Théodore Géricault

Executed by the artist for Adam and Zoë Elmore, during his London stay in 1821;

Adam and Zoë Elmore Collection,

Thence by descent to the present owners.  

Calais, Musée des beaux-arts, L’Aquarelle romantique, 1961, no. 61.

G. Bazin, Théodore Géricault, étude critique, documents et catalogue raisonné, Paris 1997, tome VII, pp. 24, 117-118, no. 2262.

Two horses in a stable, which has a wonderful freshness and whose condition is excellent, shows two horses resting in a clean, light-filled stable, very probably belonging to Adam Elmore. The superbly contrasting coat of the piebald horse stands out strikingly in the foreground. The extraordinary virtuosity with which Géricault conveys the details of the horse's coat, its transparency, its variations of tone produced by the musculature and above all the magnificent velvety whites, demonstrates the mastery of technique that the artist had gained from his contact with British masters of watercolor.

The background is treated in shades of beige and brown that have a transparent lightness. The horse on the right turns its head to observe the artist with curiosity. Separated from its companion by a barrier that consigns it to the background, it is painted in subtle shades of brown which blend with its surroundings, further heightening the beauty and powerful effect of the piebald horse. Two horses in a stable combines the spontaneity of a scene captured from life with the visual impact of a carefully finished work. With its quality and refinement, it is one of the most beautiful of the artist's watercolors depicting stable interiors. Géricault reprised the piebald horse in a more sketchy watercolor, now in the Musée Bonnat-Helleu in Bayonne.¹ He also appears to have been inspired by the same animal in the Horsewoman in the Metropolitan Museum, New York.²

Two horses in a stable, like Zoë riding side-saddle (lot 179) and Zoë and Adam Elmore on horseback (lot 180), shows the extent to which Géricault loved and understood horses. Adam and Zoë Elmore shared this enthusiasm, which explains their friendship with the artist and their appreciation of his art. This reciprocal warmth shines through in all four watercolors from the Elmore collection, giving them all a very personal intimacy and charm.

1. Inv. 7781

2. Inv. 2019.141.11

For more information regarding this lot and the other works by Gericault coming from the Elmore Family, please click on the link below to have access to the full catalogue of the collection:

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