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[[Image:Morganlfay.jpg|thumb|left|200px|''[[Morgan le Fay (Sandys painting)|Morgan le Fay]]'', (1864) [[Birmingham Museum & Art Gallery]]]]

Ricevute le prime lezioni di disegno dal padre, anche lui pittore, mostrò una dote naturale nella cura e nella bellezza del disegno. Nel [[1846]] Sandys frequentò la Norwich School of Design, nello stesso anno il suo talento fu riconosciuto dalla [[Society of Arts]]. Dimostrò le sue doti di disegnatore ottenendo un riconoscimento con la sua [[parodia]] del ''Sir Isumbras at the Ford'' di [[John Everett Millais]] nel [[1857]]. Nella caricatura il cavallo si era trasformato in una scimmia marchiata con la scritta ''J. R., Oxon'' riferita a [[John Ruskin]], su questa la figura del cavaliere era rappresentata come Millais, e i due bambini erano [[Dante Gabriel Rossetti]] e [[William Holman Hunt]].

Rossetti e Sandys divennero amici intimi e per più di un anno, fino all'estate del [[1867]], Sandys visse con Rossetti alla Tudor House (ora Queens House) nel [[Cheyne Walk]] a [[Chelsea (Londra)|Chelsea]]. Il lavoro di Sandys fu profondamente influenzato da quello dall'amico, e si concentrò maggiormente su soggetti [[mitologia|mitologici]] e [[ritratti]].

He was born in [[Norwich, England]] and received his earliest lessons in art from his father, who was himself a painter. His early studies show that he had a natural gift for careful and beautiful drawing. In 1846 Sandys attended the Norwich School of Design. In the same and next year his talent was recognized by the [[Society of Arts]]. He displayed great skills as a draughtsman, achieving recognition with his print parodying [[John Everett Millais]]'s ''Sir Isumbras at the Ford'' in 1857. The caricaturist turned the horse of Sir Isumbras into a donkey labelled J. R., Oxon. ([[John Ruskin]]). Upon it were seated Millais himself, in the character of the knight, with [[Dante Gabriel Rossetti|Rossetti]] and [[William Holman Hunt]] as the two children, one before and one behind. Rossetti and Sandys became intimate friends, and for about a year and a quarter, ending in the summer of 1867, Sandys lived with Rossetti at Tudor House (now called Queens House) in [[Cheyne Walk]], [[Chelsea, London|Chelsea]]. His own works were profoundly influenced by those of Rossetti. He focused mainly on mythological subjects and portraits.

By this time Sandys was known as a painter of remarkable gifts. He had begun by drawing for ''[[Once a Week]]'', the ''[[Cornhill Magazine]]'', ''[[Good Words]]'' and other periodicals. He drew only in the magazines. No books illustrated by him can be traced. So his exquisite draughtsmanship has to be sought for in the old bound-up periodical volumes which are now hunted by collectors, or in publications such as Dalziels' Bible Gallery and the Cornhill Gallery and books of drawings, with verses attached to them, made to lie upon the drawing-room tables of those who had for the most part no idea of their merits. Every drawing Sandys made was a work of art, and many of them were so faithfully engraved that they are worthy of the collector's portfolio. Early in the 1860s he began to exhibit the paintings which set the seal upon his fame. The best known of these are ''[[Vivien (Sandys painting)|Vivien]]'' (1863), ''[[Morgan le Fay (Sandys painting)|Morgan le Fay]]'' (1864), ''[[Cassandra (Sandys painting)|Cassandra]]'' and ''[[Medea (Sandys painting)|Medea]]'' (1868).