xt7qjq0stw34_5369 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/mets.xml https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474.dao.xml unknown archival material 1997ms474 English University of Kentucky The physical rights to the materials in this collection are held by the University of Kentucky Special Collections Research Center.  Contact the Special Collections Research Center for information regarding rights and use of this collection. W. Hugh Peal manuscript collection William Powell Frith clipping text 43.94 Cubic Feet 86 boxes, 4 oversize boxes, 22 items Poor-Good Peal accession no. 11453. William Powell Frith clipping 2017 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474/Box_62/Folder_36/Multipage28437.pdf undated section false xt7qjq0stw34_5369 xt7qjq0stw34    
 

    

FRITH, WILLIAM POWELL, R.A.,
born in 1819, at Studley, near Ripon,
lost his father while young: In 1835
he entered the Art Academy, con?
ducted by Mr. Sass, where he con-,
tinued for three years, studying draw-i"
ing and composition; in 1839 he ex“;
hibited, at the British Institution, a‘
portrait of one of the children of his
preceptor. This was followed in 1840
by “ Othello and Desdemona,” a pic-
ture \xhich was favourably noticed at
the time by the literary reviews and
journals, and “ Malvolio before the
Countess Olivia,” exhibited at the
Academy the same year; and in 1841
by his “Parting Interview between
Leicester and Amy Robsart.” In 1842
he exhibited at the British Institution
a sketch from “ Sterne’s Sentimental
Journey,” and contributed to the Ex-
hibition a scene from the “Vicar of
Wakefield,” representing Olivia and
the Squire trying to ascertain which
was the taller. This picture, a general
favourite, was purchased on the first

day after the opening of the Exhibi-
tion. In 1843 he sent two contribu-
tions to the British Institution, “ Dolly
Varden,” from Dickens’s “Barnaby
‘ Rudge,” and the Duel Scene from
Shakespeare’s “ Twelfth Night ;” and
to the Exhibition of the Royal Aca-
demy, “Falstaff and his Friends with
the Merry Wives of Windsor,” followed
in 1844 by his “ Interview between
Knox and Mary Queen of Scots,” and
another scene from the “Vicar of
Wakefield,”—“ The Squire describing
his experiences of town life to Mrs.

 
   
      
    
     
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
       
   
 

      
 
      
   
   
   
    
    

 

 

 
   
 

g ers. erne
in the Shop of the Grisette” is the
title of a little picture exhibited at
the British Institution in 1845, in
which year he contributed the well-
known picture of the “Village Pastor,”
which was the means of placing him
on the roll of Associates of the Royal
Academy. In 1846 he exhibited at
the British Institution his “Norah
Creina,” and at the Academy a “ Scene
from Moliére’s Bourgeois Gentil-
homme,” and“ The Return of Labour,”
a cottage scene. After becoming
A.R.A., Mr. Frith almost entirely
discontinued his contributions to the
British Institution, except in 1852,
when he sent a small female portrait,“
entitled “ Wicked Eyes.” In 1847 he:;
produced his large picture of “Eng-“
. lish Merrymaking a Hundred Years:
Age,” and the “Saracen’s Head,”:
illustrative of a story in the “ Spec-
tator ; ” and in 1848, his “ Old Woman
accused of Bewitching a Peasant
Girl,” in the reign of James I. In
the same year he exhibited his “Stage
. Coach Adventurein 1750,” and another
“ Scene from Moliere’s Bourgeois Gen-
tilhomme.“ His picture of 1849, en-
titled “ Coming of Age,” is a felicitous
illustration of English country life in
the days of Queen Elizabeth. In the
Exhibition of 1850, Mr. Frith exhi-
i bited three pictures,—“ The Portrait
of a Lady ;” a scene from “ The Good-
‘ natured Man,” and “ Sancho telling
a tale to the duke and duchess to
prove that the Knight of La Mancha
is at the bottom of the table.” The