Anthony Frederick Augustus Sandys

By descent through the Sandys family to the present owner

Betty Elzea, Frederick Sandys - A Catalogue Raisonne, 2001, p.199, cat.no.2.A130 (see also 2.A.108), illustrated colour plate 34, p.60

The sheet has been laid down on thin card and is undulating. The sheet has been cut as an oval and the edges trimmed unevenly. There sheet is stained. There is a ring of moisture staining to the lower centre of the sheet. There are foxing marks and specks of surface dirt scatted throughout. There is a 'V' shaped paper loss to the top centre, there is some associated creasing. This work could be much improved by a professional paper restorer. Please note that the work has been framed under glass and has been examined out of its frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This sensual drawing is among Sandys' earliest depictions of his mistress and muse Mary Emma Jones, made c.1867 at a time when Sandys was living with Rossetti and their work developed with parallel objectives. His depictions of Mary contribute greatly to the emerging Pre-Raphaelite fashion for voluptuous red-haired 'Stunners' in the mid 1860s. The drawing remained in Sandys' possession even when he was financially desperate and demonstrates the significance it held for him as a record of his awakening passion for Mary. The majority of Sandys' contemporary studies of Mary depict her as personifications of love. The three versions of Love's Shadow and the twelve versions of Proud Masie have strong sexual symbolism whilst Helen of Troy (Walker Art Gallery, Liverpool) and Danae (Bradford Art Gallery) are remarkably erotic depictions for the era.

At the extreme right edge of the drawing, which seems to have been cut-down from an unfinished composition, can be seen the feathers of a dove which is shown in its entirety in a related drawing (Maas Gallery, London). Both drawings were made as studies for an unlocated oil painting entitled Girl with Doves, mentioned in a letter from W.H. Clabburn to James Anderson Rose (cited by Elzea, p.342). It seems plausible that this picture is identifiable with a projected (possibly never realised) painting depicting the femme fatale Lucrezia Borgia. The design was described by Sandys in a letter to Rossetti dated 15 May 1869 (University of British Columbia Library, Vancouver) as; 'Lucretia [Sic.] in her chamber - testing her poison on one of two pet turtle doves - one lying dead at her feet - the other sitting up behind her... My picture was suggested entirely by the little girl [his pet-name for Mary Emma].' This design was one cited by Rossetti when he accused Sandys of plagiarism in 1869, causing a serious rift between the two artists.

Rossetti described Sandys as 'the greatest living draughtsman' and it is clear that Sandys' draughtsmanship was a great influence upon Rossetti who learnt from him the technique of portraying soft, living flesh with black and red chalk, so well demonstrated in the present drawing which is such a poignant record of awakening love and the severing of a great friendship.

Mary Emma Jones was born in 1845 in Hull, daughter of a customs inspector at the docks. Her family moved to London around 1862 and she and her sisters became popular artist's models and actresses. Her professional name was 'Miss Clive' and although she appeared in various plays, her stage career was not successful. According to Sandys' letter to Rossetti, Lucretia Borgia was inspired by Mary's impression of the gestures of the actresses in the first opera she saw in 1867. She became Sandys' lover in that year and bore him twelve children, including Ruth and Gertrude, depicted in the two previous lots. She died in 1920 and was immortalised by the poet Gordon Bottomley in his memorial poem; 'Now she is deathless by her lover's hand, To move our hearts and those of men not born, With famous ladies by her living hair - Helen and Rosamund and Mary Sandys.'