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A R C H I V E
SLADMORE GALLERY, LONDON
Polo was first played in Europe around
1869, and racing subjects in sculpture were
popular and plentiful at this time, but there
are only two or three sculptures representing
polo that predate 1900. Examples from the
beginning of the 20th century are also very
rare, but French sculptor Georges Malissard
– who worked between 1910 and 1940 – was
known chiefly for his equestrian portraits.
His sculpture
The Backhand
, depicting the
polo manoeuvre, is impressive both in scale
and quality, with wonderful movement
stylishly capturing the energy of the game.
Around this time, Malissard also modelled
a portrait of Alphonso XIII riding off the
polo ground, and
The Backhand
could be
a companion piece, albeit on a larger scale.
Malissard was born in Anzin, near
Valenciennes, northern France in 1877, and
according to contemporary sources, he was
inspired by the work of leading late-19th-
century sculptor Emmanuel Frémiet. In 1908,
Malissard exhibited at the Salon des Artistes
Français and received his first commission
to sculpt two thoroughbreds belonging to
Kaiser Wilhelm II in Berlin. He soon settled
in Paris, and, after briefly sharing a studio
with animalier sculptor Arthur Comte du
Passage, settled in his own atelier at rue
Pergolèse. He was highly connected in the
horse-riding milieu – a regular guest at
hunting parties, he also rode every morning
at the renowned Howlett’s stables in Neuilly.
His monumental portrait of Marshal Foch
on horseback can be seen today beside
Victoria Station in London.
The rare
The Backhand
bronze is
undoubtedly my favourite polo sculpture –
it stands out for both its large size and fluid
movement, setting it apart from all other
‘vintage’ polo sculptures, most of which are
half the size and generally much more static.
The Backhand, circa 1925 by Georges Malissard,
French, 1877–1942
B R O N Z E A G E
Georges Malissard’s famous sculptures were among the first to capture
the energy of the Game of Kings, says Edward Horswell
