Frederick Richard Pickersgill Sold at Auction Prices

Attributed to F. R. Pickersgill. Fantasy Court Scene, oil

Attributed to Frederick Richard Pickersgill (British, 1820-1900) Oil on card stock, signed "F.R. Pickersgill" lc, sheet size: 8 3/4 x 7 in., framed size: 11 1/4 x 9 3/4 in.

Frederick Richard Pickersgill (British, 1820-1900 ) Portrait Oil On Canvas

Medium: Oil On Canvas Painting Size: 27 x 20 inches Frame Size: 33.25 x 26.25 inches Signature: Signed Artist: Frederick Richard Pickersgill (British, 1820 - 1900 )

Frederick Richard Pickersgill, RA (British, 1820-1900) 'The Departed', unsigned, pencil, 18 x 28 cm, framed and glazed 39 x 48 cm

Frederick Richard Pickersgill, RA (British, 1820-1900) 'The Departed', unsigned, pencil, 18 x 28 cm, framed and glazed 39 x 48 cm Purchased from Campbell Wilson, Hove, East Sussex (label verso) April 2005 (Exhibition catalogue included with the lot - no.19)

FREDERICK RICHARD PICKERSGILL (London, 1820-Isle of Wight, 1900). “The Abdication of Richard II.” Oil on canvas. It has a 19th century frame with flaws. Signed in the lower left corner.

FREDERICK RICHARD PICKERSGILL (London, 1820- Isle of Wight, 1900). "The Abdication of Richard II. Oil on canvas. It has a 19th century frame with faults. Signed in the lower left corner. Measurements: 74 x 104 cm; 103 x 132 cm (frame). Richard II was the last king of the Plantagenet dynasty, which was succeeded by the Lancastrian dynasty, starting the period of the Wars of the Two Roses, between this one and the one of York. His predecessor was his grandfather, Edward III, and his successor, Henry IV, who was also Edward's grandson and Richard's first cousin. In this case the artist recreates the moment when Henry IV abdicates, using a composition that has a long tradition in the history of art, with the figures arranged in the form of a frieze in such a way as to allow the work to be easily understood. The scene is based entirely on the imagination of the author, who idealises the scene, thus evoking a glorious past, a device very much to the taste of the 19th century. During this period the historicist trend developed to a great extent, due to the Enlightenment interest of the previous century and the exaltation of a past that had little to do with the reality of the moment. Furthermore, historicist paintings were the most highly valued by the academy, as the artist's skill in other genres such as still life or landscape could be discerned in them. Aesthetically the work is close to the painting of Frederick Richard Pickersgill, an English painter and book illustrator. Born in London into a family of artists, he was admitted to the Royal Academy schools in 1840. He exhibited regularly at the Royal Academy between 1839 and 1875. The Burial of Harold of Pickersgill was accepted as a decoration for the Houses of Parliament in 1847 for the sum of £500. He also produced some landscapes under the influence of the Pre-Raphaelites. In 1856, Robert Howlett photographed Pickersgill at the Institute of Photography as part of a series of portraits of artists. The image was part of a group exhibited at the Manchester Art Treasures Exhibition in 1857. Pickersgill was elected an Associate of the Royal Academy in 1847 and a full Royal Academician in June 1857, but retired in 1888. He was Keeper of the Royal Academy Schools from 1873 to 1887.

Frederick Richard Pickersgill, RA (1820 - 1900), Ferdinand and Miranda from The Tempest

Property of a gentleman  Frederick Richard Pickersgill, RA (1820 - 1900) Ferdinand and Miranda from The Tempest Oil on canvas  N.B Pickersgill's Orsino and Viola   Dimensions: (Canvas) 18 in. (H) x 12.5 in. (W) (Frame) 29 in. (H) x 24.5 in. (W)

Frederick Richard Pickersgill, RA (British, 1820-1900) A rest on the hill

Frederick Richard Pickersgill, RA (British, 1820-1900) A rest on the hill signed with initials and dated 'FRP.RA.1861' (lower right) oil on canvas 50.8 x 61.6cm (20 x 24 1/4in).

