The blog today is about two talented early twentieth century painters who became lifelong friends and companions despite them having different ideas as to what was a “perfect” life. Ethel Sands preferred the life of a socialite and enjoyed...
The blog today is about two talented early twentieth century painters who became lifelong friends and companions despite them having different ideas as to what was a “perfect” life. Ethel Sands preferred the life of a socialite and enjoyed lavish soirees and was reputed to be one of the most important hostesses in cultured English society in the early twentieth century. However, Nan (Anna Hope) Hudson was more introverted, and craved a quiet rural lifestyle in her beloved France and Sands and Hudson apportioned their time between England and France to accommodate their lifestyle preferences . The art historian Wendy Baron described them as:
“…two independent, individual women with many tastes and interests in common, whose mutual love and understanding rescued them from the loneliness of spinsterhood…”
Ethel Sands (c.1927)
Ethel Sands was born on July 6th 1873 in Newport, Rhode Island. She was the first-born child of Mary Morton Hartpence and Mahlon Day Sands who married in 1872. It was Mahlon’s second wife. His first wife Edith Mintum died of typhus in 1868 whilst on a sea voyage. Mahlon Sands was secretary of the American Free Trade League, as well as being a partner of his deceased father’s pharmaceutical importing firm, A.B. Sands and Company. Mary and Mahlon also had two young sons, Mahlon Alanson Sands and Morton Harcourt Sands, who were five and eleven years younger respectively than their sister Ethel. The three children were brought up in a well-to-do upper-class family household.
Still Life with a View over a Cemetery by Ethel Sands (1923)
When Ethel was eleven-years-old the family left America for what was supposed to be a short trip to England but, once there, decided to base themselves in London which they thought was a good base for onward travelling to the European countries. However, they kept their house in Rhode Island and would return there once every year
Tea with Sickert by Ethel Sands (1912)
Mary and Mahlon moved amongst the wealthy London society, such as the Rothschild family and politicians, such as Gladstone, the writer Henry James and the artist John Singer Sargent. They were also part of Edward VII, the Prince of Wales’ “Malborough House” social circle.
Mrs Mahlon Day Sands by John Singer Sargent (1894)
Ethel’s mother Mary was considered to be a famous Society beauty of the day who had her portrait painted by Sargent and Henry James based his heroic character “Madame de Mauves” on her in his novella which centred on the troubled marriage of a scrupulous American wife and a far from scrupulous French husband. Ethel Sands inherited a taste for socialising from her American parents.
Nan Hudson playing Patience at Chateau d’Auppegarde
Ethel Sands’ happy family life came to a shuddering halt when she was thirteen for in May 1888, her father, whilst out riding through Hyde Park, was thrown from his horse and died, aged 46. Ethel’s mother was now tasked with bringing up the family on her own.
Nan Hudson c.1908
John Singer Sargent had encouraged Ethel to concentrate on her art and she took his advice for in 1894 when she was twenty-one, she decided to go to spend time in Paris to study painting. Ethel began her artistic education at the Académie Carrière in Paris. Her early paintings featured highly coloured still-life works and interior depictions. Sands first exhibited her work in an exhibition held at the Salon d’Automne, Paris in 1904. It was in 1894, whilst an art student that she met her lifelong partner Anna (Nan) Hope Hudson.
The Lamb Inn, Wallingford by Nan Hudson (1912)
Anna Hudson, best known as Nan Hudson, was born on September 10th 1869 in New York City. Her father was Colonel Edward McKenny Hudson, who died in 1892 at the age of sixty-seven; her mother had died in 1878 when Nan was just 9 years old. Having lost both parents, twenty-three year old Nan was left a large inheritance which was the result of her grandfather’s success as a partner of a banknote engraving organization, which later merged to become the American Bank Note Company. Now, a young woman of independent means, was able to choose her own future. She had developed a love of painting and decided to follow this love and decided that Paris offered the best opportunity to further her artistic knowledge. In the early days of living in the French capital she met Ethel Sands, a fellow American and art student who became her lifelong friend and companion.
Nan and Ethel studied together in 1896 at the studio of the French painter Eugène Carrière and then from January 1897 Nan also took classes with the Flemish painter Henri Evenepoel. The friendship between Ethel and Nan, which started as study friends, soon blossomed and before long, they became inseparable. This closeness is somewhat astonishing as the two women had totally different personalities. While Ethel Sands found life in London, with all its social distractions, irresistible, Nan Hudson preferred the quieter existence in Paris and the French countryside. However, they managed to compromise, dividing their time between France and England to satisfy both their yearnings, alternating periods of painting with travelling, socialising and entertaining.
Miss Hudson at Rowlandson House by Walter Sickert (c.1910)
The writer Virginia Woolf, in her diaries, described Nan Hudson as being dour and upstanding who was always stylishly dressed while the artist Walter Sickert, in a letter to the pair, described Nan as being the radiant and dashing horsewoman of a young man’s dreams. In 1910 Walter Sickert completed a portrait of Nan Hudson, standing hand on hip and looking directly at the viewer, and captures her independent spirit and flair. The painting was given the title Miss Hudson at Rowlandson House.
