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Lot Essay
Mr. Vlasto's Mackwiller, with Jennings up, at Chantilly ranks as one of Munnings' finest equestrian portraits in the Grand Manner. Consciously continuing a tradition of painting that has it roots in the work of Wootton and Stubbs, Munnings produces a work that fuses an exceptional horse portrait with one of his finest landscape backgrounds, that of the historic racetrack at Chantilly in France.
The 1920s were a prosperous and exciting time for Munnings. He had recently purchased his beloved home, Castle House in the Stour Valley at Dedham, Essex, in 1919 and coupled with his marriage to Mrs. Violet McBride in 1920, Munnings' career was vibrant with an uninterrupted flow of lucrative portrait commissions. By this time, Munnings' reputation as an outstanding equestrian painter had reached international status, requiring him to take extended trips abroad to the United States, Canada and the Continent.
A number of important commissions secured by Munnings during the 1920's took him to the great French racetrack at Chantilly, beginning with a stay in 1922, as the guest of Baron Robert de Rothschild. A later journey was taken to Chantilly at the bequest of Col. Eduardo Martinez de Hoz of Buenos Aires, Argentina to paint his racehorses Belfonds and Mon Talisman. Munnings devotes an entire chapter of his memoir, The Second Burst, entitled "Painting Winners at Chantilly", to recount this fruitful journey. During this stay in Chantilly, Munnings stayed with de Hoz's trainer, the "delightful" and gracious Frank Carter.
Like many commissions that Munnings undertook, contacts were made by word of mouth, and Munnings found himself, through introductions by de Hoz, with yet "...another and very insistent patron... a M. Vlasto, owner of the mare - a wonder - named "Mackwiller" (see A.J. Munnings, The Second Burst, Bungay, 1951, p. 237).
Mackwiller was a bay filly foaled in 1923 by Verwood out of Marveldt. She was bred in France by M. Henri Corbière and was sold as a yearling to Henry Count. After winning her first race as a two-year-old she was sold again to become the property of a partnership between Stephane Vlasto and P. Corbière. For them she won two more races as a two-year-old and a further three the following year. The most important of these was the Poule d'Essai des Pouliches, the French 1,000 Guineas at Longchamp. As a broodmare she was the darn of Mésa who won the English 1,000 Guineas at Newmarket in 1935.
Mr. Vlasto's commission was a highly enjoyable one for Munnings, and most of his chapter chronicling "Winners at Chantilly" is devoted to his vivid memories of Vlasto and his filly Mackwiller.
Munnings writes in glorious detail of the enthusiasm and knowledge of Vlasto "...a rich Greek who lives in Paris and London", the alluring Mackwiller and the shining character of jockey Jennings. Although Munnings claimed to be "overworked" and "jaded", Vlasto was persistent and appears to have charmed Munnings into completing an elegant and compelling portrait of his prized horse. Munnings recalls, "This Vlasto was an enthusiast, with nothing jaded about him! He was also a man of culture, and lived in a swell appartement in the Champs-Élysée, with the Arc de Triomphe in the distance' (op. cit., p. 237). At first, Munnings resisted Vlasto, but he recounts his forthright dialogue with the clever owner that persuaded the artist to change his mind:
"'I can't do it,' said I.
'But you must. Why can't you do it?'
'I'm tired of painting. I never want to see another racehorse; and, what's more, the weather's breaking. We're in for a lot of rain.'
Said Vlasto, 'That doesn't matter. If it rains, we'll take the mare to the South of France and paint her. If it rains there, we will take her to the Isles of Greece, like Byron.'
This was the man for me. Not only was he an owner, but he had ideas".
Mackwiller was delivered to Munnings at Frank Carter's, where he painted the mare in the trainer's meadow. Munnings remarks: "When the mare came to the field of cows and turkeys to be stood facing in the particular direction with the sun falling on her as I insisted, she, like many females, being a most determined animal, refused to face in the direction or to stand in the position that I wanted her. Each time we tried she turned completely round, facing the other way, as if to say she was quite willing to stand so, and only so... She was a dark-brown mare - my favourite colour - and she took an interest in cows, turkeys, distance - everything" (op. cit., p. 238).
The vitality, strength and character of Mackwiller are beautifully captured in Munnings' vivid portrait of this wilful horse. Mackwiller is shown alert, taking a determined stride forward, ears pricked-up, and with a gleaming sun drenched coat. These elements are underscored by a dramatic shadow, which serves to lead them on, details skillfully captured by Munnings in his rewarding sitting with the mare.
Of Mackwiller's jockey, Munnings writes: "Her jockey was Jennings, an Englishman, and as somebody told me, the only honest jockey in France. And no wonder! Jennings was religious, and preached every Sunday to the stable lads at Maison-Laffitte. Vlasto's colours were blue and white - a good combination with the brown mare...I found him a delightful fellow" (op. cit., pp. 238-9).
