Sir Alfred Munnings

THE TAyLoR GALLERy S I R A LF R E D M U N N I N G S

SIR ALFRED MUNNINGS SoME EARLy WoRkS SpRING 2015

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SpRING 2015

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THE TAyLoR GALLERy SIR ALFRED MUNNINGS SoME EARLy WoRkS SpRING 2015

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SIR ALFRED MUNNINGS Some Early Works SpRING 2015

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SIR ALFRED MUNNINGS A SELECTION OF HIS EARLY WORKS THE TAYLOR GALLERY 2015

Alfred Munnings circa 1920.

Today, the East Anglian Artist, Sir Alfred Munnings, is remembered not only for his paintings, but also for his controversial time in office as President of the Royal Academy of Arts in London between 1944 – 1949. He chose the occasion of his Presidential speech, at what was the first post war banquet at the Academy in 1949, to confirm his resignation from that post as well as to let fly, in colourful terms, his growing disillusionment with the art establishment and it's unbridled enthusiasm for 'so called modern art!''

Undoubtedly, Munnings was a traditionalist, a countryman, an Englishman of the old school and yet in his early career as an artist he was firmly in the vanguard of a modern movement in portraying the world around us with freshly lit and freely executed use of paint. Born on the 8th October 1878 the second son of a Suffolk miller and a farmer's daughter, spending his boyhood at their family home at Mendham Mill on the Waveney River, in Suffolk. He left school at fourteen and was apprenticed to a Norwich firm of Lithographic printers Page Bros. and Co. for six years. Here he learned the techniques of commercial draughtsmanship, posterdesign and print making, a critical period in his education, learning that mistakes cost time and money and that discipline and accuracy are prerequisites of the professional artist. He was to become much in demand by the firm's customers. While in Norwich he studied in the evenings at the Norwich School of Art. He was influenced by artists from the Norwich School like Cotman and Crome and was able to study works by Constable and Stubbs at the Castle Museum's collection in the city. In 1899 two of his paintings were accepted by the Royal Academy, Pike Fishing in Winter and Stranded (Bristol City Art Gallery) thus began an association with the Academy which would last for the rest of his life. In the same year he visited a local race meeting at Bungay, this was to prove an overwhelming influence on his work and sparked an enthusiasm for subjects such as horse fairs, colourful country gatherings and of course a life long love of horse racing,

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''So imagine me, gaping at the scene now thrown at me all at once. The peaceful school of art, the smelly artist's room faded away and I began to live'' (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 65).

1899 was an eventful year, shortly before his twenty first birthday Munnings lost the sight of his right eye in an accident, his recovery and readjustment cost him time and much of his hard won savings, ''A long time elapsed before I became used to this, and even now I often make a stroke in the air which doesn't arrive on the canvas, or make another which lands too violently. This has been a handicap to me always, and cramps my style – shortens my my stride, so to speak. What wouldn't I give to see with two eyes again!'' (see A J Munnings, An Artist's Life, Museum Press, 1950, p.103).

Returning to Mendham he set up his first studio, ultimately renting rooms at Shearing's Farm, his home for the next six years. His prodigious out put in this period inspired by his rural surroundings enabled him to make a living and enjoy a certain local celebrity. In 1902 he visited Julian's Atelier in Paris for the first time, returning several more times and also accompanying a patron on trips to Europe; he was entranced by the work he encountered on the Continent and was impressed by the 'open air schools' (en-plein-air).

Munnings moved to a new home near Norwich which acted as a base from where he began a series of extended, almost nomadic, painting trips. With a mixed bag of ponies and human models along with a cart and Gypsy caravan he would venture into the summer countryside around Norwich to paint. He produced many of his best and most iconic pictures at this time including a series of his model 'Shrimp' leading ponies through a ford and several large studies of his famous white pony 'Augereau' in a sandpit, ''A Norfolk Sandpit'' afterwards went the round of the provincial Galleries, and finally I gave it to the City of Norwich, where it hangs in the large Art gallery, and I am not ashamed of it – it taught me a lot'' (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 198).

Interested by the now well established Newlyn School of Art in Cornwall, Munnings first visited the colony in 1908 for a few weeks; finding things much to his liking, he decided to move there permanently and eventually made his home at Lamorna north of Newlyn. Immediately accepted by the artist's community, he became the centre of social activities, free to express his naturally exuberant nature and to paint the fresh and inspiring scenery and life there on the end of the Cornish peninsular. This period was punctuated by brief trips to Hampshire to paint the Gypsies who gathered each year to harvest hops. Munnings would return often to paint the generations of Gypsies who would pose for him for a few shillings, referring to him as 'Mr Money'. Munnings also met his first wife in Cornwall, Florence Carter-Wood, a student of the Newlyn school, they married in 1912, but their marriage was not happy. His wife committed suicide in 1914. Munnings was deeply affected by this loss, however, unabated, he continued to work and exhibit.

At the outbreak of the First World War the patriotic artist attempted more than once to enlist, however, due to his impaired vision he was declined and so continued to paint until in 1917 when he entered service at a Hampshire remount depot. His duties here included checking and treating horses for mange. In 1918 he was invited by the Ministry of Information to paint the Canadian Cavalry Brigade for the Canadian War Memorials Scheme; painting some of his most vivid works of cavalry units at the front and among these his important portrait of their commanding officer Major-General J E B Seely which was painted within a few thousand yards of the German front line.

