Abell A.N. /Oct 15, 2017
€6,773.92 - €8,467.40
Artworks in Arcadja1137
Some works of Alfred James MunningsExtracted between 1,137 works in the catalog of Arcadja
Auction: Christie's -Nov 22, 2017 - LondonLot number: 78
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Sir Alfred James Munnings, P.R.A., R.W.S. (1878-1959) Huntsman in Cover signed and dated 'A.J. Munnings/1908' (lower left) pencil and watercolour heightened with bodycolour on paper 12 5/8 x 15 ¼ in. (32.1 x 38.8 cm.) Living at Church Farm in Swainsthorpe from around 1903 until 1911, Munnings often rode with the Norwich Staghounds: 'Hunting became a part of my life, and I saw many things on those days: bright winter sunlight on clipped horses and scarlet coats; on bare trees; stacks; on farmhouse gables; the riding out after a slight frost; the riding home with a frost beginning and a young moon in the sky; puddles already crisping over as I said good night to friends. Such were needed to freshen my mind and vision' (An Artist's Life, Bungay, 1950, p. 258). The horse in the present work is probably Rebecca, the dark brown mare, fifteen hands three inches high, which Munnings had purchased some years earlier from his friend the Norwich horse dealer, Richard Bullard. 'Good-natured to the last degree, she served as hack, hunter and model. When the Gowings, father and son, colt-breakers, came from Harleston and clipped my new possession (they used a hand-clipper in those days), Charles, the son, declared her a "good 'un", and she looked the part' (op. cit., p. 184). The sitter, as in A Flash of Scarlet (lot 72) is probably George Curzon who regularly modelled for the artist's hunting scenes. Huntsman in Cover formed part of the celebrated Bunting collection of Works by Sir Alfred Munnings (sold in these Rooms, 12 June 2002, lot 1). Charles A. Bunting (1878-1950) was born in the same year as Munnings, into a family of prominent Norwich drapers. It is unclear how they met, but he formed a collection of over twenty early works all dating before the Great War. He was instrumental in arranging and contributing to two landmark exhibitions of the artist's work, in Norwich in 1928 and Bury St Edmunds in 1939. We are grateful to Lorian Peralta-Ramos for her assistance in preparing this catalogue entry. This work will be included in her forthcoming catalogue raisonné of the works of Sir Alfred Munnings.
Auction: Christie's -Oct 31, 2017 - New-yorkLot number: 64
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Sir Alfred James Munnings, P.R.A., R.W.S. (British, 1878-1959) Shrimp and Ponies at the Ford signed and dated 'A. J. Munnings 1910' (lower left) oil on canvas 25 x 30 in. (63.5 x 76.2 cm.) The theme of horses crossing a ford was one that Sir Alfred Munnings returned to several times in the years around 1910, one of the happiest and most creatively productive times in the artist\’s career. In July of 1910 Munnings left Ringland Hills in his caravan and travelled through Norfolk via Swainsthorpe to Hoxne in Suffolk and there, in picturesque riverside meadows, Munnings alternated between painting bright-weather and grey-weather canvases depending on the conditions. Describing how much he enjoyed the subtle light of grey days Munnings wrote in his autobiography An Artist\’s Life, \‘The grey-weather subject I prepared for was The Ford - grey water and dark reflections broken by lines of the current. Again what a subject! ... Standing on rising ground, looking down on the leading ponies coming out of the water, I spaced the design - cutting out the sky - using the distant country for the top portion of the picture. Ponies, water, reflections, filled the rest of the space' (p. 239). Between 1909 and 1911, Munnings was particularly fascinated by the effects of light on moving water, and these ford pictures provided dynamic and ever-changing scenes through which to explore this interest. While the oil paintings date to 1910, Munnings first began studying the subject in watercolor a year or two earlier. Munnings was so mesmerized by light's reflection off the ever-changing surface of the passing water as he worked that he would sometimes set up several canvases in order to capture the same scene under different light and weather conditions. It is with the luminous works of this period, like the present painting, more than any others in his oeuvre that the artist demonstrated the prodigious extent of his abilities. Shrimp and Ponies at the Ford depicts a group of ponies trotting through the shallow water and just beginning to emerge on the other side of the river right at the edge of the picture plane, almost confronting