Portrait of Ethel Sands by Walter Sickert (1914)
After Nan and Ethel had made a trip to Venice, Nan completed a painting entitled Giudecca Canal and she had it exhibited at the Salon d’Automne in 1906. It was liked by the critics and greatly admired by Walter Sickert. At first, he did not realise that the work was by her but once he found out he contacted her offering her advice on painting for the future. This initial letter to her resulted in a long-running correspondence between them and genuine friendship that lasted for many years. In 1907 Sickert invited both Nan Hudson and Ethel Sands to join the Fitzroy Street Group, which he had just formed and meetings were held in his studio in Fitzroy Street, to the north of central London. The reason for this invitation could be because he admired their work or cynics would say it was more to do with their financial and social status both of which Sickert wanted to “explore”. Both women accepted the invitation. Their main purpose of the group was to explore contemporary styles and methods, which they believed would challenge the conventional traditions of the New England Art Club. It was to be the establishing of the first artists’ collective.
Ethel Sands by Lady Ottoline Morrell vintage snapshot print, 1909 NPG Ax140123 © National Portrait Gallery, London
In 1911 many of the Fitzroy Group Group’s members, including Walter Sickert, formed the nucleus of the new Camden Town Group, and by November 1913 the Fitzroy Street Group had ceased to exist. Unfortunately for Ethel and Nan the Camden Town Group was only open to male artists and so neither Nan or Ethel were not invited to join this new group. However, in 1913, a new grouping was formed known as the London Group. The London Group was formed by a merger of the Camden Town Group and the English Cubists, later known as the Vorticists. It was the coming together of radical young artists who were defying the stranglehold which the Royal Academy had on exhibiting new works of art. The group was open to both male and female artists and Ethel Sands and Nan Hudson became founder members.
The Visitor by Nan Hudson
Up till this time Nan Hudson had only exhibited her work in Paris at the Salon d’Automne but through Ethel Sand’s contacts within the London art scene she began to show her work in London and exhibited her work at the New English Art Club, the Allied Artists’ Association and the Leicester Galleries.
Château d’Auppegard by Nan Hudson
At the start of the First World War, Hudson and Sands went to France and helped set up a hospital for wounded soldiers near Dieppe. This was forced to close but Nan Hudson continued to nurse both in England and in France until autumn 1918. During the spell in Normandy during the war Nan Hudson fell in love with the area and after the war in 1920, she bought the Château d’Auppegard. It was a seventeenth-century house with a grey slate gabled roof which lay about ten miles inland from Dieppe in the Normandy countryside. This became their dream home and she and Ethel Sands spent the summers together and devoted much time and energy in its restoration and decoration. The two women renovated the dilapidated dwelling, even commissioning murals from the Bloomsbury artists Vanessa Bell and Duncan Grant for the loggia.
A Dressing Room by Ethel Sands
Nan Hudson completed a painting depicting her beloved chateau which is now part of the Tate collection. She used a restricted palette of cool tones. The depiction is typical of her later works when she tended towards landscapes with an element of architectural interest. From 1926 onwards Nan concentrated on depicting rural landscapes found around the outskirts of Dieppe and the commune of Auppegard. Many other landscape works came from the extensive touring around France in the Spring and early Autumn done by her and Ethel Sands.
Honfleur Harbour by Nan Hudson
Very few of Ethel Sands and Nan Hudson’s paintings survived the Second World War. Ethel Sands’ house in London was destroyed following a direct hit on it during the Blitz which obliterated much of both of their work. As well as this, Château d’Auppegard itself sustained extensive damage from bombing and looting that followed, when many drawings and paintings, including a collection of works by Sickert and Augustus John, were stolen, never to be seen again. It is very likely that paintings by the Ethel and Nan were therefore lost too. Ethel and Nan returned to Auppegard in May 1946 and were horrified to witness the devastation of their beloved home. One visitor to the chateau was Vanessa Bell who visited them in that September and she wrote about what she witnessed first-hnd:
“…The house has been terribly damaged by a flying bomb which exploded near. They have managed to repair the worst things and when one drives up to it [it] is still very lovely. But inside only the dining room is usable, and they have hardly any furniture and just enough for themselves. Poor old things – as they say, they are too old to begin all over again and they certainly do look very aged and decrepit…”
Still Life with Picture of the Madonna by Ethel Sands
However. the two occupants of the chateau, both then in their seventies, would not be defeated by the devastation and set about trying to repair it. Age finally defeated them as far as renovating the chateau and Nan began to worry about its fate once she and Ethel had died. In the end they decided to give the house over to a young friend of theirs, an amateur painter, Louis le Breton, on the understanding that it would eventually be bequeathed to the French nation. He, like the two owners of the chateau, shared their passionate love of the house and they felt sure that after they had died, his love of the Auppegard property would be preserved and cherished. Hudson and Sands continued to live at the château within a specially adapted self-contained apartment but their careful planning for the future of the building came to naught when Louis le Breton pre-deceased both of them, dying suddenly in the garden at Auppegard in March 1957.
Still Life with Books and Flowers by Ethel Sands
Nan Hudson became too ill to live there and was cared for initially by her life-long companion, Ethel and latterly at a nursing home in Kilburn, London, dying just a few months later in September 1957 aged eighty-eight.
Auppegard Church from the Chateau by Ethel Sands
Her funeral was held at Auppegard and she was buried in the churchyard facing her beloved château.
Ethel Sands died on March 19th 1962, aged eighty-eight.