Importantly, Munnings states that he desired to paint "something more than a cut-and-dried horse portrait". This "something more" is reflected in the painting's dramatic sky and the superb rendering of Chantilly Racecourse in the background. During Munnings' sittings with Mackwiller, he was enchanted by "The big clouds sailing across the sky...[which] helped to make the picture", an occurence which he deliberately mentions twice. Munnings also went to great lengths to paint the background of this picture. Munnings recounts the care he took to create this composition, which included "the Grand Ecurie away in the background, the white rail making a line through the picture, and a few people leaning on it. There was only one way to do this: a stable lad rode a brown hack of Frank Carter's down the course and waited there. Maude and Julie [two American women befriended by Munnings during this trip] took me with my easel and canvas in the Packard, and there against the rail I stood at work, whilst the boy sat in colours on the hack in the middle of the course to give me the scale of the horse and jockey, going down. A few odd friends and Maude and Julie, and a chauffeur who was doing nothing, leaned on the farther rail whilst I painted my row of lookers-on" (op. cit., pp. 238-40).
The fruitful relationship Vlasto forged with the artist helped ensure the finish and beauty of this picture, as Munnings was inspired to create something more than just a standard horse portrait. In this picture, Munnings clearly demonstrates his appreciation of the work of the Impressionists, particularly in the fleeting effects of the sky and the vitality of the background, elements that are reminiscent of Degas' images of racing and racetracks. Munnings never forgot this commission, and he remarked that "Years afterwards, when staying with Mr. Prince at the Ritz, I rang up Vlasto and asked him if I could see the picture. There, over a Louis mantel-piece, in a beautiful Louis frame, was "Mackwiller" going down the course, ridden by Jennings, the honest jockey. As always, I was critical, but the picture looked better than I had thought it would" (op. cit., p. 239).
The history of horseracing in France runs parallel with that of England, with a rapid growth in popularity in the late nineteenth century. The first "hippodrome," or racetrack, had been built in France in 1776 at Sablons, northwest of Paris, and the sport, along with the introduction of betting, enjoyed a new period of glamour and distinction.
Known as the premier horse training ground in France, a racecourse was soon built at Chantilly, and it quickly became one of its most fashionable racing centers. The "Derby de Chantilly", was closely modelled on the Epsom Derby and covered the same distance. It was run for the first time in 1836, carried a prize of 5,000 francs and was reserved exclusively for horses bred and raised in France. In 1843, a second major race was established at Chantilly, this time intended as the French equivalent to the Oaks, called the Prix de Diane. Other important races were added to calendar and the spring and autumn races at Chantilly, particularly the Prix du Jockey Club in late May, became highlights of the sporting season.
The 1920s were a prosperous and exciting time for Munnings. He had recently purchased his beloved home, Castle House in the Stour Valley at Dedham, Essex, in 1919 and coupled with his marriage to Mrs. Violet McBride in 1920, Munnings' career was vibrant with an uninterrupted flow of lucrative portrait commissions. By this time, Munnings' reputation as an outstanding equestrian painter had reached international status, requiring him to take extended trips abroad to the United States, Canada and the Continent.
A number of important commissions secured by Munnings during the 1920's took him to the great French racetrack at Chantilly, beginning with a stay in 1922, as the guest of Baron Robert de Rothschild. A later journey was taken to Chantilly at the bequest of Col. Eduardo Martinez de Hoz of Buenos Aires, Argentina to paint his racehorses Belfonds and Mon Talisman. Munnings devotes an entire chapter of his memoir, The Second Burst, entitled "Painting Winners at Chantilly", to recount this fruitful journey. During this stay in Chantilly, Munnings stayed with de Hoz's trainer, the "delightful" and gracious Frank Carter.
Like many commissions that Munnings undertook, contacts were made by word of mouth, and Munnings found himself, through introductions by de Hoz, with yet "...another and very insistent patron... a M. Vlasto, owner of the mare - a wonder - named "Mackwiller" (see A.J. Munnings, The Second Burst, Bungay, 1951, p. 237).
Mackwiller was a bay filly foaled in 1923 by Verwood out of Marveldt. She was bred in France by M. Henri Corbière and was sold as a yearling to Henry Count. After winning her first race as a two-year-old she was sold again to become the property of a partnership between Stephane Vlasto and P. Corbière. For them she won two more races as a two-year-old and a further three the following year. The most important of these was the Poule d'Essai des Pouliches, the French 1,000 Guineas at Longchamp. As a broodmare she was the darn of Mésa who won the English 1,000 Guineas at Newmarket in 1935.
Mr. Vlasto's commission was a highly enjoyable one for Munnings, and most of his chapter chronicling "Winners at Chantilly" is devoted to his vivid memories of Vlasto and his filly Mackwiller.
