Edward Arthur Walton

(18601922 ) - Artworks
WALTON Edward Arthur Miss Jane Aitken

Christie's /Dec 12, 2013
24,058.70 - 36,088.05
Not Sold

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Artworks in Arcadja
62

Some works of Edward Arthur Walton

Extracted between 62 works in the catalog of Arcadja
Edward Arthur Walton - Pastoral

Edward Arthur Walton - Pastoral

Original 1886
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Lot number: 36
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Edward Arthur Walton RSA PRSW HRWS (British, 1860-1922) Pastoral signed and dated 'EA Walton 86' (lower left) watercolour 46 x 61.5 cm. (18 1/8 x 24 3/16 in.) Footnotes Exhibited London, Royal Academy of Arts, Exhibition of Scottish Art 1939 , (loaned by JWB Younger, Edinburgh as Bucolic Landscape ) 'Peak period' Glasgow School pictures are rare, and Walton's early watercolours were generally drawn in and around the elegant town of Helensburgh, on the Firth of Clyde.
Edward Arthur Walton - Preparatory Sketch For A Portrait Of Miss Jane Aitken

Edward Arthur Walton - Preparatory Sketch For A Portrait Of Miss Jane Aitken

Original 1894
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Lot number: 57
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Edward Arthur Walton, R.S.A., P.R.S.W. (1860-1922) Preparatory sketch for a portrait of Miss Jane Aitken oil on canvas, laid on board 31½ x 22½ in. (80 x 57.1 cm.) Painted circa 1894. Artist's son, Professor John Walton. Alberto Morrocco. A celebration: The Studio of Alberto Morrocco and Binrock House, Dundee; Christie's, London, 11 July 2012, lot 124. F. MacSporran, Edward Arthur Walton, 1860-1922, Glasgow, 1987, p. 51. Edinburgh, Bourne Fine Art, The Painted Lady, 1850-1930, July 1982, no. 6.
Edward Arthur Walton -  Miss Jane Aitken

Edward Arthur Walton - Miss Jane Aitken

Original
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Lot number: 67
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Edward Arthur Walton, R.S.A., P.R.S.W., R.P. (1860-1922) Miss Jane Aitken signed 'EA Walton' (lower left) oil on canvas 75 x 38 in. (190.5 x 96.5 cm.) Anonymous sale; Sotheby's, Belgravia, 13 April 1976, lot 322. 'The Glasgow Institute ', Glasgow Herald, 2 February 1894, p. 9. 'The Glasgow Institute ', Falkirk Herald and Linlithgow Journal, 7 February 1894, p. 5. The Art Journal, 1894, p. 125. 'The New Salon', Glasgow Herald, 2 May 1895, p. 4. J.L. Caw, 'A Scottish Painter, EA Walton ARSA', The Studio, vol. 26, 1902, p. 167. F. MacSporran, Edward Arthur Walton, 1860-1922, Glasgow, 1987, p. 51. Glasgow, The Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1894, no. 279. Paris, Champ-de-Mars, Exposition Nationale des Beaux Arts, 1896, no. 1235. Philadelphia, Pennsylvania Academy of Fine Arts, 1896-97. Berlin, Eduard Schulte Gallery, 1900. Liverpool, Walker Art Gallery, Autumn Exhibition, 1901, no. 387.
Edward Arthur Walton - Miss Jane Aitken

