FREDERICK WALKER (BRITISH, 1840-1875) FREDERICK WALKER (BRITISH, 1840-1875) Children Playing Hide and Seek initialled 'F.W' (lower left) watercolour 16 x 18 cm. (6 1/4 x 7 in.) overall framed: 41.5 x 40 cm. (16 1/4 x 15 3/4 in.) Provenance Collection of Mr Magdi Obeid, Sale, Christies 25.01.1988, lot 267
Attributed to Frederick Walker (1840 - 1875), Two views of St Peters Street, Marlow - a pair, unsigned, oil on canvas, 19.5 x 30 cm, framed 34 x 44.5 cm Although living in London, Frederick Walker's family had a cottage in Cookham, from where he would take long walks in the Summer months. After his short life, the artist was buried alongside his mother and brothers at Holy Trinity Church, Cookham. Qty: (2)
Antique Foster, Myles Birket, 18251899 Etching 'Driving Geese,Cookham'. Original painting by Walker, Frederick, 18401875. ARA.. Framed under glass 64 x 55 cm
Frederick Walker (UK, 1840 - 1875) framed original charcoal drawing. Measures 4.25-in. x 3.25-in. sight size, 13.75-in. x 10.75-in. framed. Several light creases can be seen top right and top left (with magnification). If lot is absent of a condition report one may be requested via email. Condition report is provided as an opinion only and is no guarantee as grading can be subjective. Buyer must view photographs or scans to assist in determining condition and ask further questions if so desired. Our in-house shipping department will gladly pack and ship any item that fits into a 14x14x14 inch or 30x5x24 inch or equivalent or smaller box/folio if it is not fragile or over 25lbs. We will charge for labor to pack and process based on actual time it takes, actual cost of materials used to pack and actual shipper charges that will include insurance and signature required. We generally use USPS and Fed Ex and compare the pricing between the two. Books maximum box size will be 14x14x14 inch or equivalent and will be shipped USPS Media Mail unless otherwise requested. We gladly will give shipping estimates prior to auction. Please make this request at least 24 hours prior to auction for our shipping department to respond. If your invoice is for multiple items, we will use our discretion on requiring the use of an outside shipper. We reserve the right to require an outside shipper on any item(s) in the auction even if not stated.
Frederick Walker (UK, 1840 - 1875) framed original charcoal drawing. Measures 4.25-in. x 3.25-in. sight size, 13.75-in. x 10.75-in. framed. Several light creases can be seen top right and top left (with magnification). If lot is absent of a condition report one may be requested via email. Condition report is provided as an opinion only and is no guarantee as grading can be subjective. Buyer must view photographs or scans to assist in determining condition and ask further questions if so desired. Our in-house shipping department will gladly pack and ship any item that fits into a 14x14x14 inch or 30x5x24 inch or equivalent or smaller box/folio if it is not fragile or over 25lbs. We will charge for labor to pack and process based on actual time it takes, actual cost of materials used to pack and actual shipper charges that will include insurance and signature required. We generally use USPS and Fed Ex and compare the pricing between the two. Books maximum box size will be 14x14x14 inch or equivalent and will be shipped USPS Media Mail unless otherwise requested. We gladly will give shipping estimates prior to auction. Please make this request at least 24 hours prior to auction for our shipping department to respond. If your invoice is for multiple items, we will use our discretion on requiring the use of an outside shipper. We reserve the right to require an outside shipper on any item(s) in the auction even if not stated.
Frederick Walker (British 1840-1875)Evidence for the Defence Watercolour Signed with initials (lower right)24 x 19.5cm (9¼ x 7½ in.)Provenance:Sale, Christie's, London, Interiors, 14 November 1995, lot 74Purchased from the above by the present owner Exhibited:London, Royal Academy Winter Exhibition, 1906
FREDERICK WALKER A.R.A., R.W.S. (BRITISH 1840-1875) STUDY FOR THE WAYFARERS Inscribed to the reverse ‘A study for the old soldier in the ‘wayfarers’ etc, etc / The model was an Oxford St Hawker / Exh Eton College 1948,' pencil and watercolour (20.3cm x 16.5cm (8in x 6.5in)) Provenance: Leonard G Duke Collection; With Abbott & Holder, London, May 1985. Footnote: Note: 'The Wayfarers' was exhibited in Gambarts Gallery, November 1866; also Deschamps Gallery, 1876, no. 1.