Frederick Richard Pickersgill, RA (British, 1820-1900) A rest on the hill

Frederick Richard Pickersgill, RA (British, 1820-1900) A rest on the hill signed with initials and dated 'FRP.RA.1861' (lower right) oil on canvas 50.8 x 61.6cm (20 x 24 1/4in). For further information on this lot please visit the Bonhams website

Frederick Richard Pickersgill (1820-1900): Portrait of a Lady and Child

Oil on panel, unsigned. 6 1/2 x 4 3/4 in., 13 x 11 1/4 in. (frame).

Frederick Pickersgill (UK,1820-1900) oil painting antique

ARTIST: Frederick Richard Pickersgill (British, 1820 - 1900) NAME: Two Strings to Her Bow MEDIUM: oil on board. Board applied to newer board. CONDITION: Board has two horizontal cracks. Some scratches/paint losses. No visible inpaint under UV light. AS IS (see pictures carefully) SIGHT SIZE: 30 x 22 inches / 76 x 55 cm FRAME SIZE: 32 x 24 inches / 81 x 60 cm SIGNATURE: lower left SKU#: 118351 US Shipping $90 + insurance. BIOGRAPHY: Frederick Richard Pickersgill was an English painter and book illustrator. Born in London into a family of artists, he was admitted to the Royal Academy Schools in 1840. He exhibited regularly at the Royal Academy between 1839 and 1875. Most of these works depicted scenes drawn from literature (including Edmund Spenser and John Milton), religion, and history.Pickersgill's The Burial of Harold was accepted as a decoration for the Houses of Parliament in 1847 for the sum of ВЈ500. He also did some landscapes under the influence of the Pre-Raphaelites.In 1856 Pickersgill was photographed at The Photography Institute by Robert Howlett, as part of a series of portraits of artists. The picture was among a group exhibited at the Art Treasures Exhibition in Manchester in 1857. In addition, Pickersgill seems to have experimented with photography himself.Pickersgill was elected an Associate of the Royal Academy in 1847 and a full Royal Academician in June 1857, but retired in 1888. He was keeper of the Royal Academy Schools from 1873 to 1887.

Frederick Richard Pickersgill RA, British 1820-1900- Mother and two children in a wood; waterco

Frederick Richard Pickersgill RA, British 1820-1900- Mother and two children in a wood; watercolour, signed and dated 1866, 50.5x38.5cm Please refer to department for condition report

FREDERICK RICHARD PICKERSGILL, R.A. (UK, 1820-1900)

"Two Strings to Her Bow", oil on panel, signed lower left, in the original gilt frame liner, (with his name misspelled!), OS: 32" x 24", SS: 29 1/2" x 21 1/2". Two shrinkage cracks, scuffs.

FREDERICK RICHARD PICKERSGILL (British, 1820-1900) Chivalric Love 1849 oil on panel

FREDERICK RICHARD PICKERSGILL (British, 1820-1900) Chivalric Love 1849 oil on panel signed and dated lower right: F R Pickersgill 1849 24 x 19.5cm (oval) PROVENANCE: H. Martyn Kennard Esq, Lowndes Square, London (partial collector's label verso) Christie's, Victorian, Pre-Raphaelite & British Impressionist Art, London, 19 June 2014, lot 62 acquired from the above OTHER NOTES: Previously titled 'A Nymph Crowning a Warrior'.

FREDERICK RICHARD PICKERSGILL (1820-1900) TONDO STUDY FOR 'PERSEUS AND ANDROMEDA'

pencil and watercolour, framed (Dimensions: 10.5cm diameter) (10.5cm diameter)

FREDERICK RICHARD PICKERSGILL R.A. (SCOTTISH 1820-1900) NEWS FROM ABROAD, VENICE 36cm x 46cm (14in x 18in)

FREDERICK RICHARD PICKERSGILL R.A. (SCOTTISH 1820-1900) NEWS FROM ABROAD, VENICE Oil on board 36cm x 46cm (14in x 18in)

Frederick Richard Pickersgill, R.A. (1820-1900) Britomart unarming oil on canvas, shaped top 50 x 42 in. (127 x 106.7 cm.)

