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Anthony Frederick Augustus Sandys Portrait of Mrs Jane Brand
作品估价：GBP 30,000 - 50,000
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图录号：
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拍品名称：
Anthony Frederick Augustus Sandys Portrait of Mrs Jane Brand
拍品描述：
Property from a British Private Collection
Anthony Frederick Augustus Sandys
British
1832 - 1904
Portrait of Mrs Jane Brand
oil on canvas
Unframed: 112 by 86.5cm., 44 by 34in.
Framed: 149.2 by 124cm., 58¾ by 48¾in.
Commissioned by the sitter's son, James Brand, circa 1873
Bequeathed to his brother Andrew A. Brand, by 1898
Bequeathed to his nephew James Harvey Brand, by 1934
Bequeathed to his cousin Mrs Grizel (Wilson) Richmond
Thence by descent
Private collection
Norwich Mercury, 15 May 1875, p. 5
Cosmopolitan, 29 May 1875, p. 18
Esther Wood, 'A Consideration of the Art of Frederick Sandys', winter number ofThe Artist, London, 1896, p. 47
Betty Elzea, Frederick Sandys 1829-1904 A Catalogue Raisonné, Woodbridge, 2001, p. 251 cat. no. 3.55, p. 67, plate 45, illustrated in colour
Betty Elzea, A Singular Man - A Documented Life on an Artist, Frederick Sandys: 1829-1904, Norwich, 2023, pp. 150-151, 152, illustrated in colour
London, Royal Academy, 1875, no. 1212
London, Knightsbridge, Exhibition of International Art, 1898, no. 10 (lent by A. Brand)
Venice, XIXa Esposizione Biennale Internationale d'Arte, 1934, no. 30 (lent by J.H. Brand, Dorset)
Nottingham Castle Museum and Art Gallery, Frederick Sandys and the Pre-Raphaelites, 2001-2002
‘As is usual with his portraits, the accessories are simply wonderful. Mrs Brand is sitting, full face, with a flower in one hand and a fan in the other; is dressed in black, and supported by a background of brilliant flowers. One can only come to the conclusion here that it is unmistakably a true portrait and a great master.’ (Norwich Mercury, 15 May 1875, p. 5)
Jane Wilson Brand was born in 1804 in Milnathort, Kinross-shire and lived until at least 1881. She was married to the China and East India merchant James Brand (1798-1860). They lived at Bedford Hill House in Streatham, Surrey and had five sons and four daughters, several of whom continued to live with her following the death of her husband in 1860. The Brands were part of a wealthy elite living in the rural countryside of Streatham. Their daughter Jane (1830-1885) married another Streatham resident, the artist William Dyce, whilst another son, William Thomas (born 1845) married Clara Flower, daughter of the land-developer and merchant Philip Flower of Furzedown House in Streatham. In 1873 Sandys exhibited a beautiful portrait of Clara at the Royal Academy under the title Miss Clara Flower – she had married Brand in July 1871 so the portrait was presumably begun before this and completed in 1872 when it was dated. In 1872 Sandys drew a superb portrait of Clara’s handsome brother Cyril, Baron Battersea (Christie’s, London, 14 December 2023, lot 6). He was an avid patron of the arts with Whistler and the Pre-Raphaelites as favourites – he had a bedroom designed by Carlo Bugatti. He married Constance de Rothschild, whose family also patronised Sandys. Whilst Lady Battersea devoted much of her time to charitable causes, including greatly improving the standards of living for female prison inmates, her husband was an avid sportsman, connoisseur and aesthete who indulged his exotic tastes to the full. He had many friends in high places and in low places too. It was probably Cyril or Clara who suggested to James Brand junior that Sandys paint Jane Brand senior. By 1873 when the portrait was commissioned, James Brand was a widower with six children living with his mother at Bedford Hill House and running the family business. It would be the first of at least eight family portraits by Sandys.
On 17 July 1874 Sandys wrote to William Michael Rossetti, hoping to get the advice of his brother Dante Gabriel Rossetti, regarding this portrait; 'I want you to see it also... There is an awful lot of work in the picture in fact it consists entirely of cap - strings and white stomacher.' (letter quoted by Elzea, p. 251) A preliminary coloured chalk drawing, of roughly the same size as the oil portrait, is in a private collection in Australia - there are minor differences, such as the placing of the rose in the sitter's other hand.
In 1896 Esther Wood described the painting as one of 'the artist's finest studies of old age... her silver hair and dainty lace ruffles and fan painted with the utmost softness and grace, and relived in colour by a background of oleanders and magnolias.' (Esther Wood, 'A Consideration of the Art of Frederick Sandys', winter number of The Artist, London, 1896, p. 47)
This picture is among Sandys’ most superb oil portraits and was well received at the Royal Academy in 1875.The art critic for Cosmopolitan was particularly enthusiastic; ‘The Tenth Gallery has one of the finest pictures in the Academy – a magnificent half-length full-faced portrait in oil of “Mrs Brand,” who is a venerable lady, both lovable and lovely. For execution, colour, and mathematical precision the work is unsurpassed. Mr. Frederick Sandys (the artist) has indeed shown us what modern painting is. The novelty of introducing a back ground of flowers shows a careful study and forethought. The accessories are in perfect unison – light and shade natural. The poetry, feeling, imagination on the face are impossible to describe. A calm, serene, holy feeling pervades the whole thing, and Mr. Sandys has achieved a triumph.’ (3 June 1875, p.7) Illustrated London News also congratulated the artist; ‘The extraordinarily elaborate finish and the pure colouring which have distinguished small portraits of elderly ladies by Mr. Sandys reappear on the scale of life in the very remarkable half-length of Mrs Brand. The artist has been exceptionally fortunate in his sitter; and the kindly, amiable expression and silvery hair are so perfectly relieved by the soft black and white crape…’ (29 May 1875, p. 18)
Anthony Frederick Augustus Sandys
British
1832 - 1904
Portrait of Mrs Jane Brand
oil on canvas
Unframed: 112 by 86.5cm., 44 by 34in.