Munnings writes in glorious detail of the enthusiasm and knowledge of Vlasto "...a rich Greek who lives in Paris and London", the alluring Mackwiller and the shining character of jockey Jennings. Although Munnings claimed to be "overworked" and "jaded", Vlasto was persistent and appears to have charmed Munnings into completing an elegant and compelling portrait of his prized horse. Munnings recalls, "This Vlasto was an enthusiast, with nothing jaded about him! He was also a man of culture, and lived in a swell appartement in the Champs-Élysée, with the Arc de Triomphe in the distance' (op. cit., p. 237). At first, Munnings resisted Vlasto, but he recounts his forthright dialogue with the clever owner that persuaded the artist to change his mind:
"'I can't do it,' said I.
'But you must. Why can't you do it?'
'I'm tired of painting. I never want to see another racehorse; and, what's more, the weather's breaking. We're in for a lot of rain.'
Said Vlasto, 'That doesn't matter. If it rains, we'll take the mare to the South of France and paint her. If it rains there, we will take her to the Isles of Greece, like Byron.'
This was the man for me. Not only was he an owner, but he had ideas".
Mackwiller was delivered to Munnings at Frank Carter's, where he painted the mare in the trainer's meadow. Munnings remarks: "When the mare came to the field of cows and turkeys to be stood facing in the particular direction with the sun falling on her as I insisted, she, like many females, being a most determined animal, refused to face in the direction or to stand in the position that I wanted her. Each time we tried she turned completely round, facing the other way, as if to say she was quite willing to stand so, and only so... She was a dark-brown mare - my favourite colour - and she took an interest in cows, turkeys, distance - everything" (op. cit., p. 238).
The vitality, strength and character of Mackwiller are beautifully captured in Munnings' vivid portrait of this wilful horse. Mackwiller is shown alert, taking a determined stride forward, ears pricked-up, and with a gleaming sun drenched coat. These elements are underscored by a dramatic shadow, which serves to lead them on, details skillfully captured by Munnings in his rewarding sitting with the mare.
Of Mackwiller's jockey, Munnings writes: "Her jockey was Jennings, an Englishman, and as somebody told me, the only honest jockey in France. And no wonder! Jennings was religious, and preached every Sunday to the stable lads at Maison-Laffitte. Vlasto's colours were blue and white - a good combination with the brown mare...I found him a delightful fellow" (op. cit., pp. 238-9).
Importantly, Munnings states that he desired to paint "something more than a cut-and-dried horse portrait". This "something more" is reflected in the painting's dramatic sky and the superb rendering of Chantilly Racecourse in the background. During Munnings' sittings with Mackwiller, he was enchanted by "The big clouds sailing across the sky...[which] helped to make the picture", an occurence which he deliberately mentions twice. Munnings also went to great lengths to paint the background of this picture. Munnings recounts the care he took to create this composition, which included "the Grand Ecurie away in the background, the white rail making a line through the picture, and a few people leaning on it. There was only one way to do this: a stable lad rode a brown hack of Frank Carter's down the course and waited there. Maude and Julie [two American women befriended by Munnings during this trip] took me with my easel and canvas in the Packard, and there against the rail I stood at work, whilst the boy sat in colours on the hack in the middle of the course to give me the scale of the horse and jockey, going down. A few odd friends and Maude and Julie, and a chauffeur who was doing nothing, leaned on the farther rail whilst I painted my row of lookers-on" (op. cit., pp. 238-40).
The fruitful relationship Vlasto forged with the artist helped ensure the finish and beauty of this picture, as Munnings was inspired to create something more than just a standard horse portrait. In this picture, Munnings clearly demonstrates his appreciation of the work of the Impressionists, particularly in the fleeting effects of the sky and the vitality of the background, elements that are reminiscent of Degas' images of racing and racetracks. Munnings never forgot this commission, and he remarked that "Years afterwards, when staying with Mr. Prince at the Ritz, I rang up Vlasto and asked him if I could see the picture. There, over a Louis mantel-piece, in a beautiful Louis frame, was "Mackwiller" going down the course, ridden by Jennings, the honest jockey. As always, I was critical, but the picture looked better than I had thought it would" (op. cit., p. 239).
The history of horseracing in France runs parallel with that of England, with a rapid growth in popularity in the late nineteenth century. The first "hippodrome," or racetrack, had been built in France in 1776 at Sablons, northwest of Paris, and the sport, along with the introduction of betting, enjoyed a new period of glamour and distinction.
Known as the premier horse training ground in France, a racecourse was soon built at Chantilly, and it quickly became one of its most fashionable racing centers. The "Derby de Chantilly", was closely modelled on the Epsom Derby and covered the same distance. It was run for the first time in 1836, carried a prize of 5,000 francs and was reserved exclusively for horses bred and raised in France. In 1843, a second major race was established at Chantilly, this time intended as the French equivalent to the Oaks, called the Prix de Diane. Other important races were added to calendar and the spring and autumn races at Chantilly, particularly the Prix du Jockey Club in late May, became highlights of the sporting season.