Frederick Richard Pickersgill, R.A. (1820-1900) Britomart unarming signed 'F.R. Pickersgill ARA.' (on the backboard) oil on canvas, shaped top 50 x 42 in. (127 x 106.7 cm.)

Attr. to Frederick Richard Pickersgill (1820-1900)

Girl and her Babydoll. Signed Lower Left. Frederick Richard Pickersgill was an English painter and book illustrator. He was admitted to the Royal Academy Schools in 1840. He exhibited regularly at the Royal Academy between 1839 and 1875. Most of these works depicted scenes drawn from literature, religion, and history. Sight Size: 23 1/2 x 19 1/2in. Overall Size: 29 1/2 x 25 1/2 Medium: Oil on Board

Frederick Richard Pickersgill RA, British 1820-1900- Scene from the Pilgrim's Progress; oil on board, signed with initials, 25x26cm Provenance: Ray Mill House Estate, according to label attached to the reverse of the frame

Frederick Richard Pickersgill RA, British 1820-1900- Scene from the Pilgrim's Progress; oil on board, signed with initials, 25x26cm Provenance: Ray Mill House Estate, according to label attached to the reverse of the frame

Frederick Richard Pickersgill, RA (British, 1820-1900) Happy hours (The path where the brown leaves are spread) 25 x 30 1/2in (63.5 x 77.5)

Frederick Richard Pickersgill, RA (British, 1820-1900) Happy hours (The path where the brown leaves are spread) signed with monogram, inscribed and dated 'RA/1862' (lower right); inscribed with title on the reverse oil on panel 25 x 30 1/2in (63.5 x 77.5) Footnotes Provenance with Joseph Morby, Cornhill, around 1864; Sale, Christie's, New York, 22 April 2004, lot 62; with Kurt E. Schon, Ltd., New Orleans. Literature The Art Journal, London, 1864, p. 80. James Allen Scott, Where Will You Travel Next? Destinations in Paintings, 2011, p. 30, illustrated. Exhibited Odessa, Texas, Ellen Noel Museum of Art, Where Will You Travel Next?-Destinations in Paintings, November 2012-February 2013; Albany, New York, Albany Museum of Art, January-April 2014; Allentown, Pennsylvania, Allentown Museum of the Lehigh Valley, June-September 2014; Scranton, Pennsylvania, Everhart Museum of Natural History, Science & Art, February-June 2015; Lakeland, Florida, Polk Museum of Art, July-December 2015.

Frederick Richard Pickersgill, RA (British, 1820-1900) Viola and the Countess (Twelfth Night: Act III, Scene I) 36 1/2 x 29in (92.8 x 73.8cm)

Frederick Richard Pickersgill, RA (British, 1820-1900) Viola and the Countess (Twelfth Night: Act III, Scene I) signed, inscribed and dated 'F.R.P. RA/1859' (lower right) oil on canvas 36 1/2 x 29in (92.8 x 73.8cm) Footnotes Provenance with Joseph Morby, Cornhill, around 1864; Sale, Sotheby's, New York, 10 November 1998, lot 121; with Kurt E. Schon, Ltd., New Orleans. Exhibited Montgomery, Alabama; New York; Chicago, Illinois; New Orleans, Louisiana; Hastings, Nebraska; Wilmington, Delaware; Reading, Pennsylvania; Hamilton, New York; Palm Beach, Florida; Monterey, California; Fayetteville, Arkansaw, The Art of Shakespeare, 1985-1989. Odessa, Texas, Ellen Noel Museum of Art, Where Will You Travel Next?-Destinations in Paintings, November 2012-February 2013; Albany, New York, Albany Museum of Art, January-April 2014; Allentown, Pennsylvania, Allentown Museum of the Lehigh Valley, June-September 2014; Scranton, Pennsylvania, Everhart Museum of Natural History, Science & Art, February-June 2015; Lakeland, Florida, Polk Museum of Art, July-December 2015. Literature The Art Journal, London, 1864, p. 80. A Brush with Shakespeare, The Bard in Painting, 1780–1910, exh. cat., Montgomery, Alabama, 1986, p. 80, plate XV, illustrated. The Art of Shakespeare, exh. cat., New Orleans, 1989, p. 81, illustrated. James Allen Scott, Where Will You Travel Next? Destinations in Paintings, 2011, p. 31, illustrated.

