The Banksy collection is on show alongside “The Urban Frame: Mutiny in Colour”, and visitors are invited to donate to the Ukrainian charity Razom, which funds urgent medical care and provides vital equipment and supplies to Ukraine.

The seven Banksy work photos are of: “Gasmask”, “Injured Gymnast”, “Judo”, “Missile Launcher”, “Seesaw”, “The Bathtub”, and “Young Gymnast”.

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The duo are the first members of the Class of 2023 to be announced, and the medal presentation took place in a new dedicated room in the museum's Thompson Gallery. The 10-time champion trainer has over 4,000 winners to his name, and he is the first active trainer to join the Hall of Fame ranks. Sea The Stars, a star galloper during his 3-year-old year in 2009, is the eighth horse to join the Hall of Fame.

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The exhibition will last from June 3 through Oct. 1, and is being organised in association with Brandler Galleries and will be shown across three venues in West Suffolk, including Moyse's Hall Museum in Bury St Edmunds and Haverhill Arts Centre.  Hula Hooping Girl, which first appeared on the wall of a beauty salon in Nottingham in 2020, will be shown alongside Citroen Berlingo Van a vehicle painted with 200 eyes by the artist My Dog Sighs for Coventry Museum.

Hon Frances Stanley DL, Chairman of Trustees National Horse Racing Museum, said, “We are thrilled to be working with Brandler Galleries, Moyses Hall Museum in Bury St Edmunds and Haverhill Arts Centre to bring vibrant street art to three venues across Suffolk.”

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In the words of John Masefield, engraved on the epitaph for Munnings in St. Paul's Cathedral: “Oh friend, how very lovely are the things/The English things, you helped us to perceive.” It is a measure of the span of the monarch's reign that one of the final commissions executed by Munnings, actually not part of this quite marvellous exhibition, was of the young Queen with her finest racehorse, Aureole, before the 1954 Coronation Cup at Epsom—almost a year to the day after her own coronation. And to many admirers, Munnings will forever preserve the quintessence of an England never to be retrieved: pastoral, sporting and very beautiful.

Even in his own day, Munnings was a bulwark of tradition, with a notorious distaste for the artistic experimentation of contemporaries. His own modernity was confined to designation as a “British Impressionist”, and instead he extends a native tradition as our greatest equestrian painter since Stubbs.

So while this may be a busy time of year for Newmarket's professional community, its members must beg, borrow or steal whatever time they can to seize this quietly historic opportunity right on their doorstep. Some of the exhibits in 'A Life of His Own', after all, have never previously been disclosed to public view.

What a living piece of history, for instance, is the depiction of Humorist and Steve Donoghue being led onto the track for the 1921 Derby, loaned from a private collection. In his autobiography Munnings recalled making a study of the horse at Charles Morton's yard, on a sunny Sunday soon after his success, a scheduled run at Royal Ascot having been abandoned after he burst blood vessels in a gallop. Munnings and Morton then shared a couple of bottles of the celebratory champagne sent to Letcombe Bassett by Humorist's owner, Jack Joel, and after lunch the artist succumbed to the shade of a yew on the lawn. The next thing he knew, he was being woken by Morton's “pretty little wife—far younger than he—looking like Ophelia in Hamlet, wringing her hands” and crying out that Humorist was dead.

Then Morton himself appeared, his phlegm undiminished either by the champagne or the death of a Derby winner. He told Munnings to follow him into the yard for “a sight you won't see again as long as you live.” He threw open the door to Humorist's stall, and there he lay in the straw, one eye still open. There was blood everywhere. “Well,” said his trainer quietly. “There lies fifty thousand pounds' worth!”

Yet we today retain the priceless privilege of seeing the horse preserved in his vital glory by one of the great eyes ever to have united artist and horseman. Munnings invited Donoghue to his Chelsea studio to complete his prepared study of Humorist, seating him on a wooden prop in the famous black silks and scarlet cap; and he then made a social document of the background, with newspapers wind-strewn across the turf and a crowd hemmed between rails and tents and bookmakers' signs.

This exhibition, expertly curated by Katherine Field for the Palace House-based British Sporting Art Trust, encompasses some 40 works—not just oils, but also watercolours, drawings and sculpture—spanning 60 years of the artist's career, from recording the East Anglian country life of his youth to presidency of the Royal Academy. They incorporate samples of every stage in between: the Canadian Cavalry at war, the hunting field, landscapes, pageantry.

But Turf aficionados will especially prize the social documentation incidental to all this timeless art—as, for instance, the 1938 twin portrait of breed-shaping stallions Hyperion and Fairway for the 17^th Earl of Derby, their grooms completing the serenity and veracity of the scene much after the fashion of Stubbs; or the casually attired, hatless riders following their dapper guv'nor onto the gallops against a summer sky of high cloud.

Munnings did much of this work in a studio converted from the last rubbing house on the Heath, a remote outpost near the end of the Devil's Dyke, working “in perfect silence but for the songs of skylarks.” Here he consented to a final racehorse portrait in 1951, having renounced such commissions after learning from Sun Chariot some years previously, “for the last time, the folly of attempting to paint racehorses.” What a benediction that he took so long to discover that folly, and not just for the town that welcomes him back to its midst for the next few days.

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One-way systems and social-distancing measures are in place to ensure that visitors can return safely to the venue which is also home to a number of high-profile retired racehorses who reside in the Rothschild Yard.

“Not only does the museum present a rich and fascinating panorama of a sport which is very much at the centre of the nation’s story, it’s also a great day out for everyone, whether they already know about racing or not,” said NHRM chief executive Dr Steven Parissien. “We want to become an essential resource for the town and believe that our unique combination of art, heritage, horses, open spaces and great food and drink is exactly what Newmarket needs in these trying times.”

He continued, “There will be new catering outlets, more space, a dedicated community gallery and displays which will reflect the history of the town as well as of racing. This autumn, for example, we will be showing a compilation of BBC archival films on Newmarket, from a profile of the old railway station’s famous heavy horses of the 1960s to the Blue Peter special on the town of 2003.”

The popular Tack Room restaurant will also reopen, along with the former bakery in the King’s Yard, which will offer bread, cakes, coffee and picnic boxes. Further changes include the transformation of the museum’s paddocks into a picnic area with benches and, in the coming months, a miniature zoo for companion animals such as sheep and goats. The museum store is also being relaunched and will include a second-hand book room.

Dr Parissien added, ‘We want the museum’s fabulous open spaces to be a key venue for the town—for eating and drinking, for art, for music and for shows and events, as well as for reflection and for relaxation. Keep in touch with us through our new website and you can find everything that’s coming up.”

This summer’s special exhibition, entitled The Good Companions, opens on Friday, July 31, and explores the portrayal of dogs in art. Tickets can be booked via visit the temporary ticketing website.

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