Creative Commons Licence
Except where otherwise noted, the contents of William Walkington Watercolours at https://williamwalkington.blogspot.com/, are licensed by the author William Walkington, under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International licence. For more details of the licence and instructions how to attribute this work, please refer to the CC BY-NC-SA 4.0 page at https://creativecommons.org/licenses/by-nc-sa/4.0/.
This licence lets others remix, tweak and build upon the author's work non-commercially, as long as they credit the author, and license their new creations under the identical terms. Attribution is fully explained in the CC BY-NC-SA 4.0 legal code. An example of an illustration from another blog, with correct attribution given by hyperlinks, can be found in the following article of Futility Closet: https://www.futilitycloset.com/2020/08/08/a-bimagic-queens-tour/.
Exceptions to the CC BY-NC-SA 4.0 licence
The exceptions to the present CC BY-NC-SA 4.0 Creative Commons Licence are as follows:
Artist Ancestors
In the page Artist Ancestors and in its sub pages, the plaster works and sculptures by Thomas Stuart Burnett, together with the drawings and paintings by James Thwaite Irving and by Thomas Irving, are deemed to be in the public domain - these artists being deceased for over 70 years. And as we are the legal beneficiaries of Anna Winnifred Stuart Burnett Munro (deceased since 1978), Alexander Walkington, Fiona DeQuidt (née Walkington), Hugh Walkington and William Walkington all agree to release our photographs (of the artworks of Thomas Stuart Burnett, James Thwaite Irving, Thomas Irving and Anna Winnifred Stuart Burnett Munro from our private collections A, F, H & W) into the Public Domain. We also agree to release a paper about Anna Winnifred Stuart Burnett Munro (which was written for a 1998 Tain Museum exhibition by our Aunt Rosemary Mackenzie MBE, a historian deceased since 2004), into the Public Domain.
Glasgow Museums state that for their photograph of Thomas Stuart Burnett's 'Head of an Infant,'"This image can be used for non-commercial research..." (full details at https://artuk.org/discover/artworks/head-of-an-infant-294169).
Museums Sheffield state that for their photograph of James Thwaite Irving's 'Lambing Time,' "This image can be used for non-commercial research..." (full details at https://artuk.org/discover/artworks/lambing-time-72653).
In the page about James Thwaite Irving, the photograph of "Waiting for the Mussel Gatherers" has been kindly contributed by an Australian reader (L) who agrees to the CC BY-NC-SA 4.0 licence.*
Part of the page about James Thwaite Irving reproduces the contents of a file from a discrete FileMaker WebDirect folder found at https://n423.fmphost.com/fmi/webd#algeron, including a photograph of James Thwaite Irving's painting entitled "The Apple Harvest, Barbizon". The text reproduced from this file is a précis of a longer piece (also seen in an embedded PDF file) written by Professor Kenneth McConkey. Professor Kenneth McConkey has kindly given me his permission to reuse his work, but for any other use it remains protected by his copyright. The photograph of James Thwaite Irving's painting "The Apple Harvest, Barbizon" is the property of The Maas Gallery. Rupert Maas has kindly given me the permission to reuse their photo, but for any other use it remains protected by the Maas Gallery copyright.
Teenage Production
In the page Teeenage Production, the photograph of my profile drawing of Anna Winnifred Stuart Burnett Munro is by Fiona DeQuidt (née Walkington). Fiona agrees to the terms of the CC BY-NC-SA 4.0 licence.*
In the page Teeenage Production, the photograph of my portrait drawing of Sandy is by Alexander Walkington. Alexander agrees to the terms of the CC BY-NC-SA 4.0 licence.*
In the page
Teenage Production, the "Waiting for Godot" programme illustrations were drawn while I was a
pupil of Dean Close School, and as this was a school production the
intellectual property might be theirs. I am therefore contacting the school
for their advice and will clarify this question as soon as possible. In the
meantime, please consider these programme illustrations as copyright of
Dean Close School.
