Munnings was an expert in drawing or painting the form of a horse.

Standing by the side of a paddock he would quickly sketch the scene which he would later work up to a study and finished piece.

Even in the most basic study Munnings had the ability to bring the scene to life.

Here in the paddock at Cheltenham a trainer and jockey talk tactics.

A favourite board or canvas size which Munnings used throughout his career was 20 x 24’’, 51 x 61 cm.

In this study of an unsaddling enclosure the jockey is the focal point of Munnings composition.

The attention to detail and the lengths Munnings would go in order to perfect his subject matter are demonstrated in his paintings of Epsom in 1931.

Three paintings, ‘The Saddling Paddock’, ‘Going Out’ and ‘Unsaddling’ were completed after months of work following the Epsom weeks in 1929 and 1930.

This study of the Epsom Stand was one of Munnings preparatory works for this project.

With his decision not to do any more commissions Munnings depictions of race horses changed. Newmarket became a second home, especially with the Jockey Club giving Munnings the use of the old rubbing house, near Devil’s Dyke, as a studio.

Now he was painting for his own enjoyment where his use of impressionistic effects would return to his art. One of his favourite sights was watching the horses at exercise.

Being at the side of the track at Newmarket painting the start of the brought Munnings great enjoyment.

In this large painting he is trying to animate the work where the horse’s legs create a sense of movement. With horse number 13 Munnings has painted in the region of 7 front legs which adds to the illusion.

Lord Waldorf Astor was one of Munnings more frequent patrons. Munnings had the use of the old rubbing-stable, near Devil’s Dyke, as a studio and it was here that he was to paint one ‘... last picture’ of a racehorse.

This work is one of the studies which Munnings produced, taking him many days to complete and he considered it to be a faithful portrait. The attention to the detail of the central subject is contrasted by the background which is very loosely rendered with strident brush strokes.

Although a study this painting highlights Munnings’ supreme skill at painting a race horse. The central figure of Happy Laughter has a sheen and muscle definition that is second to none.

Munnings was commissioned by J.V Rank on many occasions to paint his horses at Druids Lodge stables including, in 1949, to paint Prince Regent the winner of the 1942 Irish Grand National.

Attention to detail and the horse’s character is emphasised in the studies of Prince Regents head.

Although the start of a race came to define Munnings’ paintings of horseracing he would also paint events prior to the race such as the saddling enclosure or the horses making their way to the start.

Moving up to the Start is a study or unfinished painting made towards the end of Munnings’ life. Here he uses more technical skills where perspective is created by the use of a receding serpentine line, which runs through the flanks of the horses and away with the rails of the fence. Further depth is achieved by the shortening tree line, from right to left.

‘Each start was a fresh picture for me, as they have been, meeting after meeting, year after year.’

The start of a race with the colours of the silks, the noise and anticipation was always a very special subject for Munnings.

Enjoying the spectacle of the horses being exercised also highlights the more bizarre medium Munnings would work with. In this case wardrobe doors.

‘There was other work at Newmarket. Filling pages of notebooks at the canters on Warren Hill before and after breakfast. I began each afternoon-with the scene fresh in mind-setting out ideas on three six-foot panels: doors of an old wardrobe from Lady Ludlow's house by the plantations at the top of Warren Hill. These excellent doors were discovered in the premises of a painter and decorator in Newmarket. Hanging one of the panels on a shady wall in a friend's garden behind his house, I worked in the most perfect light.’

In painting this work Munnings explained how he began by imagining the finished piece.

“Again I begin in my mind, mixing the rich, dark, bluey tones of the quarters, back and shoulders-painting the turn of the neck-always so difficult-the three-quarter view of the head, the perspective across the forehead.”