Frederic Remington 1861-1909

Private Collection
J.N. Bartfield Galleries, New York
Acquired by the present owner from the above, circa 1978

Bruce Wear, The Bronze World of Frederic Remington, Tulsa, Oklahoma, 1966, p. 66, illustration of another example p. 67
Harold McCracken, The Frederic Remington Book: A Pictorial History of the West, Garden City, New York, 1966, illustration of another example fig. 367
Peter Hassrick, Frederic Remington: Paintings, Drawings, and Sculpture in the Amon Carter Museum and the Sid W. Richardson Foundation Collections, New York, 1973, no. 84, p. 192, illustration of another example p. 193
Patricia Janis Broder, Bronzes of the American West, New York, 1974, illustration of another example p. 131
Michael Edward Shapiro, Cast and Recast: The Sculpture of Frederic Remington, Washington, D.C., 1981, pp. 48, 73-76, 101, illustrations of other examples figs. 28, 63-67
Michael Edward Shapiro and Peter Hassrick, Frederic Remington: The Masterworks, New York, 1988, pp. 195, 198-99, 210, 214, 227, illustration of another example p. 193
Michael D. Greenbaum, Icons of the West: Frederic Remington's Sculpture, Ogdensburg, New York, 1996, pp. 89-93, 185, illustrations of other examples pp. 88, 90-93

Very good condition. Bronze rests on a 1 inch wooden base.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The Cheyenne was the second of Remington's bronzes, following The Norther, to be cast solely at the Roman Bronze Works with the highly textured surface produced by the lost-wax technique. The tour-de-force of balance and casting with all four of the horse's hoofs off the ground reflects the joint artistic and technical efforts of the sculptor and the foundrymen. Riccardo Bertelli, founder of Roman Bronze Works, once said in an interview "[Remington] always wanted to have his horses with all four feet off the ground. I sometimes had quite a time with him." Michael Greenbaum notes "A 1901 letter and sketch from Remington to Bertelli asked if the tucked motion could be accomplished by supporting the model on a finely textured base, which was to be fashioned as a buffalo robe. 'I very much want to preserve the effect of the action,' he penned.... The collaboration between the two men on The Cheyenne was their finest. Remington's quest for fluidity in still motion and Bertelli's technical skills coalesced in a work that elevated the talents of each. The bronze was Remington's first model to be cast in one piece" (Icons of the West, 1996, p. 89).