Arthur Melville, A.R.S.A., R.S.W. A.R.S.

Lyon & Turnbull, Edinburgh, 6 December 2002, lot 111;
Private collection

Edinburgh, Royal Scottish Academy, 1899, no.601;
The Fine Art Society and Bourne Fine Art, Arthur Melville, October-November 2013

A E Mackay, Arthur Melville, Scottish Impressionist, Leigh on Sea, 1951, pp.109, 139;
Iain Gale, Arthur Melville, Edinburgh, 1996, p.99

The paper shows some slight sign of acid discolouration, however in general the picture shows good colour and is well presented in its original gilt wood frame and slip. 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."

Arthur Melville loved the glimmering white sunlight of Spain, refracted from white-washed walls and red-tiled roofs. He was also excited by the human activity that suggested notes of bright colour against the daringly-sparse backgrounds, created on the expanses of paper. He visited Spain throughout his career, one early trip being in the company of the artist Frank Brangwyn, returning for a trip in the spring of 1899, just before his marriage. At this time he was at the peak of his artistic talent and a master of watercolour painting, adopting a wonderfully energetic way of using the medium which is almost Impressionistic in its description of forms and mood. He executed a number of large works on the theme of bullfighting, including a scene painted in Madrid in 1898 The Little Bullfight, Bravo Toro (Victoria & Albert Museum, London). He was interested in all aspects of the spectacle of the fight, from the violence of Behind the Scene after a Bull-Fight in which a bull's carcass is being dragged away, to the present picture which depicts the spectators crowding around the entrance to the ring. The people are thronging around the door, many of the women have their fans opened to shield their faces from the sun. The individual figures melt into one another to create a sense of the multitude, whilst enough form is given to other figures to express their individuality. Sadly Melville's love of Spain led to his early death in 1904 when he contracted a double dose of typhoid while on an extended visit with his wife, with whom he was keen to share the sights that inspired him.