Many of Lock's pastel portraits were executed on "dark paper" so that the subject's faces often came out relatively dark-skinned, an unusual technique.

Citations of Lock and his artwork are found in Early Printers and Engravers in Canada by J. Russel Harper, and in The Collector's Dictionary of Canadian Artists at Auction by Anthony R. Westbridge and Diana L.

[1] An 1841 mezzotint proof print of Lock's drawing of Queen Victoria and Prince Albert returning from their wedding ceremony, engraved by Samuel William Reynolds Jr., is in the British Museum collection.

[5] That drawing by Lock was later reformatted and published in 1844 by John William Laird, bearing the title The Bridal Morn (Queen Victoria; Prince Albert of Saxe-Coburg-Gotha) is in The National Portrait Gallery collection, London.

[6] Another of Lock's drawings, a portrait entitled The Fair Domino, engraved and printed by T. W. Huffman in 1844, is also in the British Museum collection.

That book by Bateman includes a pen and ink self-portrait by Lock, shown in a circular seal and labeled "A Distinguished Barrow Digger, 1845".

[11] Lock's earliest known works in Montreal were copies of paintings of French Canadian Parliament ministers James Harvey Price and Denis-Benjamin Viger, both done in 1847.

Lock's earliest known commission was the portrait (1847 or 1848) of Major John Richardson, "the first Canadian born novelist and writer to achieve international recognition."

The report by Harper[1] that Lock "visited... in Manchester Vermont 1849" may be based on a possibly misleading statement in a letter dated Oct. 28, 1945 by Orrin E. Dunlap to the New York Historical Society re: "Newly Discovered American Portrait Painters," stating: "F. F. Sherman reported finding in Manchester (VT) a pastel portrait signed, F.W.

That event was "memorialized" in a montage of timely sketches made by Lock, Portraits of Five Gentlemen who were Unjustly Imprisoned, that was promptly published and widely circulated as a Punch in Canada Extra.

[16][17] In 1853, Lock began working from Brockville, Ontario, located on the River St. Lawrence, at the foot of the Thousand Islands.

[23] Both views were lithographed, prints of which were sold likely to help fund Lock's planned return trip, via Montreal, to his native England.

As an example, Lock's eldest brother in law and prominent Brockville builder, Benjamin Chaffey Jr. (1806-1867), chose to be photographed rather than sit for a portrait painter.

[24] By 1862, Lock had returned to Montreal where he painted a second portrait of his aging uncle, Robert Philip "Dolly" Isaacson.

"Dolly" Isaacson, a widower, died early the following year on 18 April 1863 at age 73, and was buried at Mount Royal Cemetery, Montreal Region, Quebec, Canada.

In 1877, Lock copied, in watercolor, John Smart's original 1790 Miniature Portrait of Claude Russell of Binfield, Berkshire County, England onto ivory for mounting in an oval traveling case.

[28] The last of Lock's known works, Tenerezza (Tenderness), a pastel signed and dated 1878, was sold at auction on May 23, 1989 by Christies, Rome, Italy.

Perhaps this could be due to Lock's much improved economic status likely acquired as a beneficiary of "Dolly" Isaacson's estate, or from his (possibly) providential new marriage, or a combination of both.

1847: Portrait of James Hervey Price, French Canadian Minister of Parliament, Library & Archives Canada, Accessed 2016-02-10[permanent dead link‍] 1847: Portrait of French Canadian Minister of "Upper House" of Parliament, (Denis-Benjamin Viger), Library & Archives Canada, Accessed 2016-02-10 1848: Still-Life Painting of The Artist's Possessions, signed "F. W. Lock / Montreal / 1848 / (and a padlock symbol)."

1849: Portraits of Five Gentlemen who were Unjustly Imprisoned, McCord Museum, Montreal, Accessed 2015-12-27 (Click on "Full Screen" icon above the image to view it in a new window.)

Using his training as a lithographer, Lock afterward converted this mirror image original into a "true-image template" that he used for producing two additional paintings of himself, one in the same "pen and black ink and watercolour," and another in "oil on canvas."

Lock's two true image versions of his self-portrait, paired with his two paintings of "the woman in a Victorian Interior," are described immediately below.

Each of the two pair-sets of companion portraits have identical poses, and are believed to be of Lock and his future wife Emily Chaffey, then age 21; and may have been painted at her widowed mother's home in Brockville, Ontario.

Commissioned by the church congregation that raised funds through the sale of lithographs of the portrait and book of Reid's life, A Diary of a Country Clergyman 1848-1851.

[32] Also, see Brockville Museum description of the painting at: Accessed 2016-02-16[permanent dead link‍] 1856: Portrait of Thomas Allen Stayner, 1856, Deputy Post Master General of British North America, 1827–1851.

1856: Portrait of Amanda et Sophie Malhiot, Musée national des beaux-arts du Québec Accessed 201512-31 (Right click and select: Translate to English.)

Image courtesy of Doug Grant, Brockville Historian) [32] Accessed 2016-02-09 1858: Self Portrait by Frederick William Lock, 1858/February, McCord Museum, Montreal.

Accessed 2016-02-14 1858: Posthumous Portrait of Jonas Jones (1791-1848), Brockville lawyer and member of the Upper Canada Legislative Assembly for Grenville County 1816-1828.

[32] Accessed 2016-02-09 1858: Posthumous Portrait of George Keefer (1773-1858), first President (later Chairman) of the Welland Canal Co. Library and Archives Canada, Mrs. G.B.

Accessed 2015-12-31 1858: Portrait of George Malloch, Brockville attorney (and partner of William Buell Richards, the first Chief Justice of Canada).