Sottsass Keeps Zerolo’s Oceanic Ahead of the Fleet

The trade winds, in the clipper age, blew west to east. But horsepower has reversed the flow; and for many years one of the most skilled navigators, for European horses to America, has been the debonair Michel Zerolo of Oceanic Bloodstock.

The cargos are more contested nowadays, he says, with a lot of sharp traders driving up prices. But the fact is that Zerolo recently scaled a new pinnacle, with the G1 Prix de l’Arc de Triomphe success of a Deauville yearling bought for an American patron. Sottsass (Fr) (Siyouni {Fr}), moreover, is a sibling to the very first horse he found for Peter Brant, Sistercharlie (Fr) (Myboycharlie {Ire}), imported to win seven Grade Is in America.

Zerolo has made a useful habit of landing running with his most important clients. In that respect, in fact, perhaps the pivotal moment of his entire career came at Fasig-Tipton’s July Sale of 1982, when he introduced himself to a trainer who had just begun to build on a reputation initially established through claims and gambles.

“I saw him there, in Hawaiian shirt and flip-flops, and he looked a cool guy,” Zerolo remembers. “I was a kid, but he had no pretense about him and gave me his number.”

Bobby Frankel probably needed reminding of that conversation when Zerolo telephoned with a horse from Europe, but a deal was done.

Trainer Bobby Frankel with his dog Happy at Saratoga | Horsephotos

“And actually he was a decent animal, I think he won a stake at the Fair Grounds,” Zerolo recalls. “But then the second one I sold Bobby, we struck gold. In those days Adrian Maxwell would come to Florida in the winter with a string of horses that were all for sale. And in that group was a Sheikh Hamdan cast-off, a 3-year-old called Al Mamoon (Believe It). He was the horse that got it all started, really.”

In Frankel’s care, Al Mamoon won five graded stakes and also chased home Cozzene (Caro) in the GI Breeders’ Cup Mile. From that point, Zerolo regularly supplied the great man with ammunition.

“Bobby was a huge factor, in that he just made you look good,” Zerolo says. “He was incredible. You gave this guy some, okay, maybe not average horses, but you give him a ‘B’ horse, or even a ‘C’, and it became an ‘A-plus’. And he was just a gambler from Brooklyn. But do you know what Bobby had? He loved animals. Remember when he didn’t show up at the Breeders’ Cup, because his dog was ill? And when Exbourne (Explodent) foundered, Bobby stayed with him hours and hours. He had that respect for animals; everything was for the horse.”

Zerolo had started out thinking that he might become a trainer himself, but believes now that he would have lacked due patience. As it was, Frankel determined one of the defining tenets of his strategy.

“I’ve always made it a rule of thumb that if I cannot buy the best horses, or the best-bred horses, at least I’m going to put them with the best trainers,” Zerolo says. “Because it’s only a matter of getting an introduction, and your client being able to pay whatever it takes to be there. And that’s a huge help.”

At the time he approached Frankel, Zerolo had only recently gone solo after being introduced to the bloodstock market as American liaison for French agent Frédéric Sauque.

“Frédéric was driven by success, by work; a very inventive, very creative man,” Zerolo says. “It was interesting, because it was the first time in my life I actually made money. All of a sudden I thought, ‘This is an easy game.’ I soon learned that wasn’t the case.”

Nonetheless, he had found his metier. It had been quite an odyssey already. His grandfather had moved to Algeria as a young surgeon, and Zerolo was born and spent his earliest years there. But he has only the dimmest memory of the family’s flight, in 1962, during the War of Independence.

“Basically we left with suitcases, and that was it,” he recalls. “We left everything. It was a very dirty war, like those wars always are. Members of my family were killed. We did feel let down by the French government.”

They settled in Toulon, but the upheavals that shaped the young Zerolo were not over. He was at boarding school in the Massif Central when the radical unrest of 1968 brought everything to a standstill for three months.

“So we were all stuck at this school, with nothing to do,” Zerolo says. “There was no petrol, trains would stop. The teachers couldn’t get in, so we were pretty much left to our own devices. It was magic for us. I must say I was a terrible student anyway. But close by there was a riding academy, and that’s how my passion for horses started.”

