Walker, William Henry

 i) "The Offering", 245 by 155mm., signed with initials lower right; ii) "The Poacher", 200 by 136mm., signed with intials lower left; iii) "Cherub in a Spring Glade", 176 by 125mm., signed with initials lower right; iv) "Love Among the Lemons", 175 by 120mm., signed with initials lower right; v) "Frightened by a Mouse", 174 by 116mm., signed with initials lower right, some slight spotting; vi) "Tears", 280 by 142mm, signed with initials lower left, minor water stain to lower right corner; vii) "The Breeze", 155 by 66mm., unsigned, creases to top left corner; all ink and watercolour drawings, mounted, framed and glazed

Condition is described in the main body of the cataloguing, where appropriate.
"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."

W.H. Walker (1854-1940) is better known as the architect William Henry Romaine-Walker, remembered for the interior of Edwin Lutyen’s Lloyds Bank building at 68 Pall Mall, extensions to the Tate Gallery and the design for the British Museum gallery to house the Elgin Marbles. As a book illustrator he published a handful of works, including an edition of Alice’s Adventures in Wonderland in 1907. As a member of the family who ran Walker’s Galleries at 118 New Bond Street, he exhibited watercolours at the gallery in a number of solo shows. Reviewing the 1924 exhibition, The Times reported that “nobody else is working in quite the same vein, and Mr. Walker has a genuine turn for the ‘conceit’… his colour is generally pretty and sometimes charming, he has a feeling for quality and his invention never fails. The game of love, which he treats with ironical tenderness, provides him with most of his subjects.” (see The Times, 30 April 1924, page 12).