Edward Arthur Walton

(18601922 ) - Artworks
WALTON Edward Arthur The Portrait Of Jane Bury

McTear's /Oct 25, 2012
9,939.12 - 12,423.91
Not Sold

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Artworks in Arcadja
59

Some works of Edward Arthur Walton

Extracted between 59 works in the catalog of Arcadja
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.
Edward Arthur Walton - Rhymer's Hill

Edward Arthur Walton - Rhymer's Hill

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Lot number: 7
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View Zoom/Large Image LOT 7 PROPERTY OF A GENTLEMAN EDWARD ARTHUR WALTON, R.S.A., P.R.S.W. 1860-1922 RHYMER'S HILL 70,000—90,000 GBP REGISTER FOR A PADDLE READ CONDITION REPORT TRACK LOT EMAIL THIS LOT TO A FRIEND BUY CATALOGUE CONVERT CURRENCY KEY TO LOT SYMBOLS measurements 162.5 by 122.5 cm.; 64 by 48 in. Description signed and dated l.r.: E A Walton oil on canvas PROVENANCE Pearson and Westergaard Limited, GlasgowAitken Dott & Son, EdinburghAcquired by the father of the present ownerThence by descent EXHIBITED Edinburgh, The Royal Scottish Academy, 1920, no.239; Liverpool, Walker Art Gallery, Autumn Exhibition, 1922,no.539;Newcastle, Laing Art Gallery, Selected Modern Pictures, no.66, lentby Alexander Reid; Glasgow, McLellan Galleries and Edinburgh, Walton MemorialExhibition, 12 January- 2 February 1924; Glasgow, The Royal Glasgow Institute of Fine Art, 1946,no.583 LITERATURE AND REFERENCES Fiona MacSporran, Edward Arthur Walton, Foulis Archive Press,Glasgow, 1987, p.73, illus. pl.16 and 70 CATALOGUE NOTE As one of E. A. Walton's last major exhibition pieces before hissudden death at the age of sixty-one, Rhymer's Hill is animportant painting within his body of work and a record of hismature development. In its tonal harmonies, textured surface andnaturalistic realism, it bears the hallmarks that defined thereputation of the Glasgow Boys at the turn of the nineteenthcentury. Walton trained at the Glasgow School of Art in the company of W.Y. Macgregor, James Paterson and James Guthrie, with whom Waltonbecame a lifelong friend. From 1879, Walton and Guthrie, along withJoseph Crawhall, spent several summers working together in thecountryside. They emerged as one group from the Glasgow School whowere developing a new style of painting that in time would see themassociated together as the Glasgow Boys. Walton and this new generation of painters looked to challengethe older established body of Glasgow painters, dubbed 'The GluePots', by rejecting clichéd Highland views, anecdotal andhistorical subjects. The Glasgow Boys sought to suppress incidentwithin their paintings and adopt a more matter-of-fact realism innondescript rural scenes – a driving concern which, twenty yearslater, is reflected in Rhymer's Hill . This approach topainting displays the influence of the French schools of Paris andin particular of one key figure, Jules Bastien-Lepage.Bastien-Lepage was a champion of plein air painting,believing it to be the only means by which he could achieve hisrealist ambitions. His works were extensively shown in London in1882 and Walton and company saw in Bastien-Lepage's concept ofnaturalism a new and credible approach with which to direct theirown painting. Particular formal approaches such as his handling ofpaint - varying consistency to create aerial perspective, the useof tall trees and grasses in the foreground as pictorial devicesand his inclusion of figures from everyday life were all noted bythe artists. However, one aspect of Bastien-Lepage's style the Boyslargely rejected was his strict adherence to a cool, grey pleinair light, favouring instead the traditional Scottish concernfor colour. In Rhymer's Hill such formal characteristics come to thefore. Scots pine trees stretch beyond the canvas and frame thecomposition, while the diagonal tree cutting through the centre ofthe work adds a dynamic element. The trees' position in theforeground locates the frontal plane of the picture against thereceding landscape, which leads towards the distinctive shape ofRhymer's Hill. Rhymer's Hill, otherwise known as Eildon Hills, islocated just south of Melrose and owes its name to the legend ofThomas the Rhymer, a 13th century poet who wassupposedly abducted by the Fairy Queen of Eildon Hills and giventhe gift of prophecy. In the present painting, Rhymer's Hillprovides a focal point in the distance, sitting low on the horizonunderneath the expansive and dramatic sky. Light is superblyrendered in the billowing clouds and shown breaking across thelandscape in a series of colours and shadows which marks hisrejection of Bastien-Lepage's more monochromatic palette. Only from 1883 did Walton begin to populate his paintings withfigures, displacing the pure landscapes for which he had beenknown. However, like the two figures in the right hand corner ofRhymer's Hill , little interaction takes place between them,and their inclusion is a subtle addition which does not impose anydistracting detail upon the simplicity of the scene. An importantconcern of the Glasgow Boys was the validity of the everyday as aworthy subject, which is a spirit embodied in Rhymer'sHill . By the early 1900s, Walton and the Glasgow Boys had establishedthemselves at the forefront of the artistic scene in Scotland. Hisfriend Guthrie was made President of the Royal Scottish Academy in1902 and Walton became an elected member in 1905, as well aspresident of the Royal Scottish Society of Painters in Watercolourin 1914. Two years after Walton's death, a Memorial Exhibition atthe McLellan Galleries, Glasgow, covering forty years of hiscareer, was described by one leading critic as 'one of the mostinteresting one-man shows ever assembled'. Included was Rhymer'sHill (see fig. 1), which exemplifies Walton's intimate andsensitive response to nature upon which his reputation wasbuilt.
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