FREDERICK WALKER A.R.A., R.W.S. (BRITISH 1840-1875) THE EVENING MAIL, HALSWAY COURT Inscribed ‘The evening’s excitement at Halsway ‘Yes – No – can it be – Yes it is the Mail cart!’, pen and black ink; and another 'Cookham Passengers' Luggage', within page of hand-written letter dated 'June 30 66' and signed 'F Walker,' pen and ink (9.8cm x 9.8cm (3.75in x 3.75in) and 17.8cm x 11.4cm (7in x 4.5in)) Qty: (2) Provenance: Cookham: with Abbot & Holder, London, September 2000. Footnote: Literature: Cookham: J G Marks, The Life and Letters of Frederick Walker, p.81
Frederick Walker (UK, 1840 - 1875) framed original charcoal drawing. Measures 4.25-in. x 3.25-in. sight size, 13.75-in. x 10.75-in. framed. Several light creases can be seen top right and top left (with magnification). If lot is absent of a condition report one may be requested via email. Condition report is provided as an opinion only and is no guarantee as grading can be subjective. Buyer must view photographs or scans to assist in determining condition and ask further questions if so desired. Our in-house shipping department will gladly pack and ship any item that fits into a 14x14x14 inch or 30x5x24 inch or equivalent or smaller box/folio if it is not fragile or over 25lbs. We will charge for labor to pack and process based on actual time it takes, actual cost of materials used to pack and actual shipper charges that will include insurance and signature required. We generally use USPS and Fed Ex and compare the pricing between the two. Books maximum box size will be 14x14x14 inch or equivalent and will be shipped USPS Media Mail unless otherwise requested. We gladly will give shipping estimates prior to auction. Please make this request at least 24 hours prior to auction for our shipping department to respond. If your invoice is for multiple items, we will use our discretion on requiring the use of an outside shipper. We reserve the right to require an outside shipper on any item(s) in the auction even if not stated.
FREDERICK WALKER, A.R.A., R.W.S. (1840-1875) A stream in Inverness-shire pencil, watercolour and bodycolour heightened with gum arabic on paper laid on board 8 ½ x 12 3/8 in. (21.5 x 31.5cm.)
FREDERICK WALKER, A.R.A., R.W.S. (1840-1875) Evening in the village watercolour and bodycolour heightened with gum arabic on paper 8 1/8 x 6 ¼ in. (20 x 16 cm.)
FREDERICK WALKER, A.R.A., R.W.S. (1840-1875) The Fates pencil and watercolour heightened with bodycolour and with scratching out on card 5 ¼ x 8 ¼ in. (13.4 x 21 cm.)
FREDERICK WALKER, ARA, OWS (1840-1875) AFTER THE STORM signed and dated lower left F.Walker 59. pencil and grey wash 11 x 12.5 cm/4 1/4 x 5 in Provenance: Michael Bryan, London
* After Frederick Walker (1840-1875). Phillip in Church, 1885, uncoloured etching by Hubert von Herkomer after Frederick Walker, published by The Fine Art Society in 1885, an artist's proof, with remarque portrait of the artist, repaired closed tears to lower right corner, 510 x 390 mm, period walnut veneer frame with gilt slip, glazed Qty: (1)
FREDERICK WALKER (BRITISH, 1840-1875) Santa Maria de Salute from la Riva degli Schiavone, Venice signed and dated '1870/ F WALKER' (lower right) pencil and watercolour on paper77⁄8 x 123⁄4 in. (19.7 x 32.4 cm.)
Attributed to Frederick Walker ARA RWS (1840-1875) British 'Maidenhead', depicting a house with clothes hanging on a washing line in the yard, signed "F.W", dated '70 and titled lower left, oil on board, within a gilded and glazed frame. (Dimensions: 22 cm x 40 cm)
Bear Hip Pounch hand-tooled for Doug Walker by Fred Bear | Bone handle hunting knive, Western Boulder Colorado with sheath, file and wet stone as complete set | Fred Bear 9.5" bone handle knife and sheath, Bear MC USA
Frederick Walker ARA (British, 1840-1875) Punch and Judy signed with initials 'F . W' (lower right) pencil, wash and bodycolour 17.8 x 22.8cm (7 x 9in).
