180 - Arthur du PASSAGE (1838–1909)

Arthur du PASSAGE (1838–1909) "Lad Saddle a Mare in the Stall," 1872 Bronze with a brown patina, signed on the base: "A du Passage." 34 x 70 cm. (Large version of two sizes) A rare example (of the large size) with great attention to detail: straw on the ground, the mare’s harness, the groom’s clothing, and the blanket marked “AP” and topped with a crown. The signature—"A du Passage"—is significant. Indeed, we know that this model, created in 1872, was exhibited at the Salon (in this size) in 1873. However, Arthur’s father died in 1872, and until his father’s death, the artist signed his works “Arthur du Passage”; then, starting in 1873 (as the eldest son and heir to the title), he began signing “Comte du Passage.” Thus, our copy is among the first and rare prints made in 1872. The scene takes place in the stables of the Château de Frohen le Grand in Picardy, where our artist lived a sedentary life, disabled following a fall from a horse. Thanks to his attire and sideburns, we can recognize the Polish stablehand who managed the castle’s stables. It is worth noting that Henri de Toulouse-Lautrec—whose friendship with and admiration for Arthur du Passage are well known—drew inspiration from this model for his “Artilleryman Saddle-Up His Horse.” Below is a description of this model from the draft catalog raisonné compiled by his great-nephew Henri du Passage (who died in 2016 at the age of 93): “Groom Saddle a Horse in the Stall”: This is one of the most successful models in every respect: on the one hand, for the particularly well-balanced proportions of both the jockey and the horse; on the other hand, for the dual scene presented to us: Indeed, on one side, the groom is struggling to girth the horse (which always puffs up during this process) while holding the end of the counter-girth between his teeth to resist the animal’s struggle. On the other hand, annoyed by a dog, the horse lays its ears back and threatens the intruder with a bite. At the same time, the horse rears up on its left hind leg, ready to kick. Every detail is remarkably rendered—from the straw to the blanket on the horse’s hindquarters, and from the cobblestones to the lad’s gaiters on the forequarters."