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The subsequent exhibition of these paintings at the Royal Academy in 1919 led to Munnings becoming an established artist and famous for his equestrian portraiture to titled and wealthy clients in particular. In this year he was also elected an Associate of the Royal Academy, he purchased Castle House at Dedham in Essex, his home for the rest of his life, and met his future wife Mrs Violet McBride.

In 1919, he was to paint some of his most important early commissions including The Earl Of Athlone, who was brother of Queen Mary and his first significant racing portrait of the Grand National winner of that year, 'Poethlyn'.

In 1920 Munnings married Violet McBride, an expert horsewoman. She undoubtedly regularised his professional and domestic life, but allowed him the freedom to paint without the concern of managing his day to day existence; Violet Munnings believed her husband was ''never as good an artist after marrying me''. Around1921 Munnings built Beldon House at Chelsea Park Gardens, which served as his London home and studio. Munnings reputation grew, he became a nationally known figure and even made a six month trip to the United States to judge an art competition at the Carnegie Institute in 1924. While there he carried out commissions for a growing body of collectors and wealthy owners whom he painted mounted on their favourite horses. He also visited Canada during this trip. He was elected a full member of the Royal Academy in 1926 and in 1928 was honoured by his adopted home town of Norwich with a retrospective exhibition of 300 works and held at the Castle Museum and Art Gallery. Continued success and further trips to paint in Europe during the thirties brought security and standing. Having produced a bronze statue of a fallen cavalry officer after the First World War, in 1935 he was commissioned to make a bronze of the famous stayer 'Brown Jack' for his owner Sir Harold Wernher. Five editions of this matchless work were produced, one having always been displayed annually at Ascot Racecourse where the horse had created history winning the 'Queen Alexandra Stakes six times in succession. Munnings large exhibition at the Leicester Galleries in London in 1938 was extremely well received.

In 1940 the army requisitioned Castle House for the duration of the war; as a consequence, the artist and his wife moved to Withypool on Exmoor, where Violet had previously enjoyed many seasons hunting. Munnings enjoyed an idyllic existence riding, writing and painting in this west country haven, a far cry from the previous two decades which had been filled with an endless number of lucrative, yet increasingly less inspiring commissions. In 1944, Munnings was elected President of the Royal Academy of Arts in London and he was Knighted by King George VI. This honour he took seriously, but demands of office became a difficulty and conflicted with his natural desire to be outside and out of London painting! In 1947, the King himself conferred to create him Knight Commander of the Victorian Order and he was also honoured with 'The Freedom of the City' of Norwich. In 1949 Munnings was to sponsor the election of Sir Winston Churchill as a 'Member Extraordinary' of the Royal Academy and later that year he was to deliver his 'public-ally broadcast' President's Speech in which he divided both the art world and public opinion on the subject of 'Modern Art', ''I find myself the President of a body of men who are what I call shilly-shallying. They think there is something in this socalled modern art'' (see A J Munnings, The Finish, Museum Press, 1952, p. 145).

He left office in December 1949. Munnings had begun writing his autobiography in 1944, the project was a victim of his time as President of the Royal Academy, now with the freedom to work, he wrote and published his three autobiographical volumes, An Artist's Life 1950, The Second Burst 1951 and The Finish 1952 (Museum Press).

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In the late 1940's Munnings had begun to paint racing scenes, the starts of races, often at Newmarket, were now an all consuming interest. He regularly travelled to Newmarket from London or Dedham to station himself at the head of the course believing that a thoroughbred racehorse was observed at its best at the start of a race. In March 1956, his largest retrospective exhibition was held at the Royal Academy Diploma Gallery including 309 of his works. Munnings loaned paintings in his own possession, however, many institutions and private owners willingly contributed lending works from their collections. Munnings was unable to attend the opening ceremony due to ill-health, but the exhibition was a great success. In 1958, Munnings published a collection of his own Ballads and Poems (Museum Press). Towards the end of his life, Munning's thoughts were increasingly occupied with the ever changing face of the once idyllic English countryside. He considered industrialisation and unchecked urban spread responsible, ''To landowners of the past do we owe the beauty of the English scene. As the years pass, from now onwards, so will it gradually lose the look of to-day, even as it has lost its look of yesterday'' (see A J Munnings, The Finish, Museum Press, 1952, p. 232).

Gout too had taken it's toll from relatively early years, this coupled with arthritis brought about by the rigours of painting in every kind of weather for six decades ultimately brought an end to his ability to paint; he died on 17th July 1959. Munnings enriched his time, he influenced the lives of so many, he could be curmudgeonly or equally kindness itself, never to be forgotten by those whom he met.

Munnings was fortunate to have enjoyed successes that many artists do not in their life time, he and Violet did not have children however; but Munnings left a peerless legacy, an intimate insight into, not only a life well lived, but of an extraordinary passage of time in which the horse and the countryside reigned. Munnings ashes are interred at St. Paul's Cathedral in London, the memorial tablet is inscribed, ''O friend, how lovely are the things, The English things, you helped us to perceive''.

As a reflection of the high esteem Munnings early work enjoys, we have sourced the majority of our selection from Munnings pre First World War period. These works demonstrate his versatility and remarkable vitality. Although painted in 1919 we have also included the portrait of ‘Poethlyn’ not only because of its superb quality, but also because of its importance and historical significance in British horse racing history.

It is with pleasure that we present Sir Alfred Munnings, Some Early Works and we thank Tristram Lewis, writer, artist and horseman who is in the process of producing an eagerly awaited biography of Munnings and without whose scholarship, sympathy with and vast knowledge of the subject, this Catalogue would not have been as comprehensive as it has turned out to be.

