During the next three years, Remington would complete other bronzes on the western theme: The Wounded Bunkie (1896), The Wicked Pony (1898), and The Scalp (1898). The Currier cast was made in the very first years of the production. The figure and base were cast separately with the reins, stirrups, whip, and other details added in the process of finishing and chasing. Before 1900, seventy sand-cast bronzes were made by Henry-Bonnard. During the next several years, more than forty-five castings of The Bronco Buster were sold. The foundry issued a circular on the piece with an endorsement by Augustus Saint-Gaudens (q.v.). Century Magazine followed with four views of the sculpture.
The art critic Arthur Hoeber wrote in the text that accompanied the illustration: "Breaking away from the narrow limits and restraints of pen and ink on flat surface, Remington has stampeded, as it were, to the greater possibilities of plastic form in clay" ( Harper's Weekly, October 19, 1985, p. Harper's Weekly published an illustration of the sculpture in its October 19, 1895, issue.
#BRONCO BUSTER BY FREDERIC REMINGTON WINDOWS#
The bronze was exhibited in the windows of Tiffany and Co., on West 16th Street in Union Square, New York City. Cowboy holding onto horse's mane with left hand while right hand is extended upwards. The Henry-Bonnard Company reproduced The Bronco Buster, as Remington copyrighted it on October 15, 1895: "Equestrian Statue of Cowboy mounted upon and Breaking in Wild horse standing on hind feet. By the end of March he could crow to his Yale College classmate Poultney Bigelow, "It's the biggest business I ever did and if some of these rich sinners over here will cough up and buy a couple of dozen I will go into the 'mud business'" (FR to Poultney Bigelow, 1895, Poultney Bigelow Collection of Remington Letters, Saint Lawrence University, Canton, NY). He started work on The Bronco Buster, and by January 1895 Remington wrote his friend the writer Owen Wister, "my watercolors will fade-but I am to endure in bronze-even rust does not touch-I am modeling-I find I do well-I am doing a cowboy on a bucking bronco" (FR to Owen Wister, 1895, Library of Congress, Washington, DC). Hartrauft in 1894, Remington was encouraged to begin modeling. Ruckstull (1853-1942) modeling his equestrian sculpture of Major General John F. Following a lull in the reception of his paintings in 1892, Remington began to look for another medium. His Pitching Bronco for Harper's Weekly, which appeared in 1892, would serve as the preliminary sketch for his first piece of sculpture, The Bronco Buster. Remington quickly became one of the most popular and highly paid illustrators. The following year, his first sketches were published in Harper's Weekly and Outing. In New York City, he enrolled at the Art Students League, where he studied with the painter J. He returned east in 1885, broke but determined to become an artist. He became the owner of a small ranch in Kansas and part owner of a cowboy saloon in Kansas City. He roamed from Mexico to Canada, rode the wagon trains and cattle trails from Texas to Montana, prospected for gold in the Apache country of the Arizona Territory, and worked as a hired cowboy. After his father's death, he left school and in 1881, at the age of eighteen, he went west.
A native of Canton, New York, Remington enrolled in 1878 at Yale University, where he took a drawing course taught by John Niemeyer (1839-1932). The illustrator, painter, and sculptor Frederic Remington was one of the so-called Independent American artists who captured the disappearing Wild West during the late nineteenth century.
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