGUSTUS SANDYS (1829-1904,

Lot 47: ANTHONY FREDERICK AUGUSTUS SANDYS (1829-1904,

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Description: ANTHONY FREDERICK AUGUSTUS SANDYS (1829-1904, BRITISH) Inscribed and Dated 1851 to label Verso Oil on Panel Head and Shoulders Portrait of a Young Lady Further inscribed to label verso: "Number 2 Hope A Study 1851 Fred Sands 2 Osnaburgh Street Regents Park" 9" x 6" Oval Provenance: Private Norfolk Collection Note: Possibly Lot 259 - Painting - Portrait of a Lady - F Sandys (oval), which realised 14 Shillings in the Auction Sale of the contents of 77 Newmarket Road, Norwich on the 15th / 16th May 1934, The Sale was conducted by S Mealing, Mills & Co with Messrs Spelman,

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ANTHONY FREDERICK AUGUSTUS SANDYS

Lot 56: ANTHONY FREDERICK AUGUSTUS SANDYS

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Description: ANTHONY FREDERICK AUGUSTUS SANDYS (british 1832-1904) PORTRAIT OF WILLIAM GILLILAN Titled and dated 'Wm. Gillilan: 1886' and signed 'P. Sandys' upper right, charcoal and colored chalk on blue paper 42 3/4 x 28 1/2 in. (108.7 x 72.4cm) provenance: Thomas Agnew & Sons, Ltd., London, United Kingdom. From the collection of Philip Rieff and Alison Douglas Knox, Philadelphia, Pennsylvania.

Condition Report: Not examined out of frame. In apparently good overall condition, apart from some likely slight fading. Minor rippling of sheet visible (i.e. some undulations in paper visible through the glass). Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman''s Conditions of Sale.

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ANTHONY FREDERICK AUGUSTUS SANDYS (1832-1904)

Lot 56: ANTHONY FREDERICK AUGUSTUS SANDYS (1832-1904)

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Description: ANTHONY FREDERICK AUGUSTUS SANDYS (1832-1904) Study of a Child signed with monogram (centre right) coloured chalks, oval 18 x 14 1/2in (45.7 x 36.8cm)

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Lot 57: ANTHONY FREDERICK AUGUSTUS SANDYS (1829-1904)

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Description: THE PEARL (?) oil on canvas 16 x 12 in. (40.6 x 30.5 cm.) This newly discovered and hitherto unpublished picture dates from the mid-1860s. The model is reminiscent of Mary Emma Jones, an actress whose stage name was Miss Clive. Sandys probably met her in 1866, about the time that she made a sensational but (as it turned out) abortive professional debut as Constance in King John at the Queen's Theatre, London. She became his mistress, living with him as his wife and eventually bearing him seven daughters and two sons. She was also a constant muse, modelling for many of his paintings and drawings. Her first definite appearance in his work dates from 1867. The subject of the picture has not been identified. The pose is similar (in reverse) to that of the figure in The Magdalen, a painting now in the Norwich Museum (exh. Frederick Sandys, Brighton and Sheffield, 1974, no. 54, repr. in cat., pl. 26). This has been dated as early as 1862, some four years before Sandys met Mary Jones, although it was not exhibited until the winter of 1865-6, when Ernest Gambart showed it in the Winter Exhibition of British Artists at his French Gallery in Pall Mall. A mid-1860s date for our picture is further indicated by its frame, which is of a type often seen on Sandys's work of this period. It is possible that the picture should be identified with one of two missing works: The Ear Drop, which, like The Magdalen, was exhibited by Gambart in the winter of 1865-6, or The Pearl, which was shown at the National Exhibition, Leeds, in 1868 by its owner, Edward Salt. We are grateful to Betty Elzea for her help in preparing this entry. The picture will appear in her forthcoming catalogue raisonne of Sandy's work.

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Lot 60: SANDYS, FREDERICK ANTHONY A. (1832-1904)

Description: Portrait of a young girl in a white dress Drawing 58x42 cm (23x16.6 in).

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Anthony Frederick Augustus Sandys (British, 1829-1904)

Lot 60: Anthony Frederick Augustus Sandys (British, 1829-1904)

Description: Portrait of a cook,initialled, inscribed 'Our Cook / Thanksgiving / 'The guild'' and dated Nov 92, watercolour, 28 x 22 cm (11 x 8 5/8 in.)

