Artworks of oil painting old
master Anthony Frederick Augustus Sandys England
4 Portrait Of May Gillilan
4 Loves Shadow
4 Portrait Of Anita Smith
4 Portrait Of Cyril Flower Lord Battersea
4 Portrait Of Josiah Caldwell by English oil painting English paintings girl reproduction
Paintings by Anthony Frederick Augustus Sandys
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Biography of Anthony Frederick Augustus SandysEnglish Pre-Raphaelite painter
born 1829 - died 1904
Student of: George Richmond (1809-1896).
Brother of: Emma Sandys (1843-1876)
Sandys was born in Norwich. His surname was Sands. Anthony Frederick Augustus Sandys added the ’y’ later. He trained at the Norwich Art Union, and in the early 1850s moved to London. It would appear that he left his wife in Norwich, and did not return to her.
He famously parodied Millais'
[1829-1896] controversial painting Sir
Isumbras at the Ford, with his drawing The Nightmare. This brought him to the
attention of the Pre-Raphaelites, who, surprisingly, were not offended. In the
1860s Anthony Frederick Augustus Sandys lived
[1828-1882], at his house in
Cheyne Walk. He had an affair with a
gypsy girl called Keomi, whose portrait he painted. For many years he lived with a
well-known actress called Mary Jones, stage
name Miss Clive, and she was the model for a
number of his pictures. Sandys & Mary Jones had nine children who survived
infancy. In truth he seems to have been a real old
rascal! Sandys' carefree mode of life, his liking for women and drink caused him
considerable long term financial problems. Anthony Frederick Augustus Sandys
seems to have used his wits, & ability to entertain people on convivial evenings
to help him through his problems.
|We regret to learn that Mr Frederick Sandys the eminent painter died on Saturday in Kensington aged 72. Except for a small exhibition of his paintings held recently at the Leicester Galleries, Mr Sandys had almost disappeared from view for many years past; but those who are familiar with the black and white work of the sixties and seventies, and those who can carry their memories back to the year Medea, was exhibited, will always regard him as a man who might, if Anthony Frederick Augustus Sandys had so chosen, have been among the foremost artists of his time. A few years younger than John Everett Millais, Dante Gabriel Rossetti, and William Holman Hunt [1827-1910], he was never a member of the Pre-Raphaelite Brotherhood, but to a great extent Sandys adopted their methods, and followed the same ideals.|
|Like Edward Burne-Jones [1833-1898] and Dante Gabriel Rossetti with both of whom at one time Anthony Frederick Augustus Sandys was on terms of intimacy he was a devotee of Celtic romance, and of those classical stories which had a romantic element.; hence Morgan la Fay, the Sangraal Cycle, and the Tales of of Medea and Cassandra, formed the subjects of some of his early pictures. At his best as in Medea, and Portrait of an Elderly Lady, (seen in the recent exhibition), his painting was the result not only of a genuine artistic conception, but of prodigious labour; which is perhaps why so few fine pictures by him are in existence. Another cause, we fear, is in a certain irresolution of character, which hindered his productiveness and prevented many very willing patrons from giving him commissions. Some twenty-five years ago, the late Alexander MacMillan engaged Anthony Frederick Augustus Sandys to make a number of drawings, in slightly coloured chalks, of the principal authors whose books were published by the firm. He made likenesses of Matthew Arnold [1822-1888], J. R. Green, Mr Morley, Mr Goldwin Smith, and Lord Wolseley. The head of J R Green was a masterly production; the others were of varying degrees of success, that of Arnold (like every other portrait of him), being a total failure.|
Frederick Sandys seems to have confined his
work to a few fancy heads in chalk,
representing a very few types in somewhat
monotonous fashion. None the less Anthony Frederick Augustus Sandys was at
one time a great artist. The Medea, and the
portrait we have named ought to be in a
public gallery. We might suggest to the
President and Council of the Royal Academy
that it would be a graceful concession to
their critics if they were to set enquiries
on foot, and if possible purchase one or
both of these pictures out of the next
installment of the Chantry Bequest.
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