Edward Arthur Walton - Miss Jane Aitken

Original
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Lot number: 28
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Edward Arthur Walton, R.S.A., P.R.S.W., R.P. (1860-1922) Miss Jane Aitken signed 'EA Walton' (lower left) oil on canvas 75 x 38 in. (190.5 x 96.5 cm.) Anonymous sale; Sotheby's, Belgravia, 13 April 1976, lot 322. 'The Glasgow Institute ', Glasgow Herald, 2 February 1894, p. 9. 'The Glasgow Institute ', Falkirk Herald and Linlithgow Journal, 7 February 1894, p. 5. The Art Journal, 1894, p. 125. 'The New Salon', Glasgow Herald, 2 May 1895, p. 4. J.L. Caw, 'A Scottish Painter, EA Walton ARSA', The Studio, vol. 26, 1902, p. 167. F. MacSporran, Edward Arthur Walton, 1860-1922, Glasgow, 1987, p. 51. Glasgow, The Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1894, no. 279. Paris, Champ-de-Mars, Exposition Nationale des Beaux Arts, 1896, no. 1235. Philadelphia, Pennsylvania Academy of Fine Arts, 1896-97. Berlin, Eduard Schulte Gallery, 1900. Liverpool, Walker Art Gallery, Autumn Exhibition, 1901, no. 387. When Walton's portrait of Miss Jane Aitken was first shown at the Glasgow Institute of the Fine Arts in February 1894, a reporter called it 'a bold departure from conventional portraiture' (Falkirk Herald and Linlithgow Journal, loc. cit.). Even though it was poorly hung and difficult to see, its radicalism was clear (the picture was 'skied' and therefore difficult to see, according to the Glasgow Herald, 1894 loc. cit.). Walton had adopted 'slightly varying shades' of monochrome to create a subtle overall effect, harmonizing the figure with its background. Miss Aitken's everyday clothes - her tight-fitting jacket and full skirt - are crisply delineated and as she fingers her gloves she is either about to leave or has just come in from the street. She cuts a striking silhouette that Walton first noted in a small version (Study for 'Miss Jane Aitken', c. 1893, sold from the collection of Alberto Morocco, Christie's South Kensington, 11 July 2012, lot 124) of what would become his principal Institute contribution of that year. Comparisons are instructive: where he places a circular convex mirror to the left of the head in the sketch, it was obvious that this device - reflecting a distorted view of the artist and studio - would be an unwelcome distraction in the final picture. The convex Georgian mirror was a device used to great effect in later years by William Orpen. Instead, Miss Aitken poses by a bow-fronted side-table, as though standing in a hallway. In the present work, Whistler, and to a lesser extent, Orchardson, were Walton's mentors. For the portrait, specifically the full-length portrait, the American expatriate had developed formal and aesthetic strictures that placed emphasis on shape, colour and tonal harmony which in some instances, discreetly uncovered the extrovert aspects of contemporary chic. When shown at the Salon in Paris, The Glasgow Herald summed up Walton's 'grace of tone and grace of subject' in this, his principal exhibit. Later reviewers might consider that tailoring had taken the place of character, as the influential George Moore began to rail against the parade of 'white satin duchesses', purveyed by Sargent and Shannon. Nevertheless while James L. Caw might bemoan the sacrifice of character in Walton's later work, he recalled 'with special pleasure the strikingly simple full-length portrait of Miss Aitken' (J.L. Caw, loc. cit.). KMc.
Edward Arthur Walton - The Portrait Of Jane Bury

Edward Arthur Walton - The Portrait Of Jane Bury

Original
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Lot number: 1815
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EDWARD ARTHUR WALTON RSA PRSW (SCOTTISH 1860 - 1922) THE PORTRAIT OF JANE BURY oil on canvas, signed 86cm x 60cm Provenance : Exhibited at the Royal Scottish Academy, Edinburgh (1909) and the Walton Memorial Exhibition, Edinburgh and Glasgow (1924) Note : Edward Arthur Walton (15 April 1860 Glanderston House, Barrhead, Renfrewshire - 18 March 1922 Edinburgh) was a Scottish painter of landscapes and portraits. Edward was one of twelve children of Jackson Walton, a Manchester commission agent and a competent painter and photographer. Some of Edward's siblings were well-known in their time - his brother George Henry Walton (1867-1933) was a noted architect, furniture designer and stained glass designer, Constance Walton was an acclaimed botanical painter, while Helen Walton, born 1850, was a decorative artist who studied at the Glasgow Government School of Design and was artistic mentor to the family. Walton enjoyed his art training at the Staatliche Kunstakademie in Düsseldorf and then at the Glasgow School of Art. He was a close friend of Joseph Crawhall - Walton's brother Richard having married Judith Crawhall in 1878 - George Henry and James Guthrie and lived in Glasgow until 1894 where he became part of the Glasgow School or Glasgow Boys, all of whom were great admirers of Whistler. Their favourite painting haunts were in the Trossachs and at Crowland in Lincolnshire. In 1883 Walton joined Guthrie, who had taken a house in the Berwickshire village of Cockburnspath. He also produced a remarkable set of watercolours in Helensburgh in 1883, showing the affluent suburb and its decorous people. These images are regarded as some of the finest of the Glasgow School and praised for their clarity, colour and strong decorative sense. Carrying out portrait commissions became Walton's main source of income. In the 1880s and 1890s he painted murals in the main building of the Glasgow International Exhibition of 1888 and other buildings in the city. Walton also attended painting classes at the Glasgow studio of W. Y. Macgregor, one of the central figures of the Glasgow School. Walton exhibited from 1880 in both Glasgow, at the Royal Glasgow Institute of Fine Arts, and Edinburgh, at the Royal Scottish Academy, being elected an Associate of the Academy in 1889 and a full member in 1905. He was in London from 1894 until 1904, living in Cheyne Walk in Chelsea, and a neighbour of Whistler and John Lavery. While in London, Walton often painted in Suffolk, spending summers at the Old Vicarage in Wenhaston. Here he painted pastoral scenes in oil and watercolour, the latter often on buff paper with creative interplay between paper and paint. He used extensive underpainting in his oils, thereby creating subtle effects. In 1907 he accompanied Guthrie on a painting trip to Algiers and Spain and in 1913 worked in Belgium. The World War I years led to his discovering Galloway and he became a frequent visitor to the area. From 1915 he served as President of the Royal Scottish Water Colour Society. Walton's use of oil was reserved largely for important portraits in the Whistlerian manner.
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