View full screen - View 1 of Lot 31. Rose, Portrait of Mary Emma Jones.
31

Anthony Frederick Augustus Sandys

Rose, Portrait of Mary Emma Jones

Estimate:

10,000 - 15,000 GBP

Property removed from Fenton House to be sold on behalf of the 7th Earl of Durham

Anthony Frederick Augustus Sandys

Anthony Frederick Augustus Sandys

Rose, Portrait of Mary Emma Jones

Rose, Portrait of Mary Emma Jones

Estimate:

10,000 - 15,000 GBP

Lot sold:

27,720

GBP

Property removed from Fenton House to be sold on behalf of the 7th Earl of Durham

Anthony Frederick Augustus Sandys

1832 - 1904

Rose, Portrait of Mary Emma Jones


signed F. Sandys lower left and dated 1871 lower right

red, black and white chalk with pencil on paper

Unframed: 53 by 36cm., 21 by 14in.

Framed: 68 by 51cm., 27 by 20in.

Under glass and not examined out of frame. The paper is slightly dirty and some minor fox spots visible notably to her left shoulder. Otherwise in good condition, ready to hang.


Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

J. Beecroft of Bradford, by whom sold Christie's, London, 21 February 1927, lot 69 to 'Nicholl'
Property of the late Dr. J.N. Nicholl, Sotheby's, London, 29 October 1964, lot 226 to Abbott & Holder, London for £30
Betty Elzea, Frederick Sandys 1829-1904 - A Catalogue Raisonné, Woodbridge, 2001, p. 242, no.3.22 (untraced)
D.G. 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 the love between the artist and his muse, Mary Emma Jones.

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. She became Sandys' lover in 1867 and bore him twelve children, but they never married. 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.'

Sandys often repeated favourite poses and Rose is almost identical to The Coral Necklace also dated 1871 (Cleveland Museum of Art) which also belonged to Mr J. Beecroft and Portrait of a Lady of circa 1873 (Birmingham Museum & Art Gallery). The main difference between the drawings is that whilst the backgrounds of The Coral Necklace and Portrait of a Lady are filled with foliage, the present drawing takes its title from the roses that crowd behind Emma's head, symbols of love.