Plein Air Painting of the River Sienne
In the post Plein Air Painting of the River Sienne, Faye Walkington is the author of the photograph. Faye agrees to the terms of the CC BY-NC-SA 4.0 licence.*
There are no other exceptions to the present Creative Commons licence.
Possible waivers of the licence terms or conditions
If the licensee wishes to use the CC BY-NC-SA 4.0 licensed material in a way that is not permitted by the licence, it may be possible for the licensor to waive some of the existing conditions or grant permissions. Should you have specific requests, please contact the author William Walkington at william.walkington@wanadoo.fr.
Third-party* and public domain content:
When re-using a third-party content source cited in the pages of this blog, the original source and author of that source should be named.*
For any of the content noted as being in the public domain, the work is in the public domain in its country of origin and other countries and areas where the copyright length is the author's life plus 100 years or less.
Some of the public domain image files sources may include a United States public domain tag to indicate why this work is in the public domain in the United States.
Dates and signatures
My full name is William, John, Greet, Walkington, and in my early years I used to be called by my second Christian name: John. However, after arriving in France, it became tedious to always have to justify my second name to different authorities, and in 1988 I therefore decided to adopt my first Christian name: William. Although this choice did indeed simplify administrative matters, it also implied a modification of my signature.
All versions of how I have signed can be observed in the artwork published in this blog. I normally sign in pencil, but I occasionally do so in ink. After checking the signatures of my drawings and watercolours, I have found the following variants:
From 1966 to 1967 I signed with my initials W.J.G.W. or W.J.G., and in 1969 I signed a school play programme illustration with the initials J.W.
In 1971 I signed with W.J.G. Walkington or John Walkington, and from 1976 to 1983 I signed exclusively with John Walkington. In 1986 I used William John Walkington for a watercolour "Etang vers Longpré-les-Corps-Saints," and in 1987 I signed a watercolour of a ruined croft in Tain with W. John G. Walkington.
From 1989, which was the year of the mixed media painting "Impact," and up until 1994, I only used the signature William Walkington. In 1995 I continued to use William Walkington or just Walkington; as can be seen for the Piton de Grande Anse watercolour. But during the years 1996 and 1997 I seem to have only used Walkington. In 2002 I then reverted to William Walkington as a signature for maritime watercolours in Brittany.
Since 2016, I have almost always signed with a simple monogram WW, written either horizontally or vertically, depending on available space. Occasionally I continue to sign with Walkington, as for example in the signature of the "Limousines de Bourguenolles" watercolour of 2018, and also in the signatures of the Mont-Saint-Michel watercolours of 2021.
The gaps in this résumé do not necessarily reflect an erratic production (even though that might be the case), but they are mainly due to the fact that I have never systematically dated my work. It is unlikely that my signature will continue to vary in the future, but should it change again, I will give due notification here.
Missing paintings
At the beginning of my production, I rather neglected the task of making celluloid photographic records, having being put off, not only by relatively long development and printing times, but also by the mixed results. It was not until the late 1990's that I began to get some of my work scanned by professionals, and it is only since 2018 that I have begun to take digital photographs of my paintings. This is why, over the years, I have lost sight of several watercolours, and have even forgotten the very existence of some of these! While browsing through my pages you may have noticed that in some cases my paintings are illustrated by blurred photographs, or by black and white scans; while in other cases certain watercolours remain unaccounted for!
Therefore, should you ever find one of these poorly represented or missing paintings, I would be most grateful if you could send me a colour photograph. I realise that, because of the reflections on the glazing, photographs of watercolours can be difficult to take. In such cases, and as long as the frame is not too unwieldy, it can sometimes help to place it on a level surface, either in bright daylight or under a white ceiling. A photograph that shows part of the frame liner around the painting is perfect, as I can then optimise the cropping of the image.
If you can additionally send details of the height and width of the painted surface (dimensions in centimetres, excluding the eventual frame liner and frame) this would also be very useful. Please do not hesitate to contact me at william.walkington@wanadoo.fr. Should you become the contributor of a photograph of a previously undocumented watercolour, I can assure you that you will remain anonymous, unless you prefer otherwise.