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Lot Essay
This painting was purchased by Mr. Pulitzer directly from Munnings in his studio when he was there to approve the commissioned work of his step-children (please see lot 86). Munnings refers to the encounter in the second version of his autobiography, ‘There were exceptions – one when Mr. Pulitzer of New York, after approving of an equestrian group of his children in the Highlands, said: “What do you want for that gypsy picture?” pointing to one on an easel, and he gave me a cheque for that and the group of children.’ A. Munnings, The Second Burst, London, 1951, p. 214.
Every September gypsies and a variety of itinerant workers gathered in Hampstead on Epsom Downs to pick the vast hop harvest. Munnings describes the scene as a ‘swarming crowd of humanity’ with two to three hundred people camped in the pasture. This painting depicts an array of gypsies in an encampment, seemingly engaged in a horse sale transaction surrounded by women in brightly colored clothes typical of the period.
The conversation has attracted the attention a distant woman with her daughter and a man with his legs set apart as if rooted to the ground. This particular male figure and similar set stance can also be seen in Munnings’ Royal Academy exhibit from 1920, Epsom Downs, City and Suburban Day (Tate Gallery). In addition, the same cast of characters as well as the green caravan and foreground lurcher in this present painting is repeated in the larger Epsom version.
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, and for her assistance in preparing this catalogue note.
Every September gypsies and a variety of itinerant workers gathered in Hampstead on Epsom Downs to pick the vast hop harvest. Munnings describes the scene as a ‘swarming crowd of humanity’ with two to three hundred people camped in the pasture. This painting depicts an array of gypsies in an encampment, seemingly engaged in a horse sale transaction surrounded by women in brightly colored clothes typical of the period.
The conversation has attracted the attention a distant woman with her daughter and a man with his legs set apart as if rooted to the ground. This particular male figure and similar set stance can also be seen in Munnings’ Royal Academy exhibit from 1920, Epsom Downs, City and Suburban Day (Tate Gallery). In addition, the same cast of characters as well as the green caravan and foreground lurcher in this present painting is repeated in the larger Epsom version.
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, and for her assistance in preparing this catalogue note.