Jeremy Taylor During 2015 we will be exhibiting at: The BADA Antiques & Fine Art Fair, 18–24 March, Duke of York Square, off Kings Road, London The Olympia International Art & Antiques Fair, 18–28 June, Olympia, London The LAPADA Art & Antiques Fair, 22–27 September, Berkeley Square, London The Winter Olympia Art & Antiques Fair, 2–8 November, Olympia, London

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1.

‘Poethlyn’ with his owners Major and Mrs Hugh Peel Oil on Canvas, 28 x 30½ inches (71 x 77.5 cm) Signed 'AJ Munnings' (lower right) painted 1919 Provenance: Commissioned by Major and Mrs Hugh Peel in 1919 and thence by descent with the Peel family until 2014 when acquired directly from the family by The Taylor Gallery.

Literature: The second Burst (the second volume of Munning's autobiography) pages, 45-48.

Painting the National Winner Poethlyn (illustrated opposite page. 48).

Ernest ‘Ernie’ Piggott riding ‘Poethlyn’ to victory at The Grand National at Aintree in 1919.

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After the success of Munnings pictures in the Canadian War Memorials Exhibition in January of 1919 and having established his first studio in London at Glebe Place, Munnings was becoming a public figure, his commissions were reflective of his new status as a leading equestrian portraitist to titled and wealthy owners. The confidence brought by this good fortune enabled the artist to indulge in material and experience gathering trips to race courses around the capital including Sandown, Kempton, Gatwick, Hurst Park and Lingfield. ''Thus I saw many horses of that year which were to run in the National, Poethlyn included'' (see A J Munnings, The Second Burst, Museum Press, 1951, p. 46).

In 1919 Munnings travelled to Aintree to experience the greatest of all steeplechases, the Grand National. He vividly recalled the experience of watching the horses coming over the formidable Chair jump on their first lap of the course, then the final struggle of the contenders who had not fallen, with ‘Poethlyn’, ridden by Ernest Piggott, winning the race for the second successive year. ''I remember rushing back to the paddock, seeing the horse led in by Mrs. Peel, little dreaming I was to meet her or paint the horse in the near future. Following on the horse's heels I saw Piggott unsaddle him - a large dark bay, almost a brown, sweating, with nostrils distended, but showing no distress. The Jockey's yellow jacket with black sash had worked out of his bespattered breeches behind, and hung loose''. (see A J Munnings, The Second Burst, Museum Press, 1951, p. 47-48).

‘Poethlyn’ is one of just seven dual winners of the Grand National, his first victory being in 1918 when the race was run at Gatwick as it had been since 1916, the War Office having requisitioned it's usual home at Aintree Race Course. Run again at Aintree, his 1919 race was Poethlyn's ninth victory in succession; having been installed as the favourite at 11/4, and despite a welter burden of 12st 7lbs. Foaled in 1910 at his owner's home at Bryn-Y-Pys in Flintshire on the Welsh borders; ‘Poethlyn’ was bred by Major Hugh Peel from the stallion ‘Rydal Head’. He had bought the dam ‘Fine Champagne’ at auction for twenty five guineas. The foal was sold for just seven guineas to a Shrewsbury hotelier. ‘Poethlyn’ was later bought back by Major Peel for fifty guineas and the promise of the first salmon he would catch on the river Dee that year and given by Major Peel to his wife 'Gladys'. ‘Poethlyn’ died in 1940 at the age of thirty and is buried in the grounds of Bryn-Y-Pys estate. He was trained by Harry Escott at Lewes in Sussex and ridden by Ernest Piggott, father of Keith Piggott who trained the 1963 Grand National winner ‘Ayala’, and grandfather of Lester Piggott. Major Hugh Peel was himself a thorough countryman and a sportsman of the old school; he was at one time Master of the 'Wynnstay Fox Hounds', a notable breeder of greyhounds which led him to two victories in the 'Waterloo Cup' in 1934 and 1945 and he owned 'Bangor-On-Dee Racecourse' where a 'Hunter Chase' is still run in his memory. He died in 1950.

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Within weeks of the Grand National Munnings was commissioned by Major and Mrs Peel to paint ‘Poethlyn’ at Bryn-Y-Pas. This was to be Munnings first important racing portrait the oeuvre for which his career was to become best known and remembered. Coming at a point when his work was arguably at its strongest, now in demand by important owners, this work imbues Munnings growing confidence and the undoubted pleasure he enjoyed from undertaking this particular commission, ''Weeks later, when the chestnut trees in the park were in bloom, I was in the Flintshire home of the Peels – painting the horse and his family too. I see a stone balustrade on a terrace, stone gateposts, a glade of ancient oaks and the river Dee flowing below'' (see A J Munnings, The Second Burst, Museum Press, 1951, p. 48).

The Saddling Enclosure prior to the Start of The 1919 Grand National with ‘Poethlyn’ in the centre, (Courtesy of The Yale Museum of British Art, The Paul Mellon Collection).

Alfred Munnings painting ‘Poethlyn’ positioned beneath a great oak tree in the park.

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Munnings painted a second portrait of ‘Poethlyn’ positioned beneath a great oak tree in the park, the Peels stood with him, an unidentified friend leaning against the oak, the stud groom and terriers playing around the tree's roots (see, 1919 photograph: Mr A J Munnings painting alternative ‘Poethlyn’ portrait at his Glebe Place studio), this picture and another study of ‘Poethlyn’ in his paddock are presently on view at the National Horse Racing Museum in Newmarket, Suffolk.

