A BIOGRAPHICAL DICTIONARY OF
the same lady whom he had exhibited in pen-and-
ink in the previous year, a picture of most marvel-
lous execution, and two fancy portraits called
'Vivien' and 'La Belle Ysonde.' The oil portrait
that was perhaps his greatest achierement was
seen at the Academy in 1864. It was called 'A
Portrait,' but represented Mrs. Jane Lewis, of
Roehampton, and was a most wonderful example
of elaborate miniature manipulation, almost perfect
in its execution. With it he sent an oil picture
called ' Morgan Le Fay,' and a pen-and-ink draw-
ing of ' Judith.' Two oil pictures appeared in
1865, ' Cassandra,' and ' Gentle Spring,' and u
grand illustration in the ' Shilling Magazine,' called
' Amor Mundi.' In 1866 his notable oil paintin^r
of 'Lady Rose' was exliibited, and his work ap-
peared in the 'Argosy,' 'Quiver,' 'Once a Week,'
and the ' Cornliill Magazine,' the following being
the titles of tlie pictures respectively : — 'If,' 'The
Advent of Winter,' 'Cassandra and Helen,' and
'Cleopatra.' In 1868 he returned in his Royal
Academy exhibits to his earlier medium of crayons,
sending in the ' Study of a Head,' and a portrait
of Mr. George Critchett. With them was sent in
his great picture of ' Medea,' which was accepted,
but rejected at the last moment. This procedure
drew forth from his friends an indignant protest,
and started a severe correspondence in the 'Times,'
with a characteristic eulogy of the picture from
Mr. Swinburne, with the result that in the follow-
ing year the picture was hung on the line, and
with it was accepted a crayon portrait of Mrs.
Barstow. In 1871 another oil portrait was sent
in, representing Mr. W. H. Clabburn, a crayon
portrait of the same person, and a group in crayons
of the children of Mr. J. J. Colman. Four crayon
portraits appeared in 1873, representing Mrs.
William Brand, Mr. Leopold de Rothschild, Mr.
Frederick A. Millbimk, and Mrs. Millbank. His
exhibits in 1875 were a crayon portrait of Father
Rossi, anotlier of Miss Ellis, one without a name,
and an oil painting of Mrs. William Brand. In
1876 he exliibited one crayon portrait only, Mrs.
Charles Augustus Howell, in 1878 a similar one
of Mr. Cj-ril Flower (now Lord Battersea), and
in 1879 an oil portrait of Mrs. Temple Soanes.
His exhibits in 1880, 1882, and 1883 were all in
crayons, the two portraits in 1880 representing
James Brand, Esq., and 'Ethel and Mabel'; those
in 1882, Mr. Robert Browning, His Excellency the
Hon. J. Kussell Lowell, Mr. Matthew Arnold, and
Professor Goldwin Smith. In that year he h.'d an
important illustration in ' Dalziel's Family Bible,'
entitled ' Jacob hears the Voice of the Lord.' In
1883 he sent into the Academy a crayon portrait
of Mrs. H. Chinnery, and in 1886 his last exhibit
was an oil portrait of Mr. William Gilliian.
The important work of Sandys was, however.
by no means confined to his exhibits at the Royal
Academy and his book illustrations. He first of
all came before the public in connection with a
clever satire of the pictures exhibited by Millais
at the Royal Acadeniy in 1857, called 'Sir Isun -
bras at the Ford.' Sandys' parody of the picture
was a very brilliant drawing, representing Mil-
lais, Rossetti, and Holman Hunt riding upon a
donkey, inscribed " J. R. Oxon," and intended to
represent Ruskin. The joke was directed against
the Oxford Professor on account of his over-vehe-
ment championship of Rossetti and Holman Hunt.
It was the occasion of the first meeting between
Rossetti and Sandys, and as the former artiot had
sufficient sense of humour to take the satire in
good part, it was the beginning of a warm friend-
ship which sprang up between the two men, and
lasted uninterruptedly until Rossetti's death. A'
little later on Sandys took up his abode in K-n-
sington, and became associated with that wonder-
ful circle which included Swinburne and George
Meredith, Tennyson and the Brownings, Biime-
Jones, Madox Brown, William Morris, and others.
It was from that time that his illustrative Wi.rk
commenced, as previous to then in book illustra-
tion he hiid only executed some pictures for the
' Birds of Norfolk ' and the ' Antiquities of Nor-
wich.' There are many works by liim which were
never exhibited at the Royal Academy, but that
must be mentioned. In 1862 he painted three
notable oil pictures, ' Fair Rosamond,' ' A Vestal
offering her Hair on a Rose-crowned Altar,' and
' Mary Magdalene.' In 1868 his wonderful crayon
drawing called 'Proud Maisie' appeared, perhaps
the most vivid and dramatic work he ever exe-
cuted, while in the same year he produced several
symbolic figures, notable amongst which were
'Lethe,' 'Proserpine,' ' Fate,' ' Penelope,' and ' Mi-
randa.' Amongst his crayon portraits should also
be mentioned Bishop Denison, of Salisbury, the
Misses Clabburn, Lady Buxton, 1875 ; Ladj' Law-
rence, Mrs. Samuel Hoare and her children, 1884 ;
Mrs. George Meredith and Miss Meredith, Mrs.
Cyril Flower (now Lady Battersea), and Miss
Clara Flower, 1872 ; Miss Christabel Gilliian,
1887 ; Mrs. H. P. Sturgis, 1894 ; Mrs. Palmer,
1896; St. George, 1880, and others. About the
year 1880 Sandys received a commission from
Messrs. Macmillan & Co. to execute a series of crayon
portraits of well-known literary persons, and he
devoted many years to this work. The series,
which remains in the possession of Messrs. Mac-
millan, includes portraits of Robert Browning,
Matthew Arnold, John Morley, J. H. Shorthouse,
Lord Tennyson, Dean Church, Dr. Westcott, J. R.
Green, Lord Wolseley, aud Mrs. Oliphant, while
in 1891 he produced a delightful portrait of the
children of Mr. Alexander Macmillan, and in the
following year, portraits of the same persons, two
girls, entitled ' A Christmas Carol.'
Rossetti pronounced Sandys to be 'the greatest of living draughtsmen, and his exquisite skill in drawing is well represented in the wonderful picture of 'Proud Maisie,' now belonging to Dr. Todhunter, and in the studies of foliage, tree- trunks, branches and figures in which the artist delighted He was never a member of the pre- Raphaelite Brotherhood, nor in fact was he associ- ated with any society of artists at all. He lived in constant revolt against the Academy and all its works, and was in frequent conflict with every other artistic society, pursuing a resolute and life- long independence of all schools, teacliers and societies, and a warfare more or less with most artists. The methods and ideals, however, of the pre-Raphaelite Brotherhood were his, and his pic- ture of 'Autumn,' exhibited in 1862, is a wonder- ful example of the work of this school of artists, carried out to a logical issue, and with marvellous perfection. It is probable, however, that the repu- tation of Sandys will rest mainly upon liis por- traits of Mrs. Anderson Rose, 1863, Mrs. Jane Lewis, 1864; and ' Medea,' 1869. These are lumin- ous and f Tcible works, brilliant in colouring, full of detail, and exquisitely finished. They partake
strongly of a sympathy with early Flemish work,
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