Joseph Crawhall

Doig, Wilson & Wheatley, Edinburgh;
J. B. Bennett & Sons, Glasgow;
W. G. Gardiner Esq.;
Thence by descent to the present owner

Kirkcaldy, Kirkcaldy Art Gallery and Museum, Loan Exhibition, July and August 1928

The sheet is sound. The sheet is slightly undulated in places. A suggestion of very light discolouration to the shaeet at the extreme edges. A suggestion of a minor spot of foxing just beneath the signature. Otherwise in good original condition. Held in a simple gold painted frame in fair condition. Under glass and unexamined out of 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."

In his book on The Glasgow Boys, Roger Billcliffe identifies that "Joseph Crawhall had spent only brief periods in Glasgow after he, Guthrie and Walton had discovered Cockburnspath. When Walton left for Glasgow for the winters, Crawhall returned to his family in Newcastle instead of remaining with his friends in Scotland. His work was, therefore, influenced less by the Glasgow painters than it had been in previous years and, as he gained confidence and explored further afield without the guidance of Walton and Guthrie, it changed slowly in both style and content." Crawhall became entirely committed to painting animals and as a keen rider and huntsman, horses provided a particular fascination. Billcliffe suggests that "perhaps he discovered a natural rapport with animals which would have been unaware of his silences and introspective nature", finding himself at greater "ease with this new subject-matter than he would ever have done with sitters of his own species".

In c.1890 Joseph Crawhall followed Arthur Melville's example of discovering delights of the Mediterranean, visiting Morocco and Spain. Billcliffe describes how "in Spain the bullfights captivated him and he broke away from his usually static compositions to record his impressions of the duel between the horses and bulls" as can be observed in his wonderful painting entitled The Bull Fight (c.1890-3) which is held in the Burrell Collection in Glasgow. The Bull Fight is directly comparable in date and quality to the present work, Circus, which contains the quintessential energy and movement in Crawhall's finest work. In making the choice to paint in watercolour over oil, Crawhall allowed himself the full freedom of movement and rhythm which is specific to this medium, rendered with the highest possible skill of execution in the present work. The movement of the horse's powerful physique, the swishing tail hair and the deftly suggested clouds of dust beneath the animal's feet are captured perfectly here. These elements are sensitively balanced by the female rider, elegantly sitting side-saddle. Circus is one of the most outstanding examples of Crawhall's work to have appeared on the market in recent years.