The composition was inspired by a visit to Le Relais at Villeneuve-sur-Yvonne, the country house of Thadée Natanson (1868-1951), the publisher of La Revue Blanche, and his wife, the pianist and socialite, Misia (1872-1950), who is depicted as the driver of the elegant horse trap.

The male figure in the carriage is Charles Conder (1868-1909), the English born artist, who later became a key figure in the Heidelberg School of Impressionist art in Australia. Conder left Australia in 1890and spent the rest of his life in Europe, where he became close friends with Toulouse-Lautrec. Toulouse-Lautrec featured Conder in a number of his Moulin-Rouge works. The composition is a slightly enlarged and more sophisticated adaptation of the slightly earlier print, Attelage en Tandem (Fig.1), which shows two figures in a similar carriage, drawn by two horses, with the same dog running alongside. For Partie de Campagne, Toulouse-Lautrec revised the composition significantly by turning the perspective to a more oblique angle. The trap and horse are now seen with extreme foreshortening nearly from behind. The viewer is now almost in the position of the dog, trotting along behind the carriage. The composition is dominated by the diagonal line demarcating the green meadow and the country road, which occupies half of the picture plane and is daringly left almost blank.

The provenance of this work is distinguished. David-Weill was an important collector and founder of Lazards Bank. He was collecting actively in the 1920, when he possibly acquired the present work. A portrait of David-Weill by Edouard Vuillard is on loan to the Jewish Museum, New York, dated 1925.