Page:Bryan's dictionary of painters and engravers, volume 5.djvu/52

 was known until the researches of recent writers threw some light upon their history. It is now established that Jan Sanders was a pupil of Hendrik van Cleef, the elder, in 1519, at Antwerp, and that in 1535 — 1537 he had himself set up an atelier for pupils in that city. In 1547 — 1548 he was Dean of the Society of Saint Luke. By his wife, Barbe de F&vre, he had two daugliters, Christina and the Catharina mentioned above. Towards the close of his career he migrated to Haarlem, where he settled. A certain similarity between his style and that of Quentin Matsys has caused it to be surmised that he was a pupil of that artist. His dates of birth and death are unknown, but Guic- ciardini, in his work published in 1666. speaks of him amongst deceased artists. The following works by liiiu are known :

Antwerp' Museum. The Calling of St. Matthew. Munich. Pinakotliek. A Holy Family. 1541. „ ,. Isaac blessing Jacob. „ The Calling of St. Matthew. Paris. Louvre. Tobias curing bis Father's Blindness. (Dated 1555.) Vienna. Gallery. The Calling of St. Matthew. {Three versions.) „ „ St. 'SVilliam. „ „ St. Jerome.

SANDERS, John. It is not possible to state with absolute certaintj- who this artist was, but he is believed to have been the son of a pastel painter named John Saunders, who lived at Stourbridge, and to have adopted a different spelling for his name to that used by his father. He appears at the Royal Academy Schools in 176'J, winning a silver medal in the following year, and in 1771 ' sending in pictures for exhibition. Even those that are accredited to him may possibly have been the work of his father, as in 1775 one edition of the catalogue of the Royal Academy describes hhn as "John Saunders, Junior." in 1778 he I was living at Norwich, and in 1790 at Bath, and I during those years his name was certainly spelt | without the " u." Fanny Burney refers to his j portrait of Princess Charlotte of Wales, and in the houses about Bath there are several clever portraits attributed to his hand. If he was the son of John Saunders he was probably born in 1750 ; he certainly died near Bristol in 1825, and he left one son.

SANDERS, John, painter, practised in London, and exhibited at the Academy a picture of St. Sebastian in 1772, and a ' Jael and Sisera' in 177o.

SANDEliS, John, probably the son of the last- named John Sanders, exhibited at the Academy from 1775 till 1820.

SANDERS, John Arnold. This man was the son of John Sanders, and was born at Bath about 1801. He executed a few clever water-colours of landscapes, and some admirable portraits in pencil, tinted with colour. He also tried miniature paint- ing, but when about thirty years old got into some difficulty with regard to one of his pupils, emigrated to Canada, and was afterwards lost sight of.

SANDFORD, Francis, an Irish heraldic artist, born in County Wicklow in 1630 of a father who was an architect and builder of fortifications. He became a pursuivant at Heralds' College in 1661, and a Herald in 1676, but after the flight of Jaujes II. he sold his office at the College of Arms to the nest person on the roll, and retired to a small house in London, much dissatisfied with political events. Four years afterwards he died in Newgate Prison, where he had been confined for debt in January 1694, and all memory of his beautiful drawings, his copper-plate engravings, and his genealogical works, seems by that time to have been forgotten, so that he was buried as a poor man, and under somewhat distressing circum- stances. His great work is the 'Genealogical History of the Kin^s of England,' which he illustrated with very remarkable arnmrial en- gravings, and besides that he jToduced half-a- dozen other important heraldic works. He was strongly attached to the Stuart monarchs, carrying his enthusiasm for thom almost to the extent of a cult. He was an earnest Catholic, and had the greatest hatred of the rebellion that brought over William III., and it was probably owing to his religion and his politics that he was neglected in BO scandalous a I'.ianner.

SANDHAAS, Karl, painter, born at Haslach, in Baden, in 1801. After some preliminary study at Carlsruhe, he went in 1820 to Munich, where he was for a time the pupil of Cornelius, and completed his art education at Milan. In 1822 he settled in Frankfort, painting chiefly devotional works from the New Testament history. He also etched a set of four fanciful plates in 1844, published under the name of 'Triiume und Scliiiume des Lebens,'

SANDORS, Thomas, Dutch engraver, who settled in London soon after the middle of the 18th century. Joining the St. Martin's Lane Academy, he ex- hibited there till 1775. There are some views of Worcestershire engraved by him (1777-81).

SANDRART, Jakob von, a nephew of Joachim Sandrart, was born at Frankfort in 1630, and was instructed in engraving by Cornelius Danckerts and Willem Hondius, under whom he worked first at the Hague and aftem-ards at Dantzic. He engraved a great number of plates, which are executed with the graver in a clear, neat style. His best prints are his portraits, among which are the following:

The Emperor Endolph II. Ferdinand II. — — - — Ferdinand III. Frederick, Prince of Morway. Sophia, Electoral Princess of Saxony. Ferdinand Maria, Duke of Bavaria. Joachim Sandrart ; inscribed Seciili iwstri ApelUs. Joannes Paulns Auer. Painter. Nagler has given a full list of his plates. He died at Nuremberg in 1708.

SANDRART, Joachim von, painter and writer on art, was born at Frankfort in 1606, and w-as in- structed in the rudiments of design by Matthaus Merian and Theodorus de Bry. At the age of fifteen he went to Prague, where he worked for a time at engraving under Gillis Sadeler, who recommended him to exchange the graver for the brush. Sandrart then went to Utrecht, where he became a disciple of Gerard Honthorst. It is said that when Hunthorst was invited to Engl.and by Charles L, be engaged Sandrart to accompany him, that the king bespoke many pictures of hira, that he copied the portraits of Henry VIII,, Sir Thomas More, Erasmus, and others, by Holbein, for the Earl of Arundel, and that he remained in England till 1627, when he went to Venice. This however appears rather doubtful, though it is certain that he passed several years in Italy, and at Venice copied the finest pictures of Titian and Paolo Veronese. From Venice he went to Rome, where he resided some years, and was much employed by the Cardinal Barberini and the Prince Giustiniani, and was