Frederick Richard Pickersgill, RA (British, 1820-1900) The Enchanted Forest signed lower right "F Pickersgill"

Frederick Richard Pickersgill, RA (British, 1820-1900) The Enchanted Forest signed lower right "F Pickersgill" oil on board h:40 w:58 cm History and genre painter; nephew of Henry William Pickersgill

Attributed to FREDERICK RICHARD PICKERSGILL (British, 1

Attributed to FREDERICK RICHARD PICKERSGILL (British, 1820-1900) Mary Queen of Scots Receiving Her Letter of Abdication, July 24, 1567 Oil on canvas 39 x 30-1/2 inches (99.1 x 77.5 cm)

ATTRIBUTED FREDERICK RICHARD PICKERSGILL DRAWING

A pen, ink and sepia wash drawing attributed to Frederick Richard Pickersgill (United Kingdom 1820-1900) titled on back appears to be from the original backing "Hall of Alma Faerie Queene", framed

Frederick Richard Pickersgill, R.A. (1820-1900)

Frederick Richard Pickersgill, R.A. (1820-1900) >The Pilgrim's Progress: Christian conducted by Charity through the Valley of Humiliation<br>signed with initials and dated '185?' (lower right) >watercolour and bodycolour heightened with gum arabic<br>11 x 13.1/2 in. (28 x 34.3 cm.)

Attributed to Frederick Richard Pickersgill, RA (British, 1820-1900) The Hall of Alma from Edmund Spenser's The Faerie Queene sight, 9 1/4 x 18 1/2in

Attributed to Frederick Richard Pickersgill, RA (British, 1820-1900) The Hall of Alma from Edmund Spenser's The Faerie Queene sight, 9 1/4 x 18 1/2in

FREDERICK RICHARD PICKERSGILL R.A. (1820-1900) -

FREDERICK RICHARD PICKERSGILL R.A. (1820-1900) - Charity, a pen and ink sketch, 4 1/4" x 3 1/2"

FREDERICK RICHARD PICKERSGILL, RA (1820-1900,

FREDERICK RICHARD PICKERSGILL, RA (1820-1900, BRITISH) JEALOUSY oil on board, inscribed to old label verso 11 ½ x 13 ½ins

FREDERICK RICHARD PICKERSGILL, RA (1820-1900,

FREDERICK RICHARD PICKERSGILL, RA (1820-1900, BRITISH) Inscribed to label verso Oil on Board "Jealousy" 11 ½" x 13 ½"

Attributed to Frederick Richard Pickersgill, RA (British, 1820-1900) - Figures resting by a Track, an extensive view of Derbyshire bey.

Attributed to Frederick Richard Pickersgill, RA (British, 1820-1900) Figures resting by a Track, an extensive view of Derbyshire beyond oil on canvas h:49 w: 74 cm

Circle of Frederick Richard Pickersgill (1820-1900)

Circle of Frederick Richard Pickersgill (1820-1900) An offering at the Ganges oil on canvas 56½ x 43½ in. (143.5 x 110.5 cm.)

FREDERICK RICHARD PICKERSGILL (1820-1900, BRITISH)

FREDERICK RICHARD PICKERSGILL (1820-1900, BRITISH) Signed Oil on Board Inscribed to label verso "The Enchanted Forest" 17" x 24"

Frederick Richard Pickersgill British, 1820-1900 Silenus Holding the Infant Dionysus and Greek Figure of Ares: Two Studies After Scu...