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Lot 60: Antony Frederick Sandys (1832-1904) Portrait of

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Description: Antony Frederick Sandys (1832-1904) Portrait of Judith Charcoal and coloured chalks Signed, title and dated Judith: F. Sandys, 1903 upper right 17 1/2 x 12 3/4 in (44.5 x 32.5 cm) Provenance: with Shepherd Gallery, New York

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Lot 61: SANDYS, FREDERICK ANTHONY A. (1832-1904)

Description: Portrait of Lady Grace Rose arranging roses in an interior, 1866 Oil/panel 22x18 inches (56x45.5 cm) Inscr. D (Upper Left).

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ANTHONY FREDERICK AUGUSTUS SANDYS

Lot 69: ANTHONY FREDERICK AUGUSTUS SANDYS

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Description: ANTHONY FREDERICK AUGUSTUS SANDYS BRITISH 1832-1904 LOVE'S SHADOW oil on panel 16 by 12 3/4 in. 40.6 by 32.5 cm

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Lot 70: Anthony Frederick Augustus Sandys (1832-1904) Penelope coloured chalk signed on a scroll lower right, inscribed in Greek on a scroll top right 49cm x 42cm Penelope was the wife of Odysseus Drawn c.1878, the model for this work appears in a number of

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Description: Anthony Frederick Augustus Sandys (1832-1904) Penelope coloured chalk signed on a scroll lower right, inscribed in Greek on a scroll top right 49cm x 42cm Penelope was the wife of Odysseus Drawn c.1878, the model for this work appears in a number of other versions of Penelope, see Elzea, Betty, Frederick Sandys, pp. 257-258 Whilst this drawing has been reframed, it retains the original backing board with the framers label Foord and Dickinson (see illustration)

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Anthony Frederick Augustus Sandys (British, 1832-1904)

Lot 75: Anthony Frederick Augustus Sandys (British, 1832-1904)

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Description: Portrait of a mansigned with monogram (lower right) pencil and chalks 47 x 37cm (18 1/2 x 14 9/16in).

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Anthony Frederick Augustus Sandys (1829-1904)

Lot 87: Anthony Frederick Augustus Sandys (1829-1904)

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Description: Portrait of Lewis Flower, bust-length signed 'F. Sandys.' (upper left) and inscribed and dated 'Lewis Flower. 1886.' (upper right) pencil and coloured chalks, on pale green paper 27 x 20 in. (68.5 x 50.8 cm.) PROVENANCE Lewis Flower, and by descent to his great-nephew Lieut-Col. Peter Hugh Flower. EXHIBITION Brighton, Brighton Art Gallery and Sheffield, Mappin Art Gallery, Frederick Sandys Exhibition, 1974, no. 123c. NOTES Lewis Flower (1856-1902) was the fifth son of property developer Phillip William Flower, and younger brother of Sandys' most important patron, Cyril Flower. A Liberal Member of Parliament, Cyril was raised to the peerage in 1892 on Gladstone's instigation, and became Baron Battersea of London and of Overstand, Norfolk. Cyril's spirited championing of the somewhat disorganised Sandys included the provision of a weekly allowance, on the understanding that all completed work would be sold and so help clear Sandys' debts. Sandys executed a series of drawings depicting various members of the Flower family. He developed a style of working with pencil and coloured chalks on blue or green paper, and after 1880 concentrated on such portraits, although his luminous oils and strong woodcut illustrations were also held in high regard.

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Anthony Frederick Augustus Sandys (1829-1904)

Lot 88: Anthony Frederick Augustus Sandys (1829-1904)

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Description: Portrait of May Gillilan signed 'F Sandys' (on a fragment of the old mount attached to the back of the frame) pencil and coloured chalks heightened with touches of white on pale green tinted paper 141/2 x 111/4 in. (36.8 x 28.6 cm.) PROVENANCE William Gillilan. Woolley & Wallis, Salisbury, 15 April 1996, lot 85. Bonham's, London, 19 March 1997, lot 106. with The Maas Gallery, London. EXHIBITION London, Maas Gallery, British Pictures (1840-1940), October-December 1998, no. 39. NOTES May Gillilan was the eldest daughter of William Gillilan, who lived at 6 Palace Gate, Kensington. Gillilan was commissioning and acquiring works by Sandys for a decade from about 1885, including portraits of himself, his wife Mary and their three daughters May, Winnie and Christabel. William died in 1925, and a sale of his property took place at Christie's on 15 May of that year. Betty Elzea notes, in Frederick Sandys, A Complete Catalogue Raisonn‚, that the drawing originally incorporated Winnie to May's right, but was at some point reduced to this single portrait (see Elzea, op. cit., p. 268, cat. 4.27).