The present painting encapsulates the beauty and style of a bygone time, the setting outside the gates to one side of BrynY-Pas which no longer stands, Mrs Peel's natural elegance which had been noted by Munnings when he sketched her, recalling exactly what she wore, as one of the attendant figures surrounding Poethlyn in a study for his earlier painting Saddling Up for the Grand National 1919 (collection: Yale Centre for British Art, Paul Mellon Collection). Major Hugh Peel's languid pose typifies the character of a country gentleman of this period; his beloved greyhound Bryn Sock usefully leading the observer's eye into the key focal elements of the painting. The stud groom stands on the left of the design proudly looking on at his charge, a monogrammed stable blanket draped over his arm; during his visit Munnings accompanied the stud groom and another man to witness Poethlyn being turned out to grass. ''In the quietest manner possible he was led into the enclosure – there was suppressed anxiety as to what he would do when loose. I was soon to see what a big fit horse could look like when free, he stood like a statue for a moment; then he did all that a horse can do'' (see A J Munnings, The Second Burst, Museum Press, 1951, p. 48).

Undoubtedly, the present work is one of Munnings most important paintings. It is significant, being painted just after the Great War and at the beginning of the artist's meteoric rise in popularity in Britain and abroad. Exquisite, apparently effortlessly painted yet achieved as a culmination of twenty five years of relentless artistic endeavour, unparalleled knowledge of his subject and attention to detail. A twenty five page sketch book, several oil sketches and at least three completed studies were included in Munnings preparations for this portrait. Munnings vital energy and ability to impart his vision, that which he has witnessed, are perfectly and poetically demonstrated in ’Poethlyn’ with his owners Major and Mrs Hugh Peel, the only painting of ‘Poethlyn’ that is not yet in a Public Collection. ''I think no one has so deeply felt the beauty of our horses. Let all look at the three types of horse that Mr. Munnings paints with such feeling and such power; the hunter, the hack, and the thoroughbred steeplechaser.

Nearly all these paintings have for background the lovely, various English landscape. There is no landscape to compare with it for sweetness and gentleness. Mr Munnings' sense of it is as fresh as a primrose. I love the background against which his Poethlyn stands, a sunny valley with oak-trees and the blueness of fair weather.

I love the chequered light of the wood with the grey hunter, dappled light and dappled horse, both lovely. I love the raw February scene of the hounds going out in the snow. Somebody ought to have put all these scenes into poems, and now Mr. Munnings has beaten us''.

John Masefield - (Poet Laureate to England 1930-1967)

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2.

Clearing the Hedge Watercolour and body colour, 10 x 14 inches (25.5 x 36 cm) Signed and dated 'AJ Munnings 1906' (lower right)

Munnings was a horseman through and through; his great knowledge of horses leading to him later in life even judging at horse shows. Munnings life spanned from the horse drawn late Victorian age to a time when the horse had almost entirely become the object only of leisure activity. From early on hunting became a passion and Munnings enjoyed many days with various East Anglian hunts, particularly, before moving to Cornwall, the Norwich Staghounds. These sociable days provided the artist with innumerable ideas and inspiration for painting and suited his buoyant attitude towards life. While hunting one day the stag crossed a railway line, only Munnings, the master, the whip and a Lady, Miss Daisey Birkbeck, managed to cross the line and keep with the hounds to the end. Later at an Inn Munnings bought the four a drink, Miss Birkbeck remarking, “There, Mr Munnings, you can now say that you stood drinks to the whole of the field!” (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 265).

Miss Birkbeck's mare was named 'Vera', the horse gained a reputation in that district which lasted for decades. Munnings was commissioned by Miss Birkbeck to do a watercolour of herself riding Vera; “On a previous day with the Harriers, I had seen them brushing through a straggling fence of maple, jumping a wide ditch, and scattering a trail of yellow leaves into the air. This was the subject of the little water-colour”. (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 265).

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3.

Langham Pool on the River Stour Oil on Canvas, 20 x 24 inches (51 x 61 cm) Signed 'AJ Munnings' (lower left)

John Constable was a life long inspiration to Munnings. Born along the river at East Bergholt, Constable was educated at Dedham and frequently painted the Stour valley and its river. Munnings revelled in exploring every part of the valley and deplored the subsequent loss of some of it's ancient mill buildings and unspoilt vistas, ''But I must go on over the bridge to Langham, where once stood another great mill that Constable knew so well.

Alas! All is gone-never to come back'' (see, A J Munnings, The Finish, Museum Press, 1952, between p. 291) Langham Pool on the River Stour is an unusual study being set at the end of the day as the watery sun melts into the river mist coming on with the evening. It is yet another example of Munnings habit of returning to a known spot to paint a scene again under different conditions of light, time of day and of year. It's subject being close to his heart, it is likely Munnings particularly liked this painting having chosen to illustrate it in the last of his autobiographies; (see, A J Munnings, The Finish, Museum Press, 1952, between p. 232-233). ''

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4.

Carting Hay Watercolour, 8 x 11½ inches (20 x 29 cm) Signed and dated A J Munnings 1902 Provenance: Originally owned by J Shaw-Tomkins, later the property of Mrs Lorian Peralta-Ramos who is preparing the Catalogue Raisonne of the works of Alfred Munnings.

