Emma Sandys

Anonymous sale, London, Phillips, 24 November 1998, lot 38A (as by Anthony Frederick Augustus Sandys);

Where acquired by the present owner.

In comparison to her more well-known and gregarious brother Anthony Frederick (fourteen years her senior), Emma Sandys lived a very quiet and private life, of which sadly little is known. She lived in Norwich with her parents until her premature death of lung failure in 1877. She was, however, well known in her community; after her death people recalled being asked to sit for the artist in her studio, and she received patronage very early in her career - a local collector William Dixon purchased Girl with a Butterfly, Pleasant Dreams and Devotion.¹ Sandys exhibited at the Norwich and Eastern Counties Working Classes Industrial Exhibition, at the Norwich Fine Arts Association, Society of Lady Artists and also the Royal Academy in London. 

Both siblings were taught initially by their father who was a portrait painter. Frederick, however, had the added benefit of attending the Norwich School of Design, an opportunity not afforded to Emma. She was undoubtedly inspired by her brother and they appear to have shared ideas, props and studio space. The cloak depicted in The gold earring, is also seen in Emma's Portrait of a lady, bust length, wearing an elaborate necklace dated 1866 (Christie's, London, 16 October 1981, lot 89) and also Frederick’s painting Vivien of 1863 (Manchester Art Gallery). Due to their close relationship and his fame, many of Emma’s works have been incorrectly attributed to him, an error slowly being re-addressed. For instance, the present work was sold in 1998 erroneously as being by Frederick.

Sandys’ focus on medium-sized oils, mostly of women, reveals a clear delight and skill in rendering rich textures, bright accessories, florals and lustrous hair. Her paintings depict her models in interesting and innovative poses (often against a dark background decorated with flowers). The identity of many of the sitters are not known, yet the strength of design makes each painting enthralling regardless. Her works are still engaging 150 years after they were painted.  

¹ J. Marsh and P.G. Nunn, Women Artists and the Pre-Raphaelite Movement, London 1989, p. 89.