Framed: 149.2 by 124cm., 58¾ by 48¾in.
Commissioned by the sitter's son, James Brand, circa 1873
Bequeathed to his brother Andrew A. Brand, by 1898
Bequeathed to his nephew James Harvey Brand, by 1934
Bequeathed to his cousin Mrs Grizel (Wilson) Richmond
Thence by descent
Private collection
Norwich Mercury, 15 May 1875, p. 5
Cosmopolitan, 29 May 1875, p. 18
Esther Wood, 'A Consideration of the Art of Frederick Sandys', winter number ofThe Artist, London, 1896, p. 47
Betty Elzea, Frederick Sandys 1829-1904 A Catalogue Raisonné, Woodbridge, 2001, p. 251 cat. no. 3.55, p. 67, plate 45, illustrated in colour
Betty Elzea, A Singular Man - A Documented Life on an Artist, Frederick Sandys: 1829-1904, Norwich, 2023, pp. 150-151, 152, illustrated in colour
London, Royal Academy, 1875, no. 1212
London, Knightsbridge, Exhibition of International Art, 1898, no. 10 (lent by A. Brand)
Venice, XIXa Esposizione Biennale Internationale d'Arte, 1934, no. 30 (lent by J.H. Brand, Dorset)
Nottingham Castle Museum and Art Gallery, Frederick Sandys and the Pre-Raphaelites, 2001-2002
‘As is usual with his portraits, the accessories are simply wonderful. Mrs Brand is sitting, full face, with a flower in one hand and a fan in the other; is dressed in black, and supported by a background of brilliant flowers. One can only come to the conclusion here that it is unmistakably a true portrait and a great master.’ (Norwich Mercury, 15 May 1875, p. 5)
Jane Wilson Brand was born in 1804 in Milnathort, Kinross-shire and lived until at least 1881. She was married to the China and East India merchant James Brand (1798-1860). They lived at Bedford Hill House in Streatham, Surrey and had five sons and four daughters, several of whom continued to live with her following the death of her husband in 1860. The Brands were part of a wealthy elite living in the rural countryside of Streatham. Their daughter Jane (1830-1885) married another Streatham resident, the artist William Dyce, whilst another son, William Thomas (born 1845) married Clara Flower, daughter of the land-developer and merchant Philip Flower of Furzedown House in Streatham. In 1873 Sandys exhibited a beautiful portrait of Clara at the Royal Academy under the title Miss Clara Flower – she had married Brand in July 1871 so the portrait was presumably begun before this and completed in 1872 when it was dated. In 1872 Sandys drew a superb portrait of Clara’s handsome brother Cyril, Baron Battersea (Christie’s, London, 14 December 2023, lot 6). He was an avid patron of the arts with Whistler and the Pre-Raphaelites as favourites – he had a bedroom designed by Carlo Bugatti. He married Constance de Rothschild, whose family also patronised Sandys. Whilst Lady Battersea devoted much of her time to charitable causes, including greatly improving the standards of living for female prison inmates, her husband was an avid sportsman, connoisseur and aesthete who indulged his exotic tastes to the full. He had many friends in high places and in low places too. It was probably Cyril or Clara who suggested to James Brand junior that Sandys paint Jane Brand senior. By 1873 when the portrait was commissioned, James Brand was a widower with six children living with his mother at Bedford Hill House and running the family business. It would be the first of at least eight family portraits by Sandys.
On 17 July 1874 Sandys wrote to William Michael Rossetti, hoping to get the advice of his brother Dante Gabriel Rossetti, regarding this portrait; 'I want you to see it also... There is an awful lot of work in the picture in fact it consists entirely of cap - strings and white stomacher.' (letter quoted by Elzea, p. 251) A preliminary coloured chalk drawing, of roughly the same size as the oil portrait, is in a private collection in Australia - there are minor differences, such as the placing of the rose in the sitter's other hand.
In 1896 Esther Wood described the painting as one of 'the artist's finest studies of old age... her silver hair and dainty lace ruffles and fan painted with the utmost softness and grace, and relived in colour by a background of oleanders and magnolias.' (Esther Wood, 'A Consideration of the Art of Frederick Sandys', winter number of The Artist, London, 1896, p. 47)
This picture is among Sandys’ most superb oil portraits and was well received at the Royal Academy in 1875.The art critic for Cosmopolitan was particularly enthusiastic; ‘The Tenth Gallery has one of the finest pictures in the Academy – a magnificent half-length full-faced portrait in oil of “Mrs Brand,” who is a venerable lady, both lovable and lovely. For execution, colour, and mathematical precision the work is unsurpassed. Mr. Frederick Sandys (the artist) has indeed shown us what modern painting is. The novelty of introducing a back ground of flowers shows a careful study and forethought. The accessories are in perfect unison – light and shade natural. The poetry, feeling, imagination on the face are impossible to describe. A calm, serene, holy feeling pervades the whole thing, and Mr. Sandys has achieved a triumph.’ (3 June 1875, p.7) Illustrated London News also congratulated the artist; ‘The extraordinarily elaborate finish and the pure colouring which have distinguished small portraits of elderly ladies by Mr. Sandys reappear on the scale of life in the very remarkable half-length of Mrs Brand. The artist has been exceptionally fortunate in his sitter; and the kindly, amiable expression and silvery hair are so perfectly relieved by the soft black and white crape…’ (29 May 1875, p. 18)