Exhibited: Norwich Castle Museum, Loan Collection of pictures by A J Munnings, RA. Exhibition 1928, catalogue no. 157

Mendham Mill, Munnings boyhood home on the Wavney River was one of the largest working mills in that district. His father Mr John Munnings was a respected miller and farmer and his sons inevitably grew up with a deep understanding of the family trade and farming. Munnings recalled in an 'Artist's Life' the character and pleasures to be found in every season in the rural idyll that was Suffolk in the latter part of the nineteenth century. On completing his studies in Norwich in 1898 and launching his artistic career in his new studio base back at Mendham, he filled the following years with commonly plein-air works, often bucolic scenes derived from the day to day rural activity he understood and loved so well. ''During those years, Mendham village, its corners, by-lanes and meadows were my painting grounds'' (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 166).

Carting Hay embodies the annual early summer harvest of meadow hay each June and July as it was and had been practised for centuries. A precise and cleanly executed watercolour, it is likely this study would have been painted on the spot, but it is almost certain he would have repeatedly sketched this design in pencil and wash beforehand enabling the artist to learn the picture and produce the accomplished work we see here. ''The truest and most satisfying form of landscape and figure-painting has been achieved only through endless trouble taken, apart from the actual technique. Whatever the results, in studio or open-air work, the latter is more awkward to battle with and master-so difficult that if a young artist were too aware of what is ahead he might never dare begin''. (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 165).

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5.

Cattle Grazing before Hay Wagons Watercolour, 9 x 13 inches (23 x 30.5 cm)

Munnings was drawn to painting cows and pigs, indeed he regarded them as ''among the most paintable of animals''. He painted at Crostwick Common, north of Norwich where every manner of livestock grazed the open pasture, ''There were donkeys, young and old, a coloured cow or two, a white horse'' (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 205).

In Cornwall he bought a cow to use as a model and found it to be a profitable acquisition, many studies of this black and white cow and another borrowed from a local farmer were made during his time at Lamorna. A notable early commission was to paint a herd of cattle for a 'Prince Frederick Duleep Singh' at Breckles Hall, he received ÂŁ10 to paint the picture from his patron Jim Boswell, ''The bull and cows that I painted were the last of an ancient breed of Suffolk dun-coloured, polled cattle'' (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 178).

Cattle grazing before Hay Wagons is a delightful fresh study which has endured to today in bright clean condition. Munnings probably painted this picture in one session making the whole image cohesive and beautifully colour toned.

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6.

Aunt Polly's Hackney, ‘Hamlet’ Oil on Canvas, 20 x 24 inches (51 x 61 cm) Signed and dated 'AJ Munnings 1905' (lower right), inscribed 'Hamlet/The property of Mrs Hill – Mulbarton/Sire – 'Lord Hamlet' by 'Lord Derby ll'/ Dam – 'Madge' by 'Cadet' (lower left)

Just before his twenty first birthday in1899, Munnings lost the sight of his right eye while visiting his aunt and uncle at Mulbarton near Norwich. Aunt Polly, formerly married to Munnings uncle Arthur, had lived with him at Church Farm, Swainsthorpe. After uncle Arthur's death she had re-married Mr Hill and lived at Mulbarton in the next parish. Munnings later rented part of Church Farm from the Hill's and established his studio there until he departed for Cornwall in 1910. Although at this time Munnings bought and sold horses, ponies and donkeys for use as models keeping them at Church Farm between extended jaunts into the Ringland Hills to paint, he would often work on commissions or present studies to friends and benefactors. His aunt and uncle had bred Hackney type horses at Mulbarton, a type of general purpose lightweight trotting horse that has today all but disappeared, but which was common in Norfolk at that time. It is likely the present picture was a gift for his aunt, probably depicting a particular favourite or good foundation horse. Aunt Polly's hack, ‘Hamlet’ shows Munnings developing ability to depict the individual character of a particular horse subject. ''Farmers drove into Norwich on Saturdays with high-stepping hackneys in rubber-tyred ralli carts with red or yellow wheels. Mr Hill, a breeder of hackneys, drove a stepper called Hamlet- a liver chestnut, in the stud book''. ''These horses scarcely touched the road in their action. Fourteen miles an hour was an average for many''. (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 192).

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7.

A Summer Meadow Watercolour, 10 x 14 inches (25.5 x 35.5 cm) Signed and dated 'AJ Munnings 1902' (lower right)

In An Artist's Life, the first of Munnings autobiographies written in 1950, he reflects again and again of the rural arcadia that surrounded him at Mendham village where he first began to seriously work as an artist around 1900. The welcoming meadows and lanes, farms and inns provided him with endless subjects and inspiration. Among his many models Munnings employed an elderly countryman named Norman who lived in a Mendham cottage with a garden he lovingly tended until called upon by the young artist to hold a horse or maybe become a figure in a fairground scene, ''It's our day to-day, Norman; glass is going up. Let's be off to Ben Cook's after that mare and foal''. (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 126).

It is likely that Ben Cook's grey mare and her foal are the subjects of A Summer Meadow. Munnings painted numerous watercolours and oils of mares and foals or groups of heavier type farm horses at grass, stood in a lane or by a field gate. An earlier 1901 watercolour Off into the Fields (The Taylor Gallery 2014), illustrates a white mare and her six month old foal, it is quite possible that the same two horses are depicted in A Summer Meadow the foal having grown another year older by summer 1902. This is a delightful watercolour which demonstrates Munnings ability to perfectly capture the atmosphere of this peaceful moment in a Suffolk meadow.

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8.

Over the Ditch Watercolour and bodycolour with scratching out, 9¼ x 10½ inches (23.5 x 27 cm) Signed and dated 'A J Munnings/13' (lower left) Provenance: Nell Macan, the artist's first wife's sister, and thence by descent.