FREDERICK WALKER (1840-1875) 'Greetings', 'The Swing' and 'The Letter', pencil sketches, 9 x 7cm, 10 x 6cm; and 10 x 7cm; and five further caricatures or studies (8)
FREDERICK WALKER (1840-1875): MISS ANSDELL Pencil on paper laid down on card, signed with initials 'FW' lower right, with label from JS Maas & Co. Ltd., London. 6 1/2 x 4 1/2 in. (sheet), 13 x 10 1/2 in. (frame). Estate of Holland Roberts Melson, Jr, New York
FREDERIC WALKER (1840-1875), BRITISHPLAYING THE GUITAR (STUDY OF HIS SISTER FANNY WALKER WITH GUITAR), CIRCA 1869Watercolour; titled to labels verso, numbered "No. 2" to old title label verso. Together with the Victorian needlework stool and the book: "Twenty Seven Illustrations by Frederick Walker" both depicted in the watercolour; as well as another hardcover book: "Life and Letters of Frederick Walker, A.R.A." by John George MarksArched sheet 12.25" x 9.25" - 31.1 x 23.5 cm.Provenance:Ex. Coll. Mr. Edward Phipps-Walker (1914-1985), residing in the UK and Canada;Purchased by the present owners father-in-law, Canada from the above; Gifted to the present family memberNote:Walker's elder sister Fanny was the model for other paintings by the artist. The stool carries an inscription by the artist: "To Dear Jane, worked at Cannes by F.W. Walker - Feb. 9, 1869".The artist's sister Sarah married John George Marks, the author of the green hardcover book: "Life and Letters of Frederick Walker, A.R.A.", This book is inscribed: "To Fred Walker's sister Mrs. Hill with kindest regards from E.? E? Leggatt, October 1907" front free end paper
FREDERICK WALKER (1840-1875, United Kingdom) WATERCOLOR ON PAPER - Unsigned, attributed to Walker; painting of seated man, with a woman in the background - A label is attached to the reverse - Condition good - Late 19th century - 13.75" x 10.5" framed
FREDERICK WALKER (1840-1875, United Kingdom) WATERCOLOR ON PAPER - Unsigned, attributed to Walker, titled "The Rescued Slaves" - A gallery label attached to the reverse notes "Unpublished illustrations for 'Tom Cringles Log'" - Condition good - Late 19th century - 11" x 12.5" framed
After Frederick Walker, ARA (1840-1875) Phillip in Church Etching by Hubert Herkomer RA, proof before publication. With a remarque portrait of the artist 51.25 x 40cm; 20¼ x 15¾in (plate size) Provenance: Maas Gallery Ltd., London Some minor creasing to the paper and faint yellowing in places, overall fair.
Frederick Walker, A.R.A., O.W.S. (British, 1840-1875) The old church signed with initials 'F.W.' (lower right) oil on panel 14 x 12 in. (35.6 x 30.4 cm.)
The Bouquet signed with initials and dated 'F.W./1865' (lower right) and signed again and inscribed 'The Bouquet/F Walker' (on the artist's headed paper attached to the backboard) pencil, watercolour and bodycolour with gum arabic and with scratching out 25 3/4 x 21 in. (65.4 x 53.3 cm.)
At the sick man's door, an illustration to Thackeray's 'Adventures of Philip' signed with initials 'F.W.' (lower right) pencil, pen and black and brown ink, watercolour and bodycolour, with gum arabic 7 1/2 x 5 1/4 in. (19.1 x 13.3 cm.)
Wayfarers pencil and watercolour with gum arabic heightened with bodycolour 14 x 20 in. (35.5 x 50.8 cm.) in the original giltwood frame by Chapman Bros., London
The Harbour of Refuge signed with initials (lower right) pencil and watercolour heightened with bodycolour and with scratching out 22 1/2 x 36 1/4 in. (57.2 x 92 cm.)
