Lady Grace Charlotte Rose was the daughter of Captain Winterton Snow of the Madras Army and the wife of Sir William Anderson Rose, whose portrait Frederick Sandys also painted, along with several other members of the family. The armorial shield and crest in the top right of this picture carries the Rose family motto: “Constant and true.” Sandys was associated with the Pre-Raphaelite Brotherhood, and in this portrait, he bypassed the British portrait tradition exemplified by Joshua Reynolds and Thomas Gainsborough to draw on early Netherlandish and German paintings. Eclectic influences inform the details, from her gold jewelry and the jar in the foreground, which are modeled on antiquarian designs, to the traditional Japanese figures that appear on the screen behind her. These appropriations reflect Sandys’s sympathies with both Pre-Raphaelitism and aestheticism, including James McNeill Whistler and Albert Moore, who were similarly invested in strongly decorative effects and Eastern motifs.

Gallery label for installation of YCBA collection, 2016

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   The impact of early Netherlandish art and of the later Pre-Raphaelites can be detected in this smoothly painted portrait of the bejewelled Grace Charlotte, Lady Rose, daughter of Captain Winterton Snow of the Madras Army and wife of Sir William Anderson Rose, whose portrait Sandys also painted. So too, the elaborate screen behind her, painted with Japanese figures, demonstrates the fascination with Japonisme that Sandys shared with other avant-garde artists in England, such as Albert Moore and James McNeill Whistler. From the 1860s onward, with the opening up of Meiji Japan, western artists readily borrowed eastern elements and incorporated them into their pictures for purely decorative, rather than symbolic, purposes. The armorial shield and crest in the top right of the picture carries the Rose family motto: "Constant and true."

Gallery label for installation of YCBA collection, 2008

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