Zerolo at his Capucines consignment at Arqana | Zuzanna Lupa-Arqana

The connection was instant, for all that he had no kind of pedigree for horses. His father had entered the family profession, as a surgeon; and while his mother would occasionally ride at their grain and palm oil estates, in the south of Algeria, that was all. Yet soon Zerolo was riding eventers.

“I think it starts with the love of the animal, there’s no doubt about that,” he says with a shrug. “After that, it’s something you either have it or you don’t. And it’s observation, too. I don’t know that I was born with an instinct. You’d like to think so, but mainly you learn by your mistakes-because you make lots of those.”

The door to Thoroughbreds was opened by teenage vacations with his grandparents at Pau. One day a friend there raised a pertinent question: why were they paying to ride at the academy, when they could get paid to ride at the training centre over the street? That transition sowed the seeds for Zerolo, after military service, to begin his Turf vocation in earnest at a stable in Chantilly. Stints followed on stud farms in Ireland and then Kentucky, culminating at Spendthrift. The farm was in its late 1970s heyday, with that paragon John Williams lighting a path for the countless horsemen who have since spread his illumination, as man and horseman, through the industry.

“Rick Nichols was assistant manager, there was Steve Johnson, Allen Kershaw, so many people meanwhile very successful in their own right,” Zerolo recalls. “I was there with Gerry Dilger, Robbie Lyons, all those guys of my generation. And, in the stallion barn, I was there when JO Tobin retired, when Seattle Slew retired; when Affirmed arrived, Caro arrived. John was an incredible mentor to all of us, because he had such a work ethic. He was driven like noone I’ve ever seen. He took on Spendthrift, turned it around and made it what it was.”

As already noted, he first branched out into bloodstock with Sauque; but he also remembers with gratitude the support of Edward Seltzer. “Ed gave me lot of latitude,” he recalls. “He let me learn by experience, and by making mistakes. Such an interesting fellow, both in racing and in breeding.”

As he became established professionally, Zerolo was also putting down some domestic roots-in Miami, with a first wife who already had a couple of children. “All I needed was a dog!” he says. “It anchored me down. But I have always made regular trips back to Europe, maybe every five to six weeks. In fact, today I would say I have more and more of a foothold in Europe-so much so that I think I’m actually going to reverse the poles, and base myself primarily in France.”

His portfolio, after all, has long had its center of gravity there. Very soon after getting started, for instance, he entered partnership with Eric Puerari in the Haras des Capucines; and meanwhile, along with Marc de Chambure, they also developed the European Sales Management draft, dependably one of the elite consignments at the Tattersalls breeding stock sales.

“I was interested in breeding and Eric, who was born into it, really opened my eyes,” Zerolo reflects. “It started gradually. At first it was just an idea of buying and selling horses, trying to build towards the next level. And then an opportunity came to buy into a farm. I don’t know that we really sat down and planned anything: at that age, you don’t really think about it, you run with it. And European Sales Management was the same, a partnership born through opportunity and friendship. There was an economy of scale, and it has worked very well.”

Zerolo and his partner in Capucines, Eric Puerari | Zuzanna Lupa-Arqana

But the trademark of Oceanic Bloodstock itself has become the recruitment of European turf horses eligible to raise their earning power in the United States. Zerolo points to Juddmonte as the blueprint, noting how you need only look at a typical Juddmonte pedigree to find a second or third dam that started out with Sir Henry Cecil, say, or Andre Fabre, before being transferred to Frankel in California.

With Frankel, the trust was such that if the horse passed the vet, Zerolo would be told: “Okay, send me the horse and send the bill to so-and-so.” His owners were so awed by Frankel that none ever declined, except in the famous case of Starine (Fr) (Mendocino). Zerolo kept a stake as she overcame her obscure pedigree to win in Frankel’s own silks at the Breeders’ Cup, where she has now featured as second dam of a winner two years running.

