Anthony Frederick Augustus Sandys

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.