Sedge Cutting in Wicken Fen, Cambridgeshire - early morning. Sedge cutting is one of the remnants of a fen industry, and Wicken Fen the only remaining portion on which the sedge has free growth. This fen is now reduced to a small acreage by man and his agricultral improvements. signed with initials and dated 'RM/1878' (lower left) oil on canvas 39 x 781/2 in. (99 x 199.4 cm.) PROVENANCE with Roy Miles, London, 1980. Anon. sale, Christie's, London, 24 July 1986, lot 174, when acquired by the present owner. LITERATURE H.C. Blackburn (ed.), Academy Notes 1878, London, 1878, illus. p. 68. Art Journal, 1878, p. 180. Magazine of Art, 1878, pp. 105-106. English Illustrated Magazine, 'In the Fens', 1883-4, illustration of MacBeth's study for the figure of the man, p. 67. P. Hook & M. Poltimore, Popular 19th Century Painting, Woodbridge, 1986, illus. p. 507. EXHIBITION London, Royal Academy, 1878, no. 1016. London, Roy Miles Gallery, Viva Victoriana, 1980, no. 32. Heatherley School of Fine Art: 150th Anniversary Exhibition, 1996, no. 40. NOTES Born in Glasgow in 1848, MacBeth was the son of the notable Scottish portrait painter Norman MacBeth, who was a member of the Royal Scottish Academy. He left Edinburgh for London in 1870 and established himself in a studio of his own. He was then employed as a draughtsman at The Graphic, a leading periodical of the time, and in 1871 he began to exhibit. He made his debut at the Royal Academy in 1874 and was one of the few artists who never had a picture refused by the institution. In 1875 he made a series of large-scale works depicting the life of the inhabitants of the Fenlands of East Anglia. Most of his best-known work resulted from his first-hand study of the local manners and customs of the Fenlands. In Caw's opinion these Fenland pictures were some of his finest, 'in which a sense of beauty mingles with admiration for strength in man or woman, or in Nature.' (James Caw, Scottish Painting, 1908, p. 278). Such treatment of peasant life had its precursors in the works of the mid-19th century French Barbizon painters, Millet's The Gleaners (1857; Louvre), in which by becoming the focus of the artist's work the labourers are elevated out of the strict social hierarchy of the 19th century and given a timeless and heroic status which is in reality denied to them. The critic for the Art Journal in 1878 noted, '...the fine way in which Mr MacBeth catches whatever is noble in the build and action of a peasant's form...'. Other critics noted that Macbeth painted not only the picturesque but also the unhealthy side of rural England and admired the way he was not afraid to be realistic about conditions in the Victorian countryside. Indeed, one of his most familiar images A Lincolnshire Gang (1876) was inspired by newspaper accounts of the abuse of child labour in the Fens. In addition to the contemporary commentary, there is also a symbolic element to this picture which draws on traditional imagery of the River Styx. This type of social realist painting is consistent with the style of other artists and illustrators contributing to the Graphic magazine in the 1870s. Although illustrations showing working-class life had appeared in the works of Dickens and other magazines, The Graphic gave these subjects the large format of full-page or double-page illustrations and emphasised the human interest of the new style of art. This new generation of painters presented working-class subjects with a vivid sense of actuality as their post Pre-Raphaelite training in realistic observation led them away from the melodrama and caricature of earlier social realist artists such as Cruikshank and Hablot K. Browne. In the catalogue for the Hard Times exhibition, Julian Treuherz describes the distinctive style of these artists: 'The drawing of the figure was solid and well rounded, the compositions were often strongly designed...the observation of character was keen: portrait-like drawings of individuals, with attention given to nuances of facial expression, could elicit sympathy from spectators, investing a social problem with human interest.' (London, 1987, p. 63). Other contributors to the Graphic are well represented in this sale and include Frank Holl (lot 114), Sir Luke Fildes (lot 113) Frederick Walker (lot 120), Sir Hubert von Herkomer (lot 18), Charles Green (lot 350), and G.J. Pinwell (lot 351). When this painting was exhibited at the Royal Academy in 1878 it was accompanied by the following quotation, 'Sedge cutting is one of the remnants of a fen industry, and Wicken Fen the only remaining portion on which the sedge has free growth. This fen is now reduced to a small acreage by man and his agricultral improvements.' Wicken Fen is Britain''s oldest nature reserve and in 1999 it celebrated its 100th anniversary. On May 1st 1899 the National Trust purchased its first two acre strip for œ10 - it is now over 800 acres. The Fen has been managed traditionally for centuries by sedge cutting and peat digging which has produced a unique fenland habitat rich in wildlife. Charles Darwin collected beetles on the Fen in the 1820s and at the turn of the century the fathers of modern ecology and conservation, the Cambridge botanists Sir Harry Godwin and Dr Arthur Tansley carried out their pioneering work. In the 1890s the sedge (used for roofing and animal bedding) and peat (a fuel) economies collapsed and were replaced by more efficient alternatives. There were major concerns that the Fen would be drained as had happened elsewhere in the Great Fen Basin. A number of the early entomologists (particularly G.H. Verrall and The Hon. N.C. Rothschild) played a vital role in ensuring the Wicken's survival by acquiring major parts of the Fen and donating them to the National Trust.