Frederick Richard Pickersgill British, 1820-1900 Silenus Holding the Infant Dionysus and Greek Figure of Ares: Two Studies After Sculpture Each signed F.R. Pickersgill (ll) Black chalk on wove paper 29 1/4 x 18 5/8 (74.3 x 47.3 cm) and 28 3/8 x 20 1/2 inches (72.1 x 52.1 cm), respectively

FREDERICK RICHARD PICKERSGILL England 1820-1900 A

FREDERICK RICHARD PICKERSGILL England 1820-1900 A romantic scene with girl playing lute Signerad och daterad FR Pickersgill 1850. Olja på duk, 90 x 107 cm. Signed and dated. Oil on canvas. PROVENIENS: Inköpt i England under 1940-talet, därefter i familjens ägo Pickersgill började ställa ut på Royal Academy 1839. Han vann bla pris ...

Pickersgill (Frederick Richard, R.A., 1820-1900,

Pickersgill (Frederick Richard, R.A., 1820-1900, attrib.). Venetian interior scene with figures, oil on canvas, depicting a gentleman and two ladies by a table, with a vista of San Marco through a window, attributed to Pickersgill on verso, 355 x 430 mm (14 x 17 ins), contemp. gilt frame (with some damage) (1)

Frederick Richard Pickersgill (British, 1820-1900)

Frederick Richard Pickersgill (British, 1820-1900) signed with monogram, inscribed, and dated 'FRP R A 1870' (lower left) oil on canvas 30 x 36 in. (76.2 x 91.4 cm.) Painted in 1870

The Dance

Frederick Richard Pickersgill, R.A. (1820-1900) The Dance pencil 7½ x 11¼ in. (19.1 x 28.6 cm.)

FREDERICK RICHARD PICKERSGILL R.A. 1820-1900

CIRCE TEACHING COMUS THE ART OF MAGIC 79 by 127 cm., 31 by 50 in. signed and dated l.r.: F. R. PICKERSGILL RA 1851 oil on canvas NOTE In his choice of subjects for painting, Frederick Pickersgill demonstrated a love for English literature of the sixteenth and seventeenth centuries. The present work takes its subject from John Milton's masque Comus, which was written and first performed in 1634. In the story Comus was a pagan god of Milton's invention, the son of Circe and Bacchus, and one who preyed upon travellers, having the power of magic to turn them into wild beasts. In the masque, a nameless lady comes upon the scene, and is led by Comus -- who pretends to be a shepherd -- to a cottage, which turns by magic into a stately palace where she is tempted to drink a magic potion. She defends her virtue against Comus' assault, and is rescued by her brothers and Sabrina, the goddess of the river Severn. In Pickersgill's painting we see Comus' mother, the malevolent figure of Circe, surrounded by her female attendants, educating her son in the destructive power of sorcery. Circe holds in her right hand a golden goblet into which is poured a quantity of the magic potion with which Comus will bewitch his wayfaring victims and by which means he will attempt to overcome the virtuous resistance of the lady. Pickersgill's first subject from Comus -- which showed the lady being rescued by her brothers, who seize the phial of magic potion and dash it to the ground, and who are assisted by the spirit Thyris -- appeared at the Royal Academy in 1844. A further subject showing Circe was shown in 1849. The present painting, representing an early scene in the masque, appears not to have been exhibited. The 1840s and early 1850s saw Frederick Pickersgill come to prominence on the London artistic scene. In 1843 he had been awarded a prize of £100 for his cartoon The Death of Lear in the first competition for the decoration of the Palace of Westminster. His painting The Death of Harold (Palace of Westminster) caused a sensation at the second competition in 1847, winning first prize and being purchased by the commissioners. In the same year, he was elected an associate of the Royal Academy, where he was later to serve as Keeper. In 1855 a biographical article on the artist concluded with the view that Pickersgill's paintings 'exhibit sound judgment and good taste in the selection of the subject [which is then] treated with delicacy of feeling and purity of expression ... His style is altogether good, and the quality of his painting such as will test close observation, especially the works of the last five or six years, which manifest increased and increasing vigour of execution' ('British Artists: Their Style and Character No.VII -- F.R. Pickersgill, A.R.A.', Art Journal, 1855, pp.233-6). CSN