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                                          Anthony Frederick Augustus Sandys (Norwich 1829-1904 London)

Lot 89: Anthony Frederick Augustus Sandys (Norwich 1829-1904 London)

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Description: Anthony Frederick Augustus Sandys (Norwich 1829-1904 London) The White Mayde of Avenel signed 'F Sandys' (upper left) and inscribed 'The White Mayde of Avenel', (upper left, within a cartouche)pencil and colored chalks on light green/blue paper 12 7/8 x 10 in. (32.7 x 25.4 cm.)

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ANTHONY FREDERICK AUGUSTUS SANDYS, 1832-1904

Lot 90: ANTHONY FREDERICK AUGUSTUS SANDYS, 1832-1904

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Description: PORTRAIT OF ELEANOR PETRE109x76cm.; 43x30in.signed, inscribed and dated 1909coloured chalkPROVENANCEThe Carlton Rooms, London

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Anthony Frederick August Sandys (1829-1904)

Lot 91: Anthony Frederick August Sandys (1829-1904)

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Description: Love's Shadow oil on panel 16 x 123/4 in. (40.6 x 32.5 cm.) PROVENANCE Anon. sale, Sotheby's Belgravia, 6 June 1976, lot 161 (œ10 to R. Tiber). with Dan Klein, July 1982. Anon. sale, Christie's London, 18 March 1984, lot 157, when acquired by the present owner. LITERATURE Betty Elzea, Frederick Sandys, 1829-1904, A Catalogue Raisonn‚, 2001, p. 189, 2.A.100. EXHIBITION Victorian Imagination, 1998, no. 25. NOTES Betty Elzea notes that this painting was probably traced from a drawing of the same title of 1867, but is enriched by the addition of a jewelled headband and hair ornament. The subject of a single femme fatale, presented half length, owes much to Rossetti, with whom Sandys shared a house in Chelsea in 1866. Sandys reputation amongst his fellow artists was to rise after Rossetti pronounced him 'the greatest of living draughtsmen', but the friendship foundered in 1869 after Rossetti accused Sandys of plagiarism. The sitter is Sandys's common-law wife, Mary Emma Jones, who abandoned a theatrical career to bear him nine children. She, and her sisters Augusta and Millie, sat to both Sandys and Rossetti: the artists also shared a model in Keomi, the exotic Norfolk gypsy who appears in so much of their work. The composition prefigures that of Proud Maisie of 1868, Sandy's most popular and successful image, which he was to replicate at least thirteen times in various media: the prime version, in oil, is now in the Victoria and Albert Museum. The composition is almost identical to Love's Shadow, except that where in our picture the sitter is chewing on forget-me-nots, in Proud Maisie she draws on a lock of her hair. The picture was to provoke ardent reactions from male admirers. Swinburne in Royal Academy Notes wrote: '... the other [study] of a woman's face, is one of his most solid and splendid designs; a woman of rich, ripe, angry beauty, she draws one lock of curling hair through her full and moulded lips, biting it with hard bright teeth, which add something of a tiger's charm to the sleepy and crouching passion of her fair face'. The title, Proud Maisie was taken from Sir Walter Scott's poem, 'The Pride of Youth', which appears at the end of Chapter 40 of The Heart of Midlothian (1818): Proud Maisie is in the wood, Walking so early; Sweet Robin sits on the bush, Singing so rarely. "Tell me, thou bonny bird, When shall I marry me?" - When six braw gentlemen Kirkward shall carry ye.' "Whom makes the bridal bed, Birdie say truly?" - "The grey-headed sexton That delves the grave duly. "The glow-worm o'er grave and stone Shall light thee steady. The owl from the steeple single, 'Welcome, proud lady'". The picture has become an icon of rapacious female sexuality, and marks a point in Sandys's career before his depictions of women became darker and more obtuse. The abundant hair which Sandys so enjoyed in his wife was to feature in many of the other Pre-Raphaelites' work. Perhaps it is no coincidence that Rossetti was simultaneously painting Lady Lilith (1868) in which Adam's first wife is seen combing her luxuriant hair. Sandys was born in Norwich, the son of a painter. After working for many years in Norfolk he moved to London in 1851. He first came to the attention of the Pre-Raphaelites in 1857 when he produced an etching entitled A Nightmare which parodied Millais's picture Sir Isumbras at the Ford, shown at the Royal Academy of that year. Being a formidable draughtsman he was also to make a significant contribution to the movement for better book illustration, through his work for The Cornhill, Once a Week, Good Words and other journals. Sandys's later years were spent executing large portrait drawings of the Norfolk gentry, executed in chalk on blue paper in a characteristically meticulous technique. Several survive in that county, and they frequently appear at auction.