Before Brant came aboard, Zerolo’s principal ally in this kind of enterprise was Martin Schwartz, with the likes of Stacelita (Fr) (Monsun {Ger}) and Zagora (Fr) (Green Tune). But no less crucial was Chad Brown, identified by Zerolo as “a natural successor” to Frankel (whom he had served as assistant). Yes, Brown gained momentum for his own career from the association; but he also confirmed Zerolo in his belief that half the battle is having the right trainer on your team. The other half, a client with sufficient verve and commitment, was where Schwartz came in.

“Marty gave me great opportunities for a long, long time,” says Zerolo gratefully. “He was one of the very few men operating at that level. He’s in the high-speed, high-testosterone finance world. So he needed a sort of a release for his energy: he loves to bet, he loves action, but he has no interest in breeding whatsoever.”

Brant, on the other hand, is fascinated by the whole, acorn-to-oak process. In his initial stint on the Turf, uniquely, he bred both sire and dam of a Kentucky Derby winner, Thunder Gulch (Gulch).
“In those days, he was the young, successful, adventurous man with his cousin Joe Allen,” Zerolo recalls. “All those good horses he was buying, whether dirt or grass, his mindset was the same: let’s go for the best. He’s a fascinating man; a renaissance man. He has led a fascinating life and whether you talk about art, or politics, or horses, he always has a very interesting opinion. And he’s challenging, too: he keeps you on your toes. He does his homework.

“Anyway, after he had disappeared for 20 years, and came back, I reintroduced myself and he said, ‘If you see something interesting, give me a call.’ And yes, the very first call was Sistercharlie. I happened to be at Saint-Cloud when she won a conditions race. Her turn of foot was spectacular. So I called Peter. It took a little bit of time to register, and by that time she had won a Group 3, so she obviously became more expensive. But then she ran in the [G1] Prix de Diane, and should have won, so already there could not be too many doubts about what we’d done.”

And so the dominoes began to fall towards an Arc winner. Sistercharlie’s half-brother had to be on the inspection list at the Arqana August Sale of 2017, and Brant authorized a bid of €340,000.

“I was fortunate that Peter gave me enough credit,” Zerolo says. “That’s always the critical element of the equation, the funds! I mean, he was not cheap. But he was a very good-looking horse. Not particularly like Sistercharlie, actually: he looks very much like his dam.”

Sottsass | Scoop-Dyga

Once again, much has hinged been the genius of a trainer. “Full credit to Jean-Claude Rouget who basically, in his own quote, had to lose other races in order to win the Arc,” Zerolo says. “That took a bit of explanation, to get Peter on board. I think the only time we collectively took a stand with Jean-Claude was that Sottsass would run in the [G1] Irish Champion Stakes. I think Jean-Claude was going for a classic French preparation, but we thought the horse needed a bit of a kick in the ass. That race really woke him up. But Jean-Claude is an extraordinary trainer, a great judge and a born horseman. I mean, he’s won eight Classic races in seven years, something like that.”

Zerolo, naturally enough in view of his success, operates within the orthodoxies: he doesn’t export European horses to run on dirt, instead content to exploit a lack of depth in American grass breeding. He refutes the objection that dirt and turf horses may be more versatile than we allow.

“If it’s not on the page, it doesn’t exist,” he argues. “When you look at a pedigree and you see grass, grass, grass, it’s a grass horse. It’s a different animal, physically. You need a more athletic horse, one who’s lighter on his feet. On dirt you need a strong horse: I mean, they have to dig themselves out from that stuff. Mechanically, it’s a different thing.

“But it is true, going way back when I first started in this business, that we imported a French horse called Perrault (GB) (Djakao {Fr}), who was as grassy a horse as grass could be. And first start on the dirt he wins the Hollywood Gold Cup. But he was built like a bull.”

The paradox is that while the right blood still can’t get commercial traction among American breeders-Zerolo describes standing a grass stallion in the U.S. as “nearly impossible”–the turf program is thriving, ever more competitive and respected. That, of course, is partly down to the efforts of importers like Zerolo and his rivals. But he feels the industry needs to heed the logic and follow through: with a turf Triple Crown, for instance; and a recognition that the training habits passed down through the generations may literally have run their course.

