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Lot Essay
Exhibited at the Royal Academy in 1894 the present watercolour depicts the grandeur and drama of the Scottish highlands as the majestic eagle, standing over a recently hunted stag, keeps his gaze on his competitor who circles high up in the sky above. The watercolour illustrates Thorburn's unparalleled detailed observation of and skill in capturing the diverse textures including feathers, fur and the rugged terrain, creating a scene of startling realism.
Thorburn executed a number of watercolours of this theme throughout his career, and in commenting on a related watercolour entitled Lost in the Glen - Red Deer and Golden Eagles (1897) John Southern related the following story: 'Tracking down the carcase of a recently shot red deer whilst out on the hills at Gaick, Thorburn made a number of detailed sketches of the unfortunate creature at it lay across the ice-cold slab of rock that winter's day, carefully noting the hills beyond and the vegetation in the foreground...he made perhaps three or four virtually identical sketches and then retreated, tucking himself away behind a boulder to the spot by the taint upon the wind. Now, as the bird pitched upon the carcase first facing the artist and then turning to fend off its approaching mate, Thorburn quickly drew in the various positions and attitudes of the bird (as well as noting the one gliding in the background) upon his already prepared sketches of the unmoving scene' (J. Southern, Thorburn's Birds and Mammals, London, 1986,p. 42).
Thorburn executed a number of watercolours of this theme throughout his career, and in commenting on a related watercolour entitled Lost in the Glen - Red Deer and Golden Eagles (1897) John Southern related the following story: 'Tracking down the carcase of a recently shot red deer whilst out on the hills at Gaick, Thorburn made a number of detailed sketches of the unfortunate creature at it lay across the ice-cold slab of rock that winter's day, carefully noting the hills beyond and the vegetation in the foreground...he made perhaps three or four virtually identical sketches and then retreated, tucking himself away behind a boulder to the spot by the taint upon the wind. Now, as the bird pitched upon the carcase first facing the artist and then turning to fend off its approaching mate, Thorburn quickly drew in the various positions and attitudes of the bird (as well as noting the one gliding in the background) upon his already prepared sketches of the unmoving scene' (J. Southern, Thorburn's Birds and Mammals, London, 1986,p. 42).