Later Victorian Portraits Catalogue

Self-portraits
Doubtful self-portraits
By other artists
Photographs
Undated photograph

Self-portraitsback to top

1848
Etching after portrait by Anthony Sands (see below, ‘By other artists, 1848’); colls Norwich Castle M., James Reeve Catalogue, 1916.119 (unique proof, signed and dated in plate ‘F.S. 1848’); and Fitzwilliam M., Cambridge, Sandys scrap album, 835, p.33 (tracing on tissue; exh. Frederick Sandys, Brighton MAG, 1974 [17], ill.). Ref. Elzea 2001, 1.B.6.

c.1848
Oil on canvas, head-and-shoulders, full-face, age 19 years; Norwich Castle M., 1909.41.2. Ref. Brighton 1974, no.318; and Elzea 2001, 1.A.18.

Oil on board, head-and-shoulders to right, with long hair; Leicester G., London, offered to NPG 2004 (offer no.155/2004), declined; with Peter Nahum at the Leicester G., Oct. 2008. Ref. Elzea 2001, 1.A.30 (‘Portrait in a broad-brimmed hat’).

Oil on canvas, ‘exactly like the self-portrait at the Castle Museum’; untraced. Ref. Elzea 2001, 1.A.19.

1860
Oil on canvas, ‘H and S. Body and face turned towards the dexter, grey eyes, full long wavy reddish hair; Dress: Black coat, high but wide open collar. Date 1860. Inscribed on back: “Portrait of Fred Sandys painted by himself in London, certified by his father in 1868”’; untraced; Rippon Hall, Heveningham, Norfolk, 1910 (ref. Duleep Singh [1928], vol.2, p.247). Ref. Elzea 2001, 2.A.10.

Doubtful self-portraitsback to top

Oil on canvas, head-and-shoulders, three-quarters to left; Uffizi, Florence, 258. Rejected by Elzea (see ‘Head of a young man with a beard and long hair’, Elzea 2001, 1.A.26).

Oil on canvas, attributed to Sandys c.1855, half-length to right, head turned to viewer, dressed as 16th-century cleric, crucifix on wall at left; coll. Scott Thomas Buckle, London, 111107i. Not in Elzea 2001.

Oil on canvas, attributed to Sandys, quarter-length to left, head turned to viewer, Van Dyck moustache; untraced; offered to NPG by J.H. Boxall, Norwich, c.1900. Photograph NPG SB (Sandys). See Ross 1912; not in Elzea 2001.

By other artistsback to top

mid-1830s
Watercolour on paper, oval, attrib. to Anthony Sandys, half-length to right, as a small child; Fitzwilliam M., Cambridge, Sandys scrap album, 835 A. Exh. Frederick Sandys, Brighton MAG, 1974 (316); ref. Elzea 2001, p.324.

1848
Oil on millboard by Anthony Sands; see NPG 1741.
Related etching (see above, ‘Self-portraits, 1848’).

1862
Pen and ink caricature drawing by George Du Maurier, head only, profile to left (inscr. ‘Sandys / 6ft.1’) in letter to Ellen Du Maurier, July 1862, evening at Little Holland House; untraced. Repr. Du Maurier 1951, facing p.224.
See also Du Maurier, Hunt, Millais, Prinsep, Walker, Watts
, Whistler.

1866
Design by Frederick Walker, Dear Arthur’s Round Table: An Evening at Moray Lodge, Campden Hill, Kensington, the residence of Mr Arthur J. Lewis, profile to left, standing at extreme right (no.12 in key); untraced. Ref. photo Witt L., Courtauld Inst., London; see also E.E. Leggatt (Walker) coll., 2 vols containing original letters, prints, drawings and facsimiles of images of and by Frederick Walker, BM, London, 1915,0710.1–27, vol. 2, f.61, no.399. Repr. Hacking 2000, p.14, fig.3.
See also Calderon, Du Maurier, Leighton, Millais, Prinsep, Walker.

1899–1900
Pastel drawing by Robert Ponsonby Staples, profile ‘while at work’; untraced; coll. the artist, offered to the NPG 1930 (offer no.15/1930), declined.

after c.1900
Tempera on millboard by Winifred Sandys, half-length to front, head resting on left hand, probably based on photograph attributed to Percy Wood (see below); untraced; coll. A.C.W. Crane, 1974. Exh. Frederick Sandys, Brighton, 1974 (319, ill.)


Posthumous portrait

1906
Watercolour on ivory miniature by Winifred Sandys, based on a photograph attributed to Percy Wood (see below), in a gunmetal locket with companion portrait of Mary Sandys; untraced; offered to NPG by Constance Sandys (offer no.72/1957), declined.

Photographsback to top

1860s
Two cartes-de-visite by unidentified photographer, whole-length, standing to right (slightly different poses); John Rylands UL, U. of Manchester, Fairfax Murray coll., Sandys photograph album, 1279/177. One of the cartes repr. Elzea 2001, p.32.

late 1890s/early 1900s
Photographs attributed to Percy Wood, [1] five known poses, different sittings:
(a) bromide print, head-and-shoulders, full-face, looking to right; colls NPG x26080; and The Rob Dickins Coll., Watts G., Compton, COMWG2008. 3707. Repr. Elzea 2001, p.365 (uncredited). The basis for the miniature by Winifred Sandys (see above, ‘Posthumous portrait, 1906’).
(b) platinum print, half-length to right, head turned to viewer, cigarette in right hand, arm resting on chairback; The Rob Dickins Coll., Watts G., Compton, COMWG2008.4321 (where attributed to Frederick Hollyer). Exh. Victorian Art World in Photographs, NPG, 1984 (38); repr. Maas 1984, p.115.
(c) head-and-shoulders, head turned to viewer (close to pose [b]); coll. A.C.W. Crane. Exh. Frederick Sandys, Brighton MAG, 1974 (321, ill. pl.177c).
(d) whole-length, seated to right, head turned to viewer; coll. A.C.W. Crane. Exh. Frederick Sandys, Brighton MAG, 1974 (321, ill. pl.177a); repr. Elzea 2001, frontispiece.
(e) half-length, seated and looking to right, left hand raised against cheek; coll. A.C.W. Crane. Exh. Frederick Sandys, Brighton MAG, 1974 (321, ill. pl.177b).
The Wood photographs are the representative images of Sandys, though showing him in old age.

Undated photographback to top

Photograph by unidentified photographer, full-face; BM, London (see O’Donoghue 1908–22, vol.4, p.25 1)).


Footnote
1) Percy Wood (d.1904) was a sculptor and founder member of the Punch Bowl Club. Sandys made a chalk drawing of him dated 1901 which apparently took four years to complete; see Elzea 2001, 5.44.

Carol Blackett-Ord