“I don’t see the future of American racing with training horses on the racetrack,” he declares. “I know it’s a big statement. But I think training centers are the way of the future. I think that’s why Peter Brant bought Payson Park. The logistics in America make it difficult. But I think the ‘all-American’ trainer, who would have 20 webbings, five forks, five saddles, and three exercise riders, there’s going to be less and less of that. It’s sad in some ways, yes. But we’re in the era of the super trainers.”

Yet whatever European practice might be usefully emulated here, Zerolo still feels that the Old World must also look to its laurels.

“I think you can safely say that today you will find the world’s best racehorses in Japan,” he suggests. “There’s been a haemorrhage of good pedigrees from America to Europe, and then lately from America and Europe to Japan. So the poles have shifted. It’s incredible what the Yoshida family has built up. I have watched them all along, because I was sort of competing against them in the early 2000s, when buying expensive fillies for Mr. Schwartz. They were pretty much my only competition for good racehorses; not necessarily horses with fantastic pedigrees, but good racehorses with decent pedigrees.”

Even so, his own trade route is more imitated than ever. To a degree, he’s become a victim of his own success. But few others in the business could be so comfortable, so adaptable, in straddling this cosmopolitan market-a natural consequence, perhaps, of that peripatetic, nomadic upbringing.

“Yes, maybe it takes me to my roots,” Zerolo says with a laugh. “But it’s all about opportunities. Before, horses were a lot cheaper. There were very few people doing it. Today there’s less and less slack. There are a lot of talented young men and women making it extremely competitive. Before, you used to be able to buy a Group 3 winner in Europe, and were almost assured, if you went to Bobby Frankel, that it would become a Grade I horse. Now it’s very rare, that magic order: find me a well-bred filly, a Group 3 horse that can run. I used to be able to pick up the phone and call 10 people. Now you have to look at Listed horses, you have to downgrade a little bit.”

Hence the importance of the Arc: raising the bar higher yet. Zerolo is still at the helm, the rest still sailing eagerly in his wake. After all, even for the best, this business remains a constant puzzle.
“Yes, and a constant punishment as well,” he says. “Because as you know, you’re wrong more often than you’re right.”

That’s the same for every horseman, of course. What makes the difference is not just how often you get something right, but how right you get it. And the launch of a €30,000 stallion at Coolmore, 32 years after Al Mamoon went to stud, suggests that Zerolo is still steering a course others will try to follow.

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Wootton Bassett To Stand For €100,000

Wootton Bassett (GB), one of four new sires on the Coolmore roster for 2021, will stand for €100,000 off a glittering season on the track that saw him sire two new Group 1 winners and 10 stakes winners.

Coolmore announced its purchase of Wootton Bassett in June from Haras d’Etreham, where the son of Iffraaj had stood since retiring to stud in 2012. After standing for as low as €4,000 in his third season, Wootton Bassett had been priced at €40,000 the past two seasons. Just a week after the announcement, Audarya (Fr) became Wootton Bassett’s second Group 1 winner in the Prix Jean Romanet, and she bolstered that form last weekend with a victory in the GI Breeders’ Cup Filly & Mare Turf. Meanwhile, Wooded (Fr) won the G1 Prix de l’Abbaye on Arc day, besting the defending winner and subsequent GI Breeders’ Cup Turf Sprint scorer Glass Slippers (GB). Wootton Bassett’s other 2020 standouts include the G2 Champagne S. winner Chindit (Fr), GII Sands Point S. winner Tamahere (Fr), GIII Franklin-Simpson S. winner Guildsman (Fr) and G3 Prix de Fontainebleau scorer The Summit (Fr).

Coolmore also revealed on Thursday that G1 Prix de l’Arc de Triomphe and G1 Prix du Jockey Club winner Sottsass (Fr) (Siyouni {Fr}-Starlet’s Sister {Ire}, by Galileo {Ire}) will debut at €30,000 next year. The 4-year-old, who earned over £2.4-million and is a half-brother to American star Sistercharlie (Ire) (Myboycharlie {Ire}), is one of three stallions on the Coolmore roster standing their first year at stud. Those also include three-time Group 1-winning miler Circus Maximus (Ire) (Galileo {Ire}-Duntle {Ire}, by Danehill Dancer {Ire}) at €20,000 and G2 Coventry S. winner Arizona (Ire) (No Nay Never) at €7,000.