Frederick Richard Pickersgill, R.A. (1820-1900)

Paolo and Francesca 'And o'er the book they hung, and nothing said, And every lingering page grew longer as they read'. Leigh Hunt, The Story of Rimini signed with monogram and inscribed 'RA' and dated '1865' (lower left) oil on panel 24 x 19 3/4 in. (60.9 x 50.2 cm.)

Frederick Richard Pickersgill, R.A. (1820-1900)

Paolo and Francesca 'And o'er the book they hung, and nothing said, And every lingering page grew longer as they read'. Leigh Hunt, The Story of Rimini signed with monogram and inscribed RA and dated 1865 (lower left) oil on panel 24 x 19 3/4 in. (60.9 x 50.2 cm.)

Frederick Richard Pickersgill R.A. (British, 1820-1900)

Dante and Beatrice watercolour 19.5 x 22.5 cm. (7 3/4 x 8 3/4 in.) together with a large collection of watercolours, drawings, letters, sketchbooks and other ephemera, all relating to the artist, (qty).

Frederick Richard Pickersgill, R.A. (British, 1820-1900)

Happy Hours (The Path where the brown Leaves are Spread) signed with monogram and dated '1862' (lower right); indistinctly signed and inscribed 'F. R Pickersgill/The path where the brown leaves are spread' (on the reverse) oil on panel 25 x 30 1/4 in. (63.5 x 76.8 cm.) Painted in 1862

Frederick Richard Pickersgill, R.A. (British, 1820-1900), "Samson and Delilah", oil on

Frederick Richard Pickersgill, R.A. (British, 1820-1900), "Samson and Delilah", oil on canvas laid downsigned and dated "1857/58", with brass artist plaque inscribed "Exhibited Royal Academy 1859", 40 in. x 60 in.

Frederick Richard Pickersgill, R.A. (British, 1820-1900), "Samson and Delilah", oil on canvas laid

down, signed and dated "1857/58", with brass artist plaque inscribed "Exhibited Royal Academy 1859", 40 in. x 60 in. Note: Pickersgill exhibited fifty paintings at the Royal Academy in London from 1839 to 1875. This painting was exhibited in 1859.

Frederick Richard Pickersgill, R.A. (1820-1900)

Mars and Venus, crowned by Cupid signed with initials 'F R P ARA' (lower left) and signed and inscribed 'Samson and Delilah/F.R. Pickersgill. R.A.' (on an old label on the reverse) oil on panel 12 x 9 7/8 in. (30.5 x 25 cm.) PROVENANCE with P. & D. Colnaghi & Co., Ltd, London. Anon. sale, Sotheby's, New York, 23 January 1979, lot 258, as Samson and Delilah, when acquired by the present owner. EXHIBITION A Brush with the Millenium, 2000, no. 7. NOTES Though sold to the Forbes Collection as Samson and Delilah, and carrying a comparable pose to the protagonists in the picture of 1850 in Manchester City Art Gallery, this picture would appear to be a depiction of Venus, Mars and Cupid. Mars, god of war, having disposed of his armour, reclines in Venus's lap, while the triumph of love is concluded by a winged Cupid, who places a floral wreath on Venus' head. It is not known whether the present picture is a sketch for a larger composition.

Frederick Richard Pickersgill, R.A. (1820-1900)

Christopher Columbus at Lisbon oil on canvas 36 x 42 in. (92 x 107 cm.).

Frederick Richard Pickersgill, R.A. (British, 1820-1900) A Royalist Family