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Lot Essay
Professor Lorenz Eitner has kindly confirmed the attribution of the present drawing, dating it to about 1822-3. He relates the drawing to the watercolor of a Cheval Arabe in the Musée Fabre, Montpellier, G. Bazin, Théodore Géricault, Etude critique, documents et catalogue raisonné, Paris, 1997, VII, no. 2637. That drawing was etched by Joseph Volmar (Delteil, append. 6).
Dr. Eitner also pointed out a connection with the lithograph entitled Jument Egyptienne of 1823 (Delteil 57) and compared the drawing to one in the Louvre and another in the Thaw Collection, both with similarly complex harnesses, G. Bazin, op. cit., nos. 2644 and 2647.
Another example of a horse led by a mameluk is in the Winthrop Collection at the Fogg Art Museum in Cambridge, G. Bazin, op. cit., no. 2640. The feet of both mameluk and horse in the present drawing are unfinished, in common with most of the drawings of the series, G. Bazin, op. cit., nos. 2640, 2646-8). This could be explained by Gericault's decision to hide the feet in water in the Louvre drawing, G. Bazin, op. cit., no. 2644.
Dr. Eitner also pointed out a connection with the lithograph entitled Jument Egyptienne of 1823 (Delteil 57) and compared the drawing to one in the Louvre and another in the Thaw Collection, both with similarly complex harnesses, G. Bazin, op. cit., nos. 2644 and 2647.
Another example of a horse led by a mameluk is in the Winthrop Collection at the Fogg Art Museum in Cambridge, G. Bazin, op. cit., no. 2640. The feet of both mameluk and horse in the present drawing are unfinished, in common with most of the drawings of the series, G. Bazin, op. cit., nos. 2640, 2646-8). This could be explained by Gericault's decision to hide the feet in water in the Louvre drawing, G. Bazin, op. cit., no. 2644.