the viewer. Munnings was a staunch advocate of painting en plein air and the ford pictures hold an important place in the artist's oeuvre because of the freshness and spontaneity that were a result of the artist\’s rapid work while the horses were in motion. As the ponies, one of which is ridden by Shrimp, the artist\’s favorite groom, cross through the shallow water, their movement disrupts the passing lines of the current, creating swirling ripples and splashes around their legs which catch the light, and which are beautifully captured here in the artist\’s vibrant impressionistic brushwork. Using his own horse and grooms as models allowed Munnings to explore 'endless themes....The mere sight of these ponies, coming or going gave me fresh pictures. Like a game of chess, there was no end to it.' (op. cit., p. 238). Shrimp, who would become Munnings\’s full-time model and horse-minder, was a figure who recurred frequently in Munnings\’s work from the years in which he lived at Swainthorpe. It was the horse dealer, James Drake, who introduced Munnings and Shrimp when the gypsy boy was sleeping under Drake's caravan. He was the illegitimate son of a house-maid at Narford Hall near Swaffham, and like Munnings, he preferred horses to people and had run away from home to work with the beasts that he loved. In An Artist's Life, Munnings describes him as a young man who \‘slept under the caravan with the dogs, and had no family of his own, no family ties, no parents that he knew. This son of the wild went by the name of Shrimp... little did I dream that he would one day become for me an indispensable model, an inspiring rogue, and an annoying villain... He was a paintable figure... and the best model I ever had.\’ The freshness and spontaneity in the present picture is both a result of the artist\’s enduring interest in the subject and also a bit of clever staging on his part. In order to create the most dynamic movement possible in the water Munnings relied on a combination of the splashing of the horses\’ hooves when Shrimp led them across the water and also a boy with a pole who he paid to agitate the water to create even more dramatic effects. Munnings exhibited one of his ford paintings at the Royal Academy in 1911. The artist wrote of this series of pictures, \‘Looking at them now brings back the scene afresh. I hear myself shouting 'Hi! Wake that dun horse; shove his head up!' or, to a boy with a pole, \‘Keep the water moving\’ (op. cit., p. 239). Shrimp and Ponies at the Ford shows Munnings as a truly great painter of light and landscape. It demonstrates his passion not only for his horses but for the idyllic and unspoiled East Anglian landscape of the pre-war era, where secluded spots in the countryside were free of human or mechanical distraction. Unfettered by the constraints of formal patronage and driven by his love of his native countryside, Shrimp and Ponies at the Ford is among the group of works that is widely considered to be one of the most successful of Munnings' entire career. We are grateful to Lorian Peralta-Ramos for confirming the authenticity of this work, which will be included in her forthcoming Sir Alfred Munnings catalogue raisonné.
Auction: Keys -Oct 27, 2017 - AylshamLot number: 254
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*SIR ALFRED JAMES MUNNINGS, PRA (1878-1959) Yon rosebuds in the morning dew How pure, amang the leaves sae green But purer was the lover s vow They witness d in their shade yestreen pencil and brown wash with gum Arabic, signed and dated 1906 lower left 12 x 18ins NB: The verse is by Robbie Burns from O bonnie was yon rosy brier Label attached to backing board states the verse and also the artist s name and address for Church Farm, Swainsthorpe, Norwich. Exhibited: Norwich Art Circle, 49th exhibition May 1907, entry number 49
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Alfred James Munnings (1878 - 1959) Lot 136: ALFRED MUNNINGS: "THE ROCKET" Description: circa 1901 watercolor signed and dated center right Provenance: with letter verso from Sotheby's circa April 24th, 1984, with black and white photograph and label from Lloyds Bank to Miss Elsie Caprom Estate of Paul & Carole Cramer, Bel Air 13 1/2 x 18 1/4 inches sight
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Sir Alfred James Munnings, PRA (1878-1959) ''Gypsy Life'', signed in pencil and bearing the Fine Art Trade Guild blind stamp; with original Frost & Reed labels verso, limited edition colour collotype reproduction, published 1953, 48.8 x 60.3cms; 19 1/4 x 23 3/4in. Artist's Resale Rights may apply, please refer to our 'Terms & Conditions'.