Richard Green, London
Private Collector (and sold: Sotheby's, New York, June 8, 1990, lot 413, illustrated)
Richard Green, London
Acquired from the above in 1990

The following condition report was kindly provided by Simon Parkes Art Conservation, Inc.: This painting is in very good condition. The canvas is unlined. There are a few tiny retouches in the water and bridge on the far right, maybe also a couple in the chest of the white horse and in the trouser left of its rider. The painting should be hung as is.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Munnings held a lifelong fascination with the effects of light and water and he returned to the ford theme frequently from 1906-1911. Using his own horses and grooms as models, Munnings would alter the number of horses and ponies, change the groupings, viewpoints and locations which enabled him to explore numerous artistic possibilities. As the artist explained, "the mere sight of these ponies, coming or going gave me fresh pictures. Like a game of chess, there was no end to it" (Alfred Munnings, An Artist's Life, Bungay, Suffolk, 1950, p. 238).

As ponies splashed through the water, the movement broke the lines in the current which, in turn, generated swirling ripples and a dance of flickering light and color. In the present work, the water reflects the unseen grey sky which casts a blue-grey hue on all the ponies' coats. Munnings used the grey-blue o🦂n each of the ponies and then carried it throughout the painting thus making the work a cohesive whole. They appear purposeful and calm, perhaps accustomed to the crossing as they are not pushing each other and ꧅rushing to escape the water.

This work differs from many in the series because of the addition of the building beyond and the fencing that frames the scene.  Also it appears that the rider might be George Curzon on a favorite grey Welsh mare rather than his other model and groom, Shrimp, on his favorite pony, Augereau.