Study for 'The Fiddler and the Flower Girl' signed with monogram (lower left) pencil, watercolour and bodycolour 43/4 x 6 in. (12.1 x 15.3 cm.) PROVENANCE The Artist's Studio sale, Christie's, London, 16 March 1876, lot 36 (1 gn to Hardcastle). Harold T. Hartley. William Newall; Christie's, London, 30 June 1922, lot 64, (8 gns to Nicoll). Mrs M.E. Nicoll; Christie's, London, 14 December 1976, lot 136. with The Maas Gallery, London, from whom acquired by the present owner in 1982. EXHIBITION London, Deschamps, Works by the late George John Pinwell, 1876, no. 6. Birmingham, Royal Society of Artists, 1895, no. 367. NOTES This is a study for the finished watercolour which was sold in Pinwell's studio sale in these Rooms, 16 March 1876, lot 178, and which was exhibited at the Society of Painters in Water Colours in that year. Pinwell worked closely with Frederick Walker, and both were much admired for their depictions of rural life and urban street scenes. Pinwell began to exhibit watercolours at the Dudley Gallery in 1865 and he was elected as a Member of the Old Water-Colour Society in 1870. Van Gogh remarked that Pinwell 'was such a poet that he saw the sublime in the most ordinary, commonplace things.' This poetry is much in evidence in this sketch. The fiddler passes only haltingly by the flower girl, although she seems absorbed in her own thoughts.
At the Sick Man's Door; an illustration to Thackeray's 'Adventures of Philip' signed with initials 'F.W.' (lower right) pencil, watercolour and bodycolour, with gum arabic 71/2 x 51/4 in. (9.1 x 13.3 cm.) PROVENANCE Anon. sale, Christie's, London, 10 February 1987, lot 55, when acquired by the present owner. LITERATURE C. Newall, 'The Art Market: English Book Illustration of the Nineteenth and Twentieth Centuries', Apollo, vol. 126, no. 307, September 1987, p. 198, illus. EXHIBITION Virtue Rewarded, 1988-90, no. 34. The Heatherley School of Fine Art: 150th Anniversary Exhibition, 1996, no. 38. NOTES This watercolour was worked up from an illustration that appeared in The Cornhill Magazine, vol. 5, p. 129, February 1862. William Makepeace Thackeray, the editor of The Cornhill, serialised his novel Philip on his Way Through the World over a period of two years from 1861-2. Thackeray himself illustrated the first few installments, but having been introduced to Walker early in 1861 he made the young artist his proteg‚, commissioning him to take over the illustrations from May 1861. Walker produced a long series of woodcuts, ranging from illuminated capitals to full page compositions several of which, including Philip in Church and At the Sick Man's Door provided the designs for finished watercolours. Philip was Thackeray's last completed novel, and its characters are largely those who populated his earlier novels. Pendennis, Thackeray's hero of ten years before, is the narrator. His young friend Philip is a struggling journalist whose fortunes are overshadowed by his father's secret past. Philip falls in love with Charlotte, daughter of General Baynes, a trustee of Philip's rightful inheritance, but the match is fiercely opposed by Charlotte's parents. In Walker's illustration, Philip and Charlotte are about to enter the bedroom where General Baynes lies ill. Mrs Baynes waits 'with hot tearless eyes and livid face, a wretched sentinel outside the sick chamber'. The anxiety of the moment can be read in Philip's pensive face as he waits while 'little Char' gently turns the door handle. Both avert their eyes from the questioning gaze of Mrs Baynes. In the next moment there will be blessings and happiness, for once beyond that door which seems such an ominous barrier in Walker's illustration, the couple are welcomed by the General: 'the poor man laid the hands of the young people together, and his own upon them. The suffering to which he had put his daughter seemed to be the crime which specially affected him. He thanked Heaven to be able to see that he was wrong.' These paternal blessings are conferred in timely fashion as General Baynes dies soon after.