Moving to Cornwall around 1910 Munnings established himself among the Newlyn artist's community at Lamorna. In making his relocation permanent the artist arranged for his dog ‘Taffy’ and his ‘Brown Mare’ to be sent, by train, from home in Suffolk to join him in Cornwall. Munnings produced many of his most iconic pictures at this time utilising his groom Ned, the brown mare and a new acquisition Grey Tick. The present picture, Over the Ditch is one of a group of pictures based on a nostalgic desire to create scenes reminiscent of his happy days spent hunting with the Norwich Stag Hounds back in Norfolk. An exquisite monochrome watercolour, Over the Ditch captures the thrill and speed of the chase, the cool winter atmosphere as evening is coming on the light starting to fade, ''The Huntsman, silhouetted against the sky, is lying back as his horse clears a rough, overgrown fence and ditch, to land well over on the other side.'' (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 273)

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9.

The River Stour at Wormingford Oil on Canvas, 20 x 24 inches (51 x 61 cm) Signed 'A J Munnings' (lower right) Provenance: Purchased by Edgar Cooper Bland from the artist in 1954 and thence by descent.

Exhibited: Loan Collection of Pictures by A.J.Munnings, R.A. Norwich, Castle Museum, 1928.

Throughout his long life, Munnings loved rivers. His boyhood home at Mendham Mill in Suffolk was on the Waveny River which became a joyful playground for him and his brothers. In 1920 he moved to Castle House at Dedham, a picturesque village on the Stour valley in the heart of ‘Constable's Country’. Often, between his commissions away, Munnings spent peaceful hours and days walking, observing and painting the river scenes along the Stour valley; many of the pools and willow hung stretches being repeatedly painted under differing conditions of light and time of year or with slight variations on perspective. The River Stour at Wormingford was painted at the height of his powers between the wars and is a good example of the kind of work he produced when painting entirely for his own pleasure. The swiftly executed accuracy of this painting, it's subject and the fact it was illustrated in his own autobiography (see, A J Munnings, The Finish, Museum Press, 1952, between p. 232-233 ) indicate that Munnings himself had derived much from painting it and regarded it as a good river-scape picture. ''We paddled yet farther up stream, and on to Wiston and Wormingford, disturbing the coots and their young broods – songs of the warblers always with us. No sleeping landscape-painter could ever dream of the rich beauty and peace of the scene''. (see A J Munnings, The Second Burst, Museum Press, 1951, p. 50)

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10.

A Hunter in a Meadow Oil on Canvas, 14 x 18 inches (35.5 x 46 cm) Signed 'AJ Munnings (lower right)

Between 1900 and 1910, when Munnings moved to Cornwall, he was based at Shearing's Farm, Mendham in Suffolk and then moved his studio to Church Farm, Swainsthorpe just five miles from Norwich in Norfolk. Throughout this period he was painting rural scenes of fairs, hunting and racing subjects, country folk at work and play and classically picturesque pastoral views. He was supported by local collectors, having already been exhibited at the Royal Academy and was often commissioned to paint portraits of both people and inevitably horses. A Hunter in a Meadow provides a window into this formative period of his life, probably commissioned by an acquaintance from one of the local hunts who wanted a favourite horse painted by the up and coming Mr Munnings. It is believed that this was one of a pair of equestrian portraits, certainly another similar picture of the same period, of a horse called ‘Mayfly’, was sold at auction in1964.

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11.

June Bouquet Watercolour and tempera, 15 x 12 inches (38 x 30.5 cm) Signed 'AJ Munnings' (centre left)

Munnings had been producing commercial poster designs for Colman's, Caley's Chocolates, Bullard's and other Norwich businesses while serving his apprenticeship at Page Brothers and studying at the Norwich art school in the evenings. In 1898 this period came to an end and he embarked on building an artistic career painting conventional works. Just before his twenty first birthday in 1899 he lost the sight of his right eye in an accident. Incapacitated, unable to paint for several months and having to pay for treatment and care out of his own savings; Munnings was keen to start painting again, the first serious work being to create large scale advertising posters and box covers for Caley's Chocolates which was ready work and helped to restore his depleted bank balance. Many of these designs involved pretty young ladies in regency type dress and often in garden settings. ''My models were a dark-eyed, attractive cousin and a friend, who came to stay. The cousin had beautiful arms and black hair, and was a flirt, and her name was May'' (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 103).

The present picture was probably painted in this period between 1899 and 1901. It is probable the model was Munnings cousin May; in preparing for the finished poster designs it is likely more conventional studies were produced like June Bouquet, this painting may well have been a gift for the sitter.

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12.

A Suffolk Lane Oil on Canvas, 12 x 16 inches (30.5 x 40.5 cm) Signed 'AJ Munnings' (lower left)

Munnings perfected an ability to recreate a moment in time, something seen and captured in his minds eye was later reproduced in pencil and watercolour or in an oil study, his swift hand and direct technique giving movement and life. Often the artist would utilise local models to assist in posing or holding horses for hours while he created the desired image.

Children were a useful and popular commercial choice of model for artists in the early part of the twentieth century; Munnings produced a similar painting to the present picture in 1901, a boy, possibly the same model, riding a chestnut mare in a meadow setting, the same rear quarter perspective exists. The latter picture was also produced as a watercolour with the addition of a foal gambling along on a halter next to the boy's mare. A Suffolk Lane evokes a wonderful atmosphere, the young rider takes the white farm horse along a country lane, the darkening evening light suggesting the end of a days work in the fields. It is not recorded which of several greys Munnings used in his earlier works for the present work, it may well have been an often used mare belonging to a Mendham neighbour, ''Another beautiful grey was the property of Ben Cook. The buttercup picture was not the only painting of her, and she was first rate as a picture horse. No artist ever dreamed of a better'' (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 170).