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ANTHONY FREDERICK AUGUSTUS SANDYS

Lot 93: ANTHONY FREDERICK AUGUSTUS SANDYS

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Description: SIGNED AND DATED (MAKER'S MARKS)signed and dated A Sandys 1900 (upper left)

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Lot 97: Anthony Frederick Augustus Sandys (British, 1829-1904) Penelope 48.5 x 42 cm. (19 x 16.5 in.)

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Description: Anthony Frederick Augustus Sandys (British, 1829-1904) Penelope 48.5 x 42 cm. (19 x 16.5 in.)

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Anthony Frederick Augustus Sandys (1829-1904)

Lot 102: Anthony Frederick Augustus Sandys (1829-1904)

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Description: Anthony Frederick Augustus Sandys (1829-1904) A study of 'Sukey', a pug puppy signed and dated 'F. Sandys. 1875' (upper right) and inscribed 'Sukey' (upper left)coloured chalks, on buff paper 10 x 14 in. (25.4 x 35.5 cm.)

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 Anthony Frederick Augustus Sandys , 1832-1904 darby in his basket kennel oil on panel

Lot 103: Anthony Frederick Augustus Sandys , 1832-1904 darby in his basket kennel oil on panel

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Description: signed l.l.: F. Sandys oil on panel

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Sir John Everett Millais, Bt., P.R.A. (1829-1896)

Lot 112: Sir John Everett Millais, Bt., P.R.A. (1829-1896)