Circus Maximus remains under consideration for the Hong Kong International races in December before retiring. The winner of the G1 St James’s Palace S. and second in the G1 Sussex S. in the summer of his 3-year-old year, the Niarchos Family’s Flaxman homebred added another Group 1 win in the Prix du Moulin that September prior to a fourth in the GI Breeders’ Cup Mile. At four, he displayed his affinity for Royal Ascot with a win in the G1 Queen Anne S., before another second in this year’s Sussex and a third in both the G1 Prix Jacques le Marois and another edition of the Prix Moulin. The bay bounced back with a close second two starts later in the Nov. 7 GI Breeders’ Cup Mile. His record stands at 17-5-3-3 and $1,881,584 in earnings.

“Circus Maximus is very tough and travels with a lot of speed,” said trainer Aidan O’Brien. “He’s that type of horse that can often make very good stallions. We’ll definitely be breeding to him.”

Circus Maximus’s sire and Coolmore lynchpin Galileo (Ire) is once again listed as private off a stellar season that saw him break the worldwide record for Group 1 winners for a sire (85) and add three new Classic winners among his nine Group 1 winners for the year: G1 1000 Guineas and G1 Oaks winner Love (Ire), G1 Irish 1000 Guineas victress Peaceful (Ire) and G1 Derby scorer Serpentine (Ire). Search For A Song (Ire) won the G1 Irish St Leger for the second straight year, while the evergreen Magical (Ire) and Mogul (Ire) were also standouts.

The vast majority of Coolmore’s proven sires receive slight fee cuts for 2021 in the midst of a difficult global economy, but one that goes up is Camelot (GB), who will stand for €45,000 next year off a season that saw him add four new Group 1 winners, including Irish Oaks scorer Even So (Ire) and Australian sensations Russian Camelot (Ire) and Sir Dragonet (Ire).

No Nay Never is the only other advertised six-figure fee on the roster aside from Wootton Bassett, and he is trimmed to €125,000 from €175,000. Fastnet Rock (Aus) will once again shuttle from Australia and will stand for €50,000 after his One Master (GB) won her third straight G1 Prix de la Foret in October.

The remainder of the roster is as follows: Australia (GB) (€25,000), Calyx (GB) (€16,000), Churchill (Ire) (€30,000), Footstepsinthesand (GB) (€12,500), Gleneagles (Ire) (€25,000), Gustav Klimt (Ire) (€4,000), Highland Reel (Ire) (€10,000), Holy Roman Emperor (Ire) (€12,500), Magna Grecia (Ire) (€18,000), Mastercraftsman (Ire) (€15,000), Rock Of Gibraltar (Ire) (€5,000), Saxon Warrior (Jpn) (€20,000), Sioux Nation (€10,000), Starspangledbanner (Aus) (€22,500), Ten Sovereigns (Ire) (€20,000), The Gurkha (Ire) (€5,000), U S Navy Flag (€12,500) and Zoffany (Ire) (€20,000).

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Brown Workmates Sistercharlie, Rushing Fall Continue Preparations For Filly & Mare Turf

Peter Brant's 2018 Champion Turf Female Sistercharlie worked in tandem Sunday on the inner turf at Belmont Park in Elmont, N.Y., with e Five Racing Thoroughbreds' Rushing Fall covering five furlongs in 1:01.05 in preparation for the Grade 1 Breeders' Cup Filly & Mare Turf at Keeneland.

“They continue to train well as a pair. They're both training towards the Breeders' Cup together,” said Brown.

Rushing Fall is a six-time Grade 1-winner after taking the Grade 1 Diana last out on August 23 at Saratoga. Sistercharlie, a seven-time Grade 1-winner, is a half-sister to recent Group 1 Prix de l'Arc de Triomphe winner Sottsass. Both mares will be retired following the Breeders' Cup.

