Sir Alfred James Munnings, P.R.A., R.W.S.

A.M. Blake, Bramerton Hall, Norwich;
Frost & Reed, London, by March 1969;
Christie's London, 16 December 2009, lot 15

STRUCTURE Original canvas. There is a spot of varnish near the centre of the right edge, visible on the reverse, which measures 3cm in length and may be a repair to a very tiny tear. There is an artist's pinhole in the lower left corner. Generally the surface appears to be in good overall condition with areas of strong impasto. ULTRAVIOLET LIGHT UV reveals a small spot of retouching near the centre of the right edge, which corresponds to the aforementioned possible repair. FRAME Held in a gilt and painted composition frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Munnings may have visited the picturesque fishing village of Polperro, located on the southern coast of Cornwall, around 1911, having settled in Newlyn during that year.  While there he not only absorbed the ambience and energy of the proliferous artist's colony, but he also met his first wife, Florence Carter-Wood, whom he married in 1912. Newlyn painters were fascinated by the everyday happenings in the fishing villages around Cornwall, and recorded their observations using a fresh palette and a painterly, impressionistic handling. Munning's paintings of this period typically focus on gypsy life and horses, however, the present work particularly betrays the influence of artists such as Stanhope Forbes and Norman Garstin; the well observed local fishing boats which bob in the harbour are fluidly painted, the colours clean and bright. Munnings was particularly drawn to the Newlyn principal of painting en plein air, an enthusiasm which he had indulged since the start of his career, and here there is a specific emphasis on the effects of natural light in the dappled reflection on the water surface.