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Description: The Romans leaving Britain signed with monogram (lower left) and inscribed 'copyright reserved by the artist' (on the reverse) oil on panel 18 x 271/2 in. (45.7 x 69.9 cm.) PROVENANCE F.T. Turner (+); Christie's, London, 4 May 1878, lot 43 (320 gns. to Permain). James Warren (+); Christie's, London, 18 March 1905, lot 38 (110 gns. to Mitchell). Lovis Zollner by 1929. Anon. sale; Sotheby's, London, 13 July 1966, lot 124 (bt. Dawes). LITERATURE J.G. Millais, The Life and Letters of Sir John Everett Millais, London, 1899, vol. 1, pp. 386, 395; vol. 2, p. 472. EXHIBITION Newcastle-upon-Tyne, Palace of Art, North-East Coast Exhibition, 1929, no. 337. Newcastle-upon-Tyne, Laing Art Gallery, Pre-Raphaelites: Painters and Patrons in the North East, 1989-90, no. 71. NOTES The picture is a reduced version of one that Millais exhibited at the Royal Academy in 1865 (private collection). It was begun on 29 July that year and finished the following month before the large version was despatched to its owner, the Tyneside industrialist Sir Lowthian Bell. The small version follows the original remarkably closely; indeed, it deputised for it in the exhibition celebrating Bell and his fellow Victorian collectors in the North-East of England which was held at the Laing Art Gallery, Newcastle, in 1989. The composition represents an imaginary scene at the time when the Roman occupying forces were withdrawing from Britain in the late fourth and early fifth centuries AD. A Roman legionary is bidding a passionate farewell to his British mistress ('a tall, lithe, dark, savage Celt,' according to F.G. Stephens in his account of Sir Lowthian Bell's collection in the Athenaeum ), both of them knowing full well that he will never return. The composition was originally worked out in a highly-finished pen and sepia wash drawing dated 1853 (fig. 1), which is comparable in style and feeling to the well-known series of drawings on the theme of modern-life, love and marriage that Millais made that year (see The Pre-Raphaelites, exh. Tate Gallery, London, 1984, nos. 185-194, all illustrated in catalogue). Millais was currently deeply in love with Effie Ruskin, a crisis that was only to be resolved by the annulment of her marriage to the critic amid much scandalous gossip; and the modern-life drawings, which have such titles as Accepted, Rejected, The Ghost at the Wedding and Retribution, are generally regarded as reflecting his overwrought emotions at the time. The same could obviously be said of the drawing of a Roman legionary leaving his mistress. Indeed J.G. Millais more or less admitted that the design had deep personal significance for his father when he wrote that the subject was 'one which had always had a great attraction' for him. As for the question of why Millais returned to the design in the mid-1860s, it is perhaps best to see it as a response to the prevailing classicism. Many artists were currently moving in this direction, though the phenomenon took different forms. For G.F. Watts it was a revival of his early admiration for the Elgin Marbles. For many of the Pre-Raphaelites - Madox Brown, Rossetti, Burne-Jones, Frederick Sandys and others - it was a significant but passing phase, while for those artists whose roots lay in the European academic tradition - Leighton, Poynter, Alma-Tadema and, to some extent, Albert Moore - it was a process of self-discovery, the point at which they finally assumed their roles as presiding deities on the Victorian Olympus. Millais was the most un-classical of artists but even he had a brief flirtation with the ascendant mode, and The Romans leaving Britain, with its classical subject and the clear, form-revealing light in which the scene is bathed, is perhaps the outstanding example. Sir Lowthian Bell is believed to have paid œ1,500 for the original version. Ours was commissioned for œ400 by Ernest Gambart, the great Victorian picture-dealer whom Millais had known since the 1850s, and sold to Frederick Thomas Turner of 'The Cedars', Clapham Common. Turner collected cabinet-size pictures, and his taste was fairly academic. The forty-nine works in his posthumous sale at Christie's in May 1878 included examples of Frith, Hook, Phillip, Faed, Linnell and many others. Gambart's guiding hand is very evident in the selection, several of the artists with whom he was most closely associated, such as Rosa Bonheur and Alma-Tadema, also being present. Millais must have been one of Turner's favourite painters; he contributed a total of four works to the collection, the others being Charlie is my Darling, The Escape of a Heretic and Joan of Arc . The second Victorian collection in which our picture figured, that of James Warren of Capel House, Enfield, was somewhat similar in size and scope. Forty-eight pictures were in his sale at Christie's, with Elmore, Frith, Haylar, Huggins, Leslie, Linnell and others being represented. The Romans Leaving Britain, which, strangely enough, made considerably less on this occasion than it had done in 1878, was the only Millais. We are grateful to Malcolm Warner for his help in preparing this entry.

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George Frederic Watts, O.M., R.A. (1817-1904)

Lot 118: George Frederic Watts, O.M., R.A. (1817-1904)