Brown said he doesn't take the opportunity to oversee their morning breezes for granted.

“You kind of pinch yourself in the morning. We don't have too many of those training sessions left to watch,” said Brown.

Sistercharlie captured the 2018 renewal of the Breeders' Cup Filly & Mare Turf at Churchill Downs, while Rushing Fall will make her second Breeders' Cup appearance following a winning effort in the 2017 Juvenile Fillies at Del Mar.

Klaravich Stables' Digital Age and e Five Racing Thoroughbreds and Michael J. Ryan's Valid Point worked in company through five-eighths in 1:01.22 Sunday on the inner turf.

The 4-year-old Valid Point, a three-time winner in seven starts, hasn't hit the board in four starts following his Grade 1 Secretariat score in August 2019 at Arlington Park.

Digital Age, a 4-year-old Invincible Spirit colt, boasts a record of five wins and two seconds from 11 starts with purse earnings in excess of $1.2 million. He captured the Grade 1 Turf Classic last out on September 5 at Churchill Downs.

“Valid Point has had a disappointing year so far, but he's training well. We'll figure it out. Digital Age will point to the Breeders' Cup Mile,” said Brown.

Digital Age is likely to face stablemates Raging Bull, Uni and Without Parole in the Breeders' Cup Mile.

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This Side Up: Arc of Achievement Unites Brant and Mellon

When Ettore Sottsass was asked which of his many diverse achievements had given him most satisfaction, he gave a shrug. “I don’t know,” he said. “Life is a permanent project. It’s a passage from one thing to another.”

The Italian designer and architect transcended disciplines in a fashion not dissimilar to his compatriot Federico Tesio, whose singular genius was as stimulated by his furniture workshop as by his breed-shaping stud farm.

And there’s a corresponding breadth of engagement to the man who wrote to the widow of Sottsass, asking permission to honor his memory with a Siyouni (Fr) yearling he had bought at Deauville in 2017. Peter Brant has assembled his stable with the same curator’s eye as he has his art collection; and the same quixotic awareness that no masterpiece can ever achieve perfection, can ever fully requite the yearnings that sustain his twin passions.

The success of Sottsass (Fr) in the G1 Qatar Prix de l’Arc de Triomphe on Sunday was certainly a masterpiece, in the technical craft of his trainer Jean-Claude Rouget. And it belongs in the same gallery as Brant’s unique achievement in breeding a GI Kentucky Derby winner, Thunder Gulch (Gulch), as well as his sire and dam. Already, however, the project has its next passage, with Sottsass now starting a new career at Coolmore.

For just as the work of Renaissance masters has far outlasted the span of any human life–creators, preservers, collectors–so our own humble endeavors, from one generation of horsemen to the next, will endure in the genetic complexion of the breed, as recorded across the centuries in the Stud Book.

Brant is rightly proud that Thunder Gulch, winner of the definitive test in dirt racing, was delivered by a mare imported from Europe. The obvious, reciprocal challenge would now be to breed a dirt champion by his Arc winner.

Asked this week whether that is something he’d like to attempt, someday, Brant gave a chuckle.

“Someday?” he said. “Try, like, three or four months from now. I mean, sure. That doesn’t mean I have to be right. I was right once, doesn’t mean I’ll be right doing it again. But I’m certainly going to try.”

With the far-sightedness that has sustained his business empire–not least in adapting to the wild societal changes eroding demand for its original base, newsprint–Brant absolutely grasps the vitality available in dismantling perceived barriers between the transatlantic gene pools. It’s often been done before, after all, not least in the transformative impact of Northern Dancer’s speed-carrying dirt blood on European Classic racing.

Brant bought Shoot a Line (GB) (High Line {GB}) after seeing her finish a plucky second to the great Ardross (Ire) in the 1981 Gold Cup at Royal Ascot, over two and a half miles, and had her covered by Northern Dancer’s son Storm Bird. The resulting filly, Line of Thunder, was sent to Luca Cumani in Newmarket.

