Henry Walton

Robert Keirle, grandfather of the present owner, by whom bought circa 1860

STRUCTURE The canvas appears to be unlined. PAINT SURFACE The painting appears to be in very good, largely original condition. There is some scattered minor old retouching to the sky on the left of the picture and there are some slight abbrassion marks to the edge of the canvas, where it meets the frame. UTRAVIOLET Examination under ultraviolet light reveals an old and discoloured layer of varnish overall. FRAME In a British Baroque carved and gilded frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Born into a farming family from Dickleburgh, Norfolk, Walton came to London in 1765, at the age of nineteen, though apparently not with the initial intention of becoming an artist. By 1770 however he was enrolled as an art student at the Maiden Lane Academy in Covent Garden, and later became a pupil of Johan Zoffany, to whom he was probably introduced by his friend Ambrose Humphreys.

He was elected a fellow of the Society of Artists in 1771, and director the following year. Walton first started exhibiting genre pictures, such as the present work, in 1776 with A Girl Plucking a Turkey (Tate Collection), shortly after returning from a visit to Paris, where he had made the acquaintance of Jean-Baptiste Siméon Chardin. According to his friend Dawson Turner, Walton frequently travelled to Paris 'with a view to studying or of buying pictures.' [i]

As well as continuing to painting and exhibit his own works, by the early 1790s Walton had established himself as a successful picture dealer and advisor to some of the major collectors of the day, including Lord Lansdowne, Lord Fitzwilliam, and Sir Thomas Beauchamp-Proctor. His expertise was such that, according to Turner, 'there was scarcely a picture of note in this country, with the history of which he was unacquainted'.  

We are grateful to Dr. Evelyne Bell for confirming the attribution of the present painting and for dating the painting to c. 1780.

i. D. Turner, Outline of Lithography, 1840, p. 22