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Description: Haystacks (Study on Brighton Downs) signed and inscribed 'G.F.Watts R.A. The Haystack G.F.Watts Esq R.A. Melbury Road, Kensington, London' (on an old label affixed to the reverse) oil on canvas 131/2 x 26 in. (34.3 x 66 cm.) PROVENANCE With the artist in 1887. Given by him to Sir Frederic Leighton; (+) Christie's, London, 14 July 1896 (3rd day), lot 343, (290 gns. to Sir William Agnew). Still with Sir William Agnew in 1905. LITERATURE Times, 30 April 1883, p. 4. Mrs Watts's manuscript catalogue, vol. I, p.16, as Brighton Downs. EXHIBITION London, Grosvenor Gallery, 1883, no. 59, as Study on Brighton Downs. Manchester, Royal Jubilee Exhibition, 1887, Fine Art Section, no. 249, as Haystacks, lent by the artist. London, Royal Academy, Exhibition of Works by the late George Frederick (sic) Watts, R.A., O.M, and the late Frederick Sandys, Winter 1905, no. 26, as Landscape, lent by Sir William Agnew. Manchester, City Art Gallery, G.F. Watts Memorial Exhibition, 1905, no. 106, as Landscape, lent by Sir William Agnew. NOTES The picture was painted in 1882 and exhibited the following year at the Grosvenor Gallery. With it Watts showed a portrait of the Hon. Mary Baring and a set of paintings representing the four Riders of the Apocalypse. (Walker Art Gallery, Liverpool). It was entitled Study on Brighton Downs, although the name Haystacks was already given to it when it was noticed briefly in a review in the Times, and Watts himself seems to have adopted this title later. No doubt the subject was one he had seen when travelling to or from the town, where he had a winter studio from 1876. Like so many of Watts's landscapes, Haystacks is astonishingly minimal, as if he is deliberately seeing out of how slight a motif a picture can be created. No other Victorian artist made more daring experiments of this kind; they are one of his work's most original aspects. Haystacks seem to have been a constant source of wonder and inspiration to Watts. The picture is reminiscent of Evening (Ashmolean Museum, Oxford), a small panel of 1864 in which he introduced some examples he had seen in the vicinity of Little Holland House in the days when this part of Kensington was still rural. The Oxford picture has overt literary associations; an armed knight is seen riding by, and the picture has an alternative title, ' All the air a solemn stillness holds ', taken from Gray's Elegy. Our picture dispenses with these trappings, focusing attention on the haystacks alone, although, characteristically, Watts still manages to suggest a symbolist dimension. Stark as it is, the image has none of the objectivity of a painting of a haystack by Monet. Watts must have thought highly of the picture to have sent it to the Grosvenor. It was still in his possession when he lent it to the Royal Jubilee Exhibition at Manchester in 1887, but he subsequently gave it to Sir Frederic Leighton, who had, according to Mrs Watts in her manuscript catalogue of her husband's works, 'admired' it. Leighton and Watts were not only close friends but neighbours in the artists' colony which had developed in the Holland Park area since the 1860s. It is not difficult to see why Haystacks appealed to Leighton. It is very much an 'artist's picture', in the sense that a fellow artist is particularly likely to appreciate the problems it attempts to solve. And the long rectangular format is reminiscent of the work of the Etruscan School, with which Leighton was so closely associated. When the picture appeared at Leighton's posthumous sale at Christie's in July 1896 it was bought by the dealer Sir William Agnew, who apparently wanted it for his own collection rather than stock. He still had it nine years later, when he lent it to the first two venues of the memorial exhibition which toured the country following Watts's death in 1904.

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ANTHONY FREDERICK AUGUSTUS SANDYS 1832-1904 PORTRAIT OF SIR THOMAS GEORGE FERMOR-HESKETH, 7TH BT.

Lot 138: ANTHONY FREDERICK AUGUSTUS SANDYS 1832-1904 PORTRAIT OF SIR THOMAS GEORGE FERMOR-HESKETH, 7TH BT.

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Description: ANTHONY FREDERICK AUGUSTUS SANDYS 1832-1904 PORTRAIT OF SIR THOMAS GEORGE FERMOR-HESKETH, 7TH BT. (1849-1924)three-quarter length, seated, in hunting dress, a tapestry behindinscribed u.l.: Sir Thos. Hesketh Bart / 1883oil on canvasLITERATURE AND REFERENCESRichard Dean, Rufford Old Hall, 1999, p.50, illus.CATALOGUE NOTEThe sitter was the second son of Sir Thomas Fermor-Hesketh, 5th Bt. and his wife Lady Anna Maria Fermor. He was ensign in the Rifle Brigade and Honorary Colonel of the 3rd and 4th battalions Kings Liverpool Regiments. On 23rd December 1880 he married Florence Emily Sharon (see lots 197-199), daughter of Senator William Sharon of Nevada.

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Lot 140: SANDYS, A. FREDERICK AUGUST. (1829-1904)

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Description: The hand of cards Oil/board 14x10 in (35.6x25.4 cm).

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 Anthony Frederick Augustus Sandys 1832-1904 , Portrait of William Gillilan charcoal and colored chalk on blue paper

Lot 146: Anthony Frederick Augustus Sandys 1832-1904 , Portrait of William Gillilan charcoal and colored chalk on blue paper

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Description: titled and dated Wm. Gillilam: 1886 and signed P. Sandys upper right charcoal and colored chalk on blue paper

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Lot 150: SANDYS, Frederick (1832-1904, British)

Description: Cassandra, mono.i. pencil col chks Works on paper (13x14in).

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 Anthony Frederick Augustus Sandys 1832-1904 , Portrait of Robert Browning black, white and colored chalk on grey-green paper

Lot 151: Anthony Frederick Augustus Sandys 1832-1904 , Portrait of Robert Browning black, white and colored chalk on grey-green paper

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Description: titled and dated Robert Browning: Nov. 1881 upper right and signed F. Sandys upper left black, white and colored chalk on grey-green paper

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