Frederick Joseph Sang was an accomplished British painter of maritime subjects, views and harbours.

Born in St John’s Wood, London, Sang’s father was the distinguished decorative artist Frederick Sang, responsible for numerous neo-classical ceiling designs and frescoes. His commissions included ornate decorative schemes for St Pancras station, London’s Royal Exchange and Spencer House at St James’ Palace among others.

Young Sang was destined to follow in his father’s footsteps and was probably trained by him. But alongside his work as a ‘decorative painter’, he also developed a keen interest in the emerging ‘plein air’ painters of France. The two styles were a world apart - on one hand, his father’s approach required mathematical precision and adherence to convention, while on the other, the French technique was liberal, expressive and natural.

Around 1875, he moved to Paris with his wife, Carolina Jane Garth Sang, where the pair had at least one child. It appears he stayed in the French capital until the death of his wife in 1900, while also maintaining a studio in St John’s Wood. Interestingly, his English studio was next to the home of Scottish artist, John Robertson Reid (1851-1926).

During his time in France, he achieved much success, showing numerous works at the Paris Salon. A critic remarked that his “very fine sea pieces” display “true English feeling for the sea in the expanse of waves” and that “the English visitor will scarcely find in the gallery any sea paintings that will please him so well as these”. Another requested that he should “let his own countrymen see more of his realistic paintings of the briny”.

His most compelling works were completed ‘on the spot’ with impulsive brushwork and quick observations. They’re reminiscent of studies by the earlier French ‘Barbizon School’ painters. Yet, at times, he also worked with greater control - perhaps an element of his father’s regimen was prevalent in his decision-making.

In 1891, he debuted at London’s Royal Academy and went on to exhibit a further eight paintings. Many of his later compositions depict views of quiet harbours with sedentary sailboats bobbing alongside their moorings. It’s likely that, as an experienced sailor, he travelled extensively around the British Isles.

He returned to London around 1901 and remained in the capital for thirty years.

He’s represented at the Jersey Museum and Art Gallery and North Hertfordshire Museum.

Exhibited

Royal Academy, Paris Salon, Dudley Gallery.

Public Collections

Jersey Museum and Art Gallery, North Hertfordshire Museum.

Timeline

1846

Born in St John’s Wood, London, to Frederick Sang, an architect/decorative artist, and Elizabeth Sang.

1851

Lived in Harrow, Middlesex, with his parents, siblings and servants.

1861

Lived in Hampstead, Middlesex, with his parents and siblings.

1873

Married Carolina J Gaerth of Frankfort-on-the-Maine at St John’s Wood, London. Occupation recorded as “Marine Artist”.

1878

Shown at the Paris Salon as reported in the Sheffield and Rotherham Independent.

“There are also several Englishmen who reside in Paris, and who take their places among French exhibitors. Conspicuous among these this year, for the character of his work, is Mr. Frederick Joseph Sang, who shows two very fine sea pieces, both representing scenes in Jersey. One is called ‘Le phare de Corbière à Jersey-clair de lune’, and the other, ‘Orage sur la cote de Jersey’. 

The chief object in the first is the lighthouse, with its bright flame casting its rays afar over the boiling ocean. The piling up of the black rock against the lighthouse walls, and the breaking of the foam upon it in the moonlight are very striking features of this painting. 

There is the true English feeling for the sea in the expanse of waves, and in this as in the other picture, the artist has shown great mastery over difficult effects of sky. The second work is a pure study of sea effects under conditions of great commotion; the treatment is bold and successful under a somewhat daring choice of standpoint, seeing that close in the foreground run deep troughs and gulfs of the sea. The English visitor will scarcely find in the gallery any sea paintings that will please him so well as these.”

1879

Lived in Paris at 63 Rue de Caumartin.
Shown at the Dudley Gallery in London with ‘Port of Newlyn near Penzance’. His address was recorded as 62 rue Caumartin, Paris.
Shown at the Paris Salon (exhibited as Frederic-Joseph Sang).

1883

Shown at the Paris Salon as reported in The Table.

“An English Catholic artist has distinguished himself at the Paris Salon; Mr. Frederick Sang's picture ‘On the Goodwin Sands’ having attracted the attention and secured the unqualified praise of all the critics. Mr. Sang is himself half a sailor, and his pictures of the sea have a real flavour of the salt water about them. A London daily contemporary, speaking of Mr. Sang's last picture, says that it was ‘painted on the spot with a dash and vigour that mark the artist out as a promising painter of seascape.’

[...]

Considering that a vast majority of Englishmen are sea-loving children of a sea-loving race, Mr. Frederick Sang should let his own countrymen see more of his realistic paintings of the briny.”

1891

Debuted at the Royal Academy with ‘Road near Grays, Essex’. He exhibited a total of nine works between 1891 and 1901. His studio was at St John’s Wood, London, next to the home of Scottish artist, John Robertson Reid (1851-1926).

1900

Death of wife in Paris.
Lived in Kentish town, London. 

1901

Boarded in St Pancras, London, with Clement and Bertha Pile. He was widowed. Occupation recorded as “Artist (Painter)”. 

1911

Lived alone in St Pancras. Occupation recorded as “Artist for pictures”.

1931

Died in St Pancras, London.