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Lot Essay
Before the Race, Cheltenham relates to one of Munnings' most celebrated pictures, The Saddling Paddock, Cheltenham March Meeting (Private Collection), which was exhibited at the Royal Academy in 1947. Four studies relating to the RA picture were shown, and sold, at the Leicester Galleries later that year, including the present work described as Study no. 2. Another, Study no.1, also in the Leicester Galleries exhibition, was sold in these Rooms on 13 June 2001, lot 29 for £249,500.
The Saddling Paddock, Cheltenham March Meeting was, according to Munnings, 'the one picture I always desired to do' (Munnings, The Finish, p. 190). Drawing from studies and preparatory works, the artist recalled: 'I determined on this occasion to get everything in the picture exactly in the right place. Then, with a pointed sable and small, stiff hog, I drew it in with light red, afterwards thinly painting piece by piece, in monochrome, the sky in pale pinks, the hills in a warmer tone. This took little time; for I knew where everything was going. After allowing it to harden I began to paint from left to right, figures and horses growing day by day. Never was I so keen on a picture' (ibid.).
The atmosphere in the present work is captured by Munnings' energetic brushwork and his intuitive use of colour. The distant hills are reminiscent of the countryside Munnings painted around his house on Exmoor, and the painting has the same freedom as these later pure landscapes. The long shadows in the foreground and high contrasts indicate bright sunlight beating down on the horses and the jockeys' vibrant silks and polished boots. Munnings was particularly pleased with the characters, 'quite the best being of a man in a long, light coat standing with the jockey in the centre' (ibid.). Munnings used his own horses Anarchist and Cherrybounce (see lot 242) as models for The Saddling Paddock, Cheltenham March Meeting and it is therefore probable that the same horses were models for the present work.
We are grateful to Lorian Peralta-Ramos, Tristram Lewis and the Curatorial staff at The Munnings Museum for their assistance in preparing this catalogue entry.
The Saddling Paddock, Cheltenham March Meeting was, according to Munnings, 'the one picture I always desired to do' (Munnings, The Finish, p. 190). Drawing from studies and preparatory works, the artist recalled: 'I determined on this occasion to get everything in the picture exactly in the right place. Then, with a pointed sable and small, stiff hog, I drew it in with light red, afterwards thinly painting piece by piece, in monochrome, the sky in pale pinks, the hills in a warmer tone. This took little time; for I knew where everything was going. After allowing it to harden I began to paint from left to right, figures and horses growing day by day. Never was I so keen on a picture' (ibid.).
The atmosphere in the present work is captured by Munnings' energetic brushwork and his intuitive use of colour. The distant hills are reminiscent of the countryside Munnings painted around his house on Exmoor, and the painting has the same freedom as these later pure landscapes. The long shadows in the foreground and high contrasts indicate bright sunlight beating down on the horses and the jockeys' vibrant silks and polished boots. Munnings was particularly pleased with the characters, 'quite the best being of a man in a long, light coat standing with the jockey in the centre' (ibid.). Munnings used his own horses Anarchist and Cherrybounce (see lot 242) as models for The Saddling Paddock, Cheltenham March Meeting and it is therefore probable that the same horses were models for the present work.
We are grateful to Lorian Peralta-Ramos, Tristram Lewis and the Curatorial staff at The Munnings Museum for their assistance in preparing this catalogue entry.