“She was a classic-looking, old Thoroughbred type,” Brant recalled. “And what happened is history. I bred her to Gulch, who won the Met Mile twice and the Breeders’ Cup Sprint. He could carry his speed, he was third in the Belmont Stakes and ran second to Personal Ensign in the Whitney, but going a mile-and-a-quarter, mile-and-a-half, was really not his thing. He was a very fast, very sturdy horse. And from Line of Thunder he got Thunder Gulch.”

On the same basis, Brant made sure that his White Birch Farm recruited staying females from the Weinstock dispersal and also the Wildenstein sale.

“A lot of times you’ll go to sales in Kentucky and they’ll say: ‘That’s a grass horse, you don’t want that, we want to win dirt races,'” he remarked. “But I believe that staying blood is very important, if you want to win any of those Classic-type races, from a mile up to a mile-and-a-half. You definitely need speed as well, because often they are a product of pace: sometimes no pace, sometimes too great a pace. It’s the ability to quicken that is so important.

“But so many stallions had great speed–horses like War Front, maybe a horse like Constitution–and if you breed speed to them you’re going to have trouble in those middle-distance races. I believe you need to get some Classic blood in there with it. Yes, a lot of times you’ll breed to a stayer, and the progeny goes more towards the female and you’re out of luck. But you do need a combination. Especially over two or three generations, you need that classy staying blood somewhere.”

Sottsass himself, of course, is by a fast horse in Siyouni (Fr) out of a Galileo (Ire) mare. Up until Sunday, Brant confesses, he had wondered whether the colt’s optimal range might fall short of the Arc distance. But the demands of the race on the day–not especially strongly run, perhaps, but calling for unyielding dynamism through heavy ground–actually showcased assets that may combine well with dirt-bred mares; and, someday, give Sottsass some traction as a crossover influence.

As is well known, this is Brant’s “second time round” on the Turf. But his ardour for the Arc traces back to his earliest enthusiasm. His heart was first won by weight-carrying New York stalwarts like Kelso and Carry Back, so he knew of the latter’s fish-out-of-water bid for the 1962 Arc. What really brings things full circle, however, is that his first personal experience of the race came nine years later, when Paul Mellon–whose aesthetic sensibilities similarly found a common margin between art and the Thoroughbred–became the first American to own the winner.

Though still in his early 20s at the time, Brant was in Paris to produce “L’Amour,” a minor cult movie by Andy Warhol and Paul Morrissey. (He collaborated with Warhol on many projects and his publishing stable still includes Interview, a magazine founded by the pioneering artist in 1969.) Finding himself in a café one Saturday afternoon, Brant noticed the racing from Longchamp on a television in the corner. He realized that the Arc was the next day, and resolved to head out to the Bois de Boulogne.

So it was that he saw Mill Reef beat the wonderful French filly, Pistol Packer, with Caro (Ire)–subsequently such an important stallion at Spendthrift–fourth.

Europe’s championship race, then, is woven into some of the defining strands of his life: some tracing to those heady years in the vortex of the Beat Generation; others, to the Parisian fashion community that long worshipped his wife, the model Stephanie Seymour.

“‘L’Amour’ was a great, low-budget film that did very well, and is still kind of a classic today,” Brant said. “And, yes, we had a lot of fun. It was wonderful moment. As a matter of fact, one of the stars in that movie was Karl Lagerfeld, who became the big designer for Chanel. At that time he was working for Chloé, the Paris fashion house, so there were a lot of fashion people in the film.”

Not that Brant could ever get Warhol interested in the Turf. His cousin, Joe Allen, who bred War Front, was also friendly with Warhol and commissioned him to do a portrait of his very first racehorse, an ex-claimer. And the Wertheimer family asked him to depict Ivanjica, their 1976 Arc winner–a work you will today find in the office of a certain Kentucky farm owner, of similarly rare discernment.

“I’m not sure how thrilled the Wertheimers might have been, at the time, with his Ivanjica,” Brant noted wryly. “Andy’s way of doing those portraits was to take a polaroid, and then silk-screen it, and paint over that. Now even the new book about President Carter has Andy’s portrait on the front. He was always way ahead of his time.”