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13.

Hot Toddy Pencil, black ink and powder mixed watercolour heightened with white, 5½ x 8½ inches (14 x 22 cm) Signed 'AJ Munnings' (lower left)

A brief spell at the Suffolk county school of 'Framlingham College' did not successfully provide for Munnings overriding need to develop his latent artistic talent. His parents imaginatively recognised this and after some investigation which included advice that he might go into the publishing business, ultimately decided that he should enter the world of lithographic printing, ''It was to the firm, Page Bros. & Co., to which I finally was bound apprentice for the term of six years, my father paying a premium of forty pounds'' (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 51).

This employment taught Munnings practical commercial lessons and he developed a reputation among the firm's clients for producing imaginative designs, bold and bright, often humorous; indeed one of these designs was still utilised on bill-boards in the capital after the first world war. Hot Toddy is a typically comedic and evocative work, Munnings revelled in English period literature and comedy were many of his ideas for these works developed. The figure to the left of the design is wearing a regency period coachman's caped coat and carrying a whip, the other figures joining him for a 'Hot Toddy' perhaps outside a coaching inn on a winter's night before Christmas ''A part of my in consistent mind was soaked in the costume and foppery of that period'' (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 82).

It is possible the present work was painted after his apprenticeship finished in 1898 when he was beginning to concentrate on his conventional career through the sale of some of his paintings at Boswells, a firm of art and antique dealers in Norwich. ''If I was in Norwich on a visit, and so inclined, in the absence of Mr Whiting, I painted pictures of all kinds in that room, and Boswell bought them for a few guineas. These were pictures of knaves and thieves, of ghosts and folk with lanterns in the snow'' (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 82).

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14.

Farmstead at Stithian, Cornwall Watercolour, 7 x 10 inches (18 x 25.5 cm) Signed 'AJ Munnings' (lower left), title inscribed verso, c. 1911/1912 Provenance: The Lesley Oates collection of Newlyn Paintings, Cornwall.

Exhibited: Penlee House Museum, Penzance, 1919.

Now very much part of the Newlyn Artist's Colony which had been founded by Stanhope Forbes; Munnings revelled in the inspiring company of artists including Dame Laura and Harold Knight, John 'Lamorna' Birch, Harold Harvey and Dod Proctor among many more. The Cornish light and scenery was new and refreshing providing exciting opportunities for watercolours and oils largely painted en-plein-air and often finished on the spot in one or two sessions. Characteristically Munnings is regarded as an establishment figure, a traditional painter of traditional English scenes. The reality being that he was modern in his use of paint and colour, recognising the ever changing reflection of light on everything before him and having the assured hand and speed to capture these fleeting moments of time in whatever medium he was using. Farmstead at Stithians, Cornwall is a wonderful example of wet on wet painting the scene a typically remote Cornish Farmstead nestled among a break of trees, themselves bowed to the prevailing Atlantic breeze. Munnings explored the far west of Cornwall widely, often on horseback in the company of a friend; Stithians is just a few miles north of Falmouth and east of Penzance. ''Across that strange, undulating country, to the sound of fog-horns, we chatted and rode''. (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 279)

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15.

Suffolk landscape with an Ivy covered Tree Oil on Canvas, 13 x 17 inches (33 x 43 cm) Signed 'AJ Munnings' (lower right) Provenance: A gift from the artist and since by descent in a private collection, Suffolk.

Towards the end of his life Munnings reflected that his landscapes were probably his best work and yet his commissions and numerous racing scenes produced towards the end of his career were what he was best know for. Indeed, it is arguable that for a period he was the most famous artist in England. However, Munnings found artistic satisfaction and peace in painting landscapes and whenever time allowed he would walk or have a driver take him to ''a spot'' where he could capture the splendour of the countryside he so loved. With his artist's eye, Munnings could asses the scene in front of him and would often indulged himself in painting a gate, a small piece of Exmoor wall or the old dry carcass of a parkland oak. Sufflok landscape with an Ivy covered Tree is a superbly fresh and spare painting. The treatment of light and use of colour, it's objectivity draws the viewer into the picture, the empty sky subtly filtering cool blue light and lines of shadow which stretch across the picture in parallel to the thorn hedge and rails, a key compositional technique employed by Munnings throughout his life. ''My truest pleasures in life would be to sit on a stile on ‘a fine fresh May morning’ enjoying to the full, the sight of landscape and sky, the song of birds, the smell of blossom, and the warmth of the sun''. (see AJ Munnings P.R.A, Reflections on the Past, The Studio, September 1944, Vol. 128. No. 618. p. 75)

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16.

Canadian Officers around a Piano Watercolour, 10 x 13 inches (25.5 x 33 cm) Signed 'AJ Munnings (signed and inscribed top right in pencil: 'Canadian Forestry Goodbye la Bergeon Jura, Musical coming (indistinct) in France June 18')

At the out break of the First World War Munnings was declined for service due to the loss of vision in his right eye sustained in 1899 when lifting a dog over a hurdle in a hedge, his eye was pierced by a thorn. His desire to perform his duty led to him assisting at a re-mount depot run by the sporting and animal artist Major Cecil Aldin. In late 1917 at Lord Beaverbrooke's intervention and that of the Daily Mail and Observer's art critic Paul Konody, Munnings was offered the opportunity to go to France as one of the Official War Artists painting for the Candian Army War Records Memorial. He joined General Jack Seely's Canadian Cavalry Brigade, by early 1918 he was sketching and painting throughout the Cavalry's sphere of involvement. Munnings was regarded a somewhat unusual figure on the front, dressed in his civilian tweeds and breeches, his enthusiasm to carry on his work undiminished by the threat of enemy fire won him admiration and friendships which later helped his post war career. Later in 1918 Munnings lived among and painted the Canadian Forestry Corps who provided timber for the war, he considered the Canadians ''the finest and best fellows I have ever met''(see A J Munnings, An Artist's Life, Museum Press, 1950, p. 304) It is probable the present picture was painted during this time in the Jura Forest. Canadian Officers around a Piano is typical of Munnings ability to see and capture a moment in time. Each man an individual, making the most of a short respite from the rigours of war; probably sketched on the spot, the watercolour worked up afterwards or maybe completed there and then.

