during this time, exhibiting at the Royal Academy from 1925, developing his abilities as a practising artist and quickly gaining a reputation not only as a painter of portraits and children but also for the large figurative paintings of the 1930s, many of which are now in public collections. He had a one-man exhibition at the Ruskin Gallery, Birmingham in 1927, but showed his work primarily at the societies to which he regularly sent his work. He was elected an Associate of the Royal Academy in 1946 and a Royal Academician in 1956 – showing a total of 147 works there over the years. He was a member of the Royal Society of Portrait Painters, the Royal Institute of Oil Painters and the New English Art Club. Always extremely loyal to his hometown, he declared he was proud to be the only Royal Academician from Birmingham who still lived and worked there, and was particularly pleased to have been elected President of the Royal Birmingham Society of Artists (RBSA) in 1950. In 1946 Fleetwood-Walker was elected to the Royal Watercolour Society consequently fulfilling the conditions of Cornelius Varley's will – that the next artist in his family to be a member should inherit Varley's studio collection. After his first wife died, he married Dr Peggy Frazer in 1939 and continued to work and teach in Birmingham through to 1956. Each year he would take a group of students from Birmingham to sketch in Cornwall and was a member of the St Ives Society of Artists (1936–1949). He also went on sketching tours on the continent and exhibited at the Paris Salon winning both bronze and silver medals. He finally moved to Chelsea so that he could devote more time to the students at the Royal Academy School where he was Assistant Keeper. He died in London on 30 January 1965. In the introductory essay of the catalogue to the Memorial Exhibition held at the RBSA in 1965, Richard Seddon described his work as follows: 'He allowed his style to develop to the full and kept moving throughout his active life as an artist; and from the drawing and painting of a conceptual clarity based on his disciplined skill with line, he progressed to a visual intensity that synthesised light, space and tactile qualities as unified images laid on the canvas with a spontaneity and breadth unsurpassed by many of his