- 116
Joseph Crawhall
Estimate
40,000 - 60,000 GBP
bidding is closed
Description
- Joseph Crawhall
- The Moorhen
- signed u.r.: J. Crawhall
- watercolour and bodycolour on holland
- 31 by 35cm., 12 by 13¾in.
Provenance
Ian MacNicol, Glasgow;
Thomas Coates and thence by family descent;
Bourne Fine Art, Edinburgh
Thomas Coates and thence by family descent;
Bourne Fine Art, Edinburgh
Exhibited
London, Fine Art Society, Festival Exhibition: 'Camels, Cobwebs and Honeysuckle', 1985, no.40.
Literature
Adrian Bury, Jospeh Crawhall, The Man & The Artist, 1958, p.234
Condition
STRUCTURE
The linen appears sound. There is a small surface abrasion in the dark line in the centre of the composition, where the moorhen's body meets the water; otherwise the work appears in good overall condition.
FRAME
Held under glass in gilt frame with a cream mount; unexamined out of frame.
Please call the department on 0207 293 5718 if you have any questions about the present work.
"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 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."
Catalogue Note
Joseph Crawhall was born in Northumberland and brought up in Morpeth, a town surrounded by some of the most beautiful landscape in the county. At an early age he was drawn in particular to the Coquet valley where, it is recorded, he would lie in the fields for hours observing nature. He showed a great aptitude for drawing from an early age and was undoubtedly nurtured by his father, a keen watercolourist who became mayor of Newcastle in 1849.
Crawhall schooled in London before studying in Paris under Aimé Morot who strongly advocated painting subjects from memory. Like his fellow Glasgow Boys, George Henry and Edward Atkinson Hornel, Crawhall was greatly interested in Japanese art which was noted as being strongly in tune with the natural world. This influence is clearly evident in works such as The Aviary, Clifton (1888, the Burrell Collection) and The White Drake (1895 National Gallery of Scotland) . The Moorhen is also likely to date from around this period and clearly displays his ability to combine strength of line with deft touches of wash resulting in a striking yet harmonious composition.
Crawhall was a lifelong horseman and few artists can evoke so powerfully the essence of a horse in motion. He was a keen huntsman and rode out with numerous packs in England, Scotland and Tangier where he lived in the mid 1880s. There was a strong colonial equestrian culture based around Morrocco including hunting, racing and polo; this, combined with the exceptional light and colour of the locale was hugely appealing to the artist.
Tragically Crawhall's exacting standards meant he destroyed many works which he deemed substandard. What remains marks him as one of the most original British pre-war artists; as Sir John Lavery explains, 'I hold Crawhall as one of the half-dozen best artists of our time. Great as is his draughtsmanship, the excellence of his colour is still more remarkable.'
Crawhall schooled in London before studying in Paris under Aimé Morot who strongly advocated painting subjects from memory. Like his fellow Glasgow Boys, George Henry and Edward Atkinson Hornel, Crawhall was greatly interested in Japanese art which was noted as being strongly in tune with the natural world. This influence is clearly evident in works such as The Aviary, Clifton (1888, the Burrell Collection) and The White Drake (1895 National Gallery of Scotland) . The Moorhen is also likely to date from around this period and clearly displays his ability to combine strength of line with deft touches of wash resulting in a striking yet harmonious composition.
Crawhall was a lifelong horseman and few artists can evoke so powerfully the essence of a horse in motion. He was a keen huntsman and rode out with numerous packs in England, Scotland and Tangier where he lived in the mid 1880s. There was a strong colonial equestrian culture based around Morrocco including hunting, racing and polo; this, combined with the exceptional light and colour of the locale was hugely appealing to the artist.
Tragically Crawhall's exacting standards meant he destroyed many works which he deemed substandard. What remains marks him as one of the most original British pre-war artists; as Sir John Lavery explains, 'I hold Crawhall as one of the half-dozen best artists of our time. Great as is his draughtsmanship, the excellence of his colour is still more remarkable.'