The artist often presented sketches of this kind to friends, perhaps one of the sitters? ''One of these merry practical jokers was a young, well-bred lieutenant, a Canadian, who possessed a charming tenor voice. The song he sang so well, and which we begged him to sing again and again, was ''Roses are blooming in Picardy''. (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 312)

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17.

The Flower Seller Oil on Canvas, 16 x 13 inches (41 x 33 cm) Signed 'AJ Munnings' (lower left) 1902 Provenance: Mrs Hackney, Tunbridge Wells, by whom given to The Red Cross in 1942.

The Red Cross; their sale, 9 October 1942, to the previous owner's mother.

In 1902 Munnings visited Paris for the first time. Largely influenced by an older artist friend whom he would meet along with others at the Castle Hotel in Norwich, ''Edward Elliot, going back to the days of his youth, painted glowing word-pictures of the life at the Atelier Julian in the Rue du Dragon, until we all decided to go''. (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 152).

Munnings returned to study and work in Paris several more times, including later as part of a tour to Europe he made with his first serious patron Shaw Tomkins, who was owner of Caley's in Norwich. While in Paris Munnings drank in the work of Degas, Fantin-Latour and Tissot among many others, their were few of these artist's works available to easily see in England at that time; he was inspired to proclaim, ''What are pictures for? To fill a man's soul with admiration and sheer joy, not to bewilder and daze him'' (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 182).

The initial trips to Paris were pivotal in his career, painting from life on the 'spot' was to become his new focus and what he believed to be the truth in painting. Munnings also made numerous friends and acquaintances on these sojourns, carousing at night in rowdy groups, inspiring each other and living life to the full. Paris had a raw and slightly dangerous edge too an atmosphere he enjoyed but, likely felt more keenly having come from the homeliness of rural East Anglia. The Flower Seller is a warmly observed study; an early morning scene, probably somewhere close to the River Seine. One can picture the young artist painting this work standing at his tripod easel, his box of paints open beneath him, back in England he might have been surrounded by curious passers by, but the Parisian public probably ignoring his efforts being used to aspiring artists at work in the open and leaving him to concentrate, alone in his thoughts.

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18.

A Winter's Morning Monochrome watercolour with scratching out, 9 x 12 inches (23 x 30.5 cm) Signed and dated 'AJ Munnings 1905 (lower left)

Around 1898 Munnings completed his apprenticeship at Page Brother's as well as his studies at the art school in Norwich; he moved back to his home village of Mendham in Suffolk buying, for fifty pounds, an old carpenter's workshop which he converted into his first studio. He drew on the local community for models and soon relied upon a group of country characters who would pose for him, hold a pony for hours on end or dress in costume. An elderly couple, Nobby and Charlotte Gray were among his most important models, country folk who lived near by in a caravan. Both often posed for pictures for the young Munnings a useful supplement to their usual rural work. ''What a figure Gray made in a scarlet coat on a horse'' (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 247).

Around this time Munnings developed a painstaking method of repeating the same theme for a picture again and again in differing medium and with subtle adjustments to the design. Gray would sit for him on a wooden horse dressed as a huntsman patiently holding his position. The present watercolour A Winter's Morning is a wonderful example of Munnings work during this period. ''With small, square sables, I painted that unsurpassable countenance. Gray could have played the part of parson or lawyer equally well. When no longer a huntsman-out of his spruce get-up – he was just a wise old tinker; looking wiser still wearing horn-rimmed spectacles as he read The East Anglian Times''. (see A J Munnings, An Artist's Life, Museum Press, 1950, p. 248).

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19.

River Scene at Dusk Watercolour and scratching out, 8Ÿ x 12½ inches (21 x 32 cm) Signed and dated 'AJ Munnings 1899' (lower left)

Completed just two or three months before Munnings lost the sight in his right eye, at a time when he had just moved from largely commercial poster design work to beginning his traditional artistic career; this acutely observed watercolour demonstrates the pleasure he was deriving from observing and painting en-plein-air in the scenery he so loved. River Scene at Dusk is a gloriously evocative study of a quiet, hidden spot late on a summer's evening. One can easily imagine the gentle breeze among the sedges the cool relief of dusk after a hot July day. The cutting and collection of reeds was an important annual harvest in East Anglia, a familiar scene which Munnings painted several times in both watercolour and oils. The river scape became an enduring theme throughout his life, ''Until I pass out I shall always long for the river and the warbler's song going on and on'' (see, A J Munnings, The Finish, Museum Press, 1952, p. 297).

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Munnings painting outside The Bush Inn at Costessey near Norwich in 1910 which he described as an establishment of lesser fame, a haunt of harpies of the lower world, connected with the trotting fraternity of Norwich.

Š The Taylor Gallery 2015 Produced by Artmedia Press • London

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