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John Eaton Walker Sold at Auction Prices

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    • WALKER, JOHN EATON
      Dec. 11, 2023

      WALKER, JOHN EATON

      Est: CHF300 - CHF400

      (England 1824–1896) Musizierende junge Frau. 1869. Öl auf Leinwand. Unten links signiert und datiert. 49,5x59,5 cm. Gerahmt.

      Schuler Auktionen
    • WALKER, JOHN EATON
      Oct. 03, 2023

      WALKER, JOHN EATON

      Est: CHF600 - CHF800

      (1824–1896 England) Musizierende junge Frau. 1869. Öl auf Leinwand. Unten links signiert und datiert. 49,5x59,5 cm. Gerahmt.

      Schuler Auktionen
    • WALKER, JOHN EATON
      Sep. 18, 2023

      WALKER, JOHN EATON

      Est: CHF600 - CHF800

      (1824–1896 England) Musizierende junge Frau. 1869. Öl auf Leinwand. Unten links signiert und datiert. 49,5x59,5 cm. Gerahmt.

      Schuler Auktionen
    • John Eaton WALKER (1824–1896) The apple season Oil on thick card
      Apr. 17, 2023

      John Eaton WALKER (1824–1896) The apple season Oil on thick card

      Est: $500 - $800

      John Eaton WALKER (1824–1896) The apple season Oil on thick card Inscribed as title and attributed in a nineteenth century hand to the reverse 19 x 15.5cm, the upper sight edge of frame arched

      Leonard Joel
    • John Eaton Walker, RBSA (British, fl.1855-1866) The lesson oil on canvas, signed lower right,
      Jul. 01, 2021

      John Eaton Walker, RBSA (British, fl.1855-1866) The lesson oil on canvas, signed lower right,

      Est: £500 - £600

      John Eaton Walker, RBSA (British, fl.1855-1866) The lesson oil on canvas, signed lower right, dated indistinctly, in a good laurel and fluted frame 24 3/4 x 29 3/4in. (63 x 75.5cm.) * Canvas has not been lined. Some evidence of light scattered retouching and touched-in craquelure from earlier conservation visible under UV. A few larger areas of retouching and repainting to the standing gentleman's and seated scholar's robes and to the young woman's hair. Some minor strengthening visible in places. Varnish slightly uneven in gloss and would benefit from cleaning by a skilled conservator. Frame good overall with a few small losses.

      Martel Maides
    • John Eaton Walker (English, c. 1820-1868),
      Feb. 13, 2011

      John Eaton Walker (English, c. 1820-1868),

      Est: $600 - $800

      John Eaton Walker (English, c. 1820-1868), "Portrait of a Gypsy Girl", oil on board, signed lower left, 15 in. x 12 3/4 in., in a period giltwood frame.

      Neal Auction Company
    • John Eaton Walker (d. 1868), A musical odalisque
      Jul. 16, 2007

      John Eaton Walker (d. 1868), A musical odalisque

      Est: £300 - £500

      John Eaton Walker (d. 1868), A musical odalisque sleeping by a window Signed under mount Oil on board Circular, 19cm; 7.5 in in diameter

      Woolley & Wallis
    • John Eaton Walker (fl. 1855-1866)
      Feb. 19, 2003

      John Eaton Walker (fl. 1855-1866)

      Est: $9,540 - $15,900

      The Son of William Tell signed and indistinctly dated 'J. Eaton Walker./62' (lower right) oil on canvas, painted arch 23 7/8 x 173/4 in. (60.6 x 45 cm.) PROVENANCE Anon. sale, Christie's South Kensington, 27 November 1997, lot 210, when acquired by the present owner. EXHIBITION London, British Institution, no. 392. NOTES John Eaton Walker was born in Birmingham. He moved to London in the late 1850s, and established himself as a painter of literary and genre subjects, exhibiting at the Royal Academy, British Institution and Suffolk Street. Walker portrays William Tell's son in heroic mode, contrasting with Millais' later depiction of a victorious child displaying the apple successfully halved by his father's arrow. Whilst Millais' picture has the centralised format of a portrait, Walker's picture is distinctly narrative. The boy's hat and cape lie to the right, and another richly coloured garment hangs down behind him. The effect is to suggest that his hands are tied, and Walker further accentuates the boy's powerlessness by showing one shoulder exposed. His physical vulnerability is a measure of the trust he places in his father. The boy gazes directly at the viewer, who in this case takes the place of William Tell. We have arrived at the crux of the drama; presumably the arrow is about to be released. The apple target glows golden, taking on qualities beyond its own, as Tell's direct hit will win him accolades beyond mere sporting prowess. The boy's eyes seem to accost us, willing a good end, as if by connecting himself to his father he can exert some power upon the arrow's path - challenging it to interrupt this conduit of living communication.

      Christie's
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