Brant has always tried to be one step ahead, too, having seen repeatedly how the establishment eventually adopts the avant-garde. But he rebukes any assumption that Mellon–whose foundation of the Yale Center of British Art accommodated much sporting art of the old school–was merely anglophile and conservative in his tastes.

“He might have been interested in Stubbs, but that would have been because of his interest in horses,” Brant explained. “But he was a great collector, of all periods; all the way through the 20th Century from Cezanne to abstract expressionists like Mark Rothko.”

In Mellon, with whom he served on the board of the racing museum in Saratoga, Brant could admire an exemplar of philanthropic capitalism. Like Mellon, of course, Brant has also stabled horses with master horsemen on both sides of the Atlantic; and Sottsass has now made a significant new contribution to the tradition, long associated with Mellon, of Americans embracing European grass racing and its bloodlines. Both on and off the Turf, then, there is a very direct cultural succession between the owners of Mill Reef and Sottsass.

Certainly last weekend was a vivid consummation of Brant’s return to the sport and, while there was a bittersweet element in not being able to travel to Paris, that did not diminish the delirium as he watched the race with his wife at their Connecticut home.

“You know something, I can’t say I would have had any better a time anywhere else,” he said. “We were yelling and screaming so much, it felt like the house was shaking. I just couldn’t believe this dream had come true.”

Brant says that he never goes into any race with confidence, but Ger Lyons had given him plenty of hope after taking responsibility for the horse, with Rouget confined to France by COVID restrictions, for his prep run in Ireland.

“After that race Ger said: ‘Your horse is going to run terrific in the Arc,'” Brant explained. “The instructions [from Rouget] were to make sure the horse would be tighter for the Arc, and that was the way [jockey Colin] Keane rode. Jean-Claude had really been pointing at the Arc from the beginning of the year. I think that speaks very well of the trainer, and very well of the race. If you really want to win the Arc, you can’t have anything else on your mind. You can’t say, ‘Well, we’ve run well here, let’s go the Arc.’ You can’t go as an afterthought, and if you make a mistake along the road you probably won’t be winning. It’s so gruelling, both in the conditions you might get and the field. That’s why I feel it would be very hard to do better than winning this race.”

But there are always new horizons, with horses no less than in art.

“Winning a race, any race, you figure that you are pretty close to achieving some kind of perfection,” Brant mused. “But you will always get beat more than you win. It’s a great game, and a fantastic passion for a lot of people: these wonderful, noble animals. Like art, it’s all about that passion. Because that’s what you really need, for it to be fun and for it to be successful.

“Right now, I’m feeling very good that I can take the decision to retire Sottsass in one piece, sound in wind and bone, and not looking like he’s come back from the war. He’s going to stud in the way he deserves.”

Breeding, of course, is a long game; and Brant espouses the long view. He urges optimism, even in such disturbed and disturbing times. Yes, he is dismayed to see responsible journalism swamped by the trash-talk of social media, not least from a boyhood friend he can no longer recognize in the Oval Office.

“But I’m very optimistic,” Brant insisted. “I hope we will soon be able to look on all this in retrospect. In the meantime, people have to be vigilant: listen to science; wear masks, isolate, trace. But I think we’re going to have learned a lot, especially about leadership, from this whole experience.”

If the fate of newsprint is one eloquent measure of a changing world, then so is that of typewriter. The classic machines he designed for Olivetti helped to make the name of Ettore Sottsass. But even as the world changes, genius abides. Sottsass urged that various disciplines were only separated by technique; that all design reflects your ideas about life, about individuals and society. It didn’t matter whether you were making a glass vase or a photograph.

So let’s celebrate the fact that an American, in 2020 as in 1971, has seen through artificial distinctions–between dirt and turf, speed and stamina, Europe and America–and reminded us all of the transferable essence of a great Thoroughbred. The “permanent project,” in horses and horsemen alike, is class. And, though our world may constantly be changing, it is surely a better place for the legacy of a man like Mellon; and, likewise, for the one now being cultivated by Peter Brant.

 

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