Frederick Remington

Frederick Remington is the spelling many collectors search—yet the artist himself signed as Frederic Remington (no “k”). If you’re assessing bronzes, paintings, or printed works attributed to this giant of American Western art, that tiny spelling nuance is a useful starting signal. This guide focuses on how Remington’s work is encountered in the market, what details matter for appraisals, how to separate lifetime casts from later recasts, and how to safeguard both value and authenticity.

Remington (1861–1909) began as an illustrator for leading periodicals before becoming a celebrated painter and sculptor of frontier subjects—cowboys, cavalry, Native American horsemen, and the grueling realities of the West. His sculptures defined the American bronze tradition: dynamic, anatomically acute, and technically adventurous. For appraisers and collectors, his legacy is both rich and complicated: multiple foundries, open editions during his lifetime, estate-authorized posthumous casts, and an abundance of later aftercasts and outright fakes.

Below you’ll find a structured, appraisal-oriented overview with practical cues, valuation drivers, and conservation pointers.

The Market at a Glance: Sculpture, Paintings, and Works on Paper

• Sculpture (bronze): The most frequently traded category. Early casts—especially lifetime bronzes—command a significant premium. Desirability pegs to iconic models such as The Broncho Buster (modeled 1895), The Wounded Bunkie (1896), The Cheyenne (1901), Coming Through the Rye (1902), The Mountain Man (1903), and The Rattlesnake (modeled early 1900s). Pre-1910 casts with strong provenance and intact patina can reach high six to seven figures. Early posthumous estate casts (through the 1910s) remain valuable, while later, unauthorized aftercasts drop steeply in value.

• Paintings and oils: Scarcer in the market relative to bronzes and highly contested. Major oils often achieve multimillion-dollar prices. Condition, subject (high-action scenes command more), date, and publication history (e.g., relationships to magazine commissions) drive value.

• Works on paper (drawings, watercolors, and period illustrations): Values vary widely. Original drawings and watercolors are sought-after, especially with direct ties to published works. Period photogravures and collotypes produced in Remington’s lifetime (or shortly thereafter) have modest, collectible value when properly identified. Later reproductions and giclées are common and generally low-value.

For all categories, provenance and documentation are decisive. The most convincing chains include early sales receipts, period foundry invoices, pre-war exhibition labels, and references in catalogues raisonnés or museum files.

Authenticating Remington Bronzes: Foundry, Methods, and Marks

Remington’s bronzes were not numbered editions; they were produced as open editions during his lifetime, then as authorized estate casts for a limited period after his death. Foundry and casting method are central to attribution and value.

Key foundries and timelines:

• Henry-Bonnard Bronze Company, New York (mid-1890s to ca. 1900): Early casts of several models. Typically sand-cast. Often heavier, with visible core plugs and subtle parting lines. Foundry mark variations may include “HENRY-BONNARD BRONZE CO.” and “NEW YORK.”
• Roman Bronze Works, New York (from 1900 onward): Remington moved to this foundry, which specialized in lost-wax (cire perdue) casting. Lost-wax allowed sharper detail, deeper undercuts, and generally crisper anatomy. Marks often read “ROMAN BRONZE WORKS N.Y.”

Signatures and inscriptions:

• Signature: “Frederic Remington” (no “k”), usually incised in the model. Signature placement and style vary by model; compare with known examples to avoid spurious, mechanically engraved signatures.
• Copyright and dates: Many models include a copyright date (e.g., © 1895 for The Broncho Buster). Date and symbol execution should look integral to the casting, not later-scratched or uneven.
• Foundry marks: Expect correct font, placement, and method (cast-in vs. chiseled). Misplaced, misspelled, or anachronistic marks are red flags.

What lifetime and early estate casts look like:

• Detail: Crisp reins, bridles, spurs, stirrups, and horse anatomy. Undercuts should read cleanly. Ruddy over-chasing or mushy transitions can signal later recasts.
• Patina: Hand-applied patinas in nuanced browns, greens, and auburns—often variegated. Uniform, thick, or glossy “chocolate” coatings suggest modern finishing. Artificial abrasion to mimic age is common; look for implausible wear patterns in protected recesses.
• Bases and cast construction: Expect consistent modeling of the base surface and edges; misaligned or over-smooth edges may betray a mold of a later-generation cast.

Common models and quick notes:

• The Broncho Buster (1895): Perhaps the most copied sculpture in American art. Lifetime examples exist from both foundries; Henry-Bonnard versions will often be sand-cast with telltale characteristics, while Roman Bronze Works examples show lost-wax finesse.
• The Wounded Bunkie (1896): Complex two-figure equestrian composition; pay close attention to bridle detail and rein terminations.
• The Cheyenne (1901): The rider’s forward-leaning posture and streaming mane/tail require clean undercuts; mushy casts lose the sense of speed.
• Coming Through the Rye (1902): Four riders abreast; later aftercasts are often coarser in facial detail and rein articulation.
• The Mountain Man (1903): Dynamic descent pose; examine the fur texture, saddle rigging, and horse musculature.
• The Rattlesnake: Look for tension in the coil and rider’s posture; modern aftercasts often soften the directional energy.

A word on posthumous casts:

• After Remington’s death in 1909, the estate authorized Roman Bronze Works to continue casting for a finite period (1910s). These “early estate” casts can be excellent and collectible. Casting after estate authorization ended is considered an aftercast (reproduction) and carries markedly lower value, even if it bears a foundry mark. Documentation is crucial.

Prints, Illustrations, and Paintings: Sorting Originals from Reproductions

Remington’s reputation was forged in print as much as in bronze. Distinguish these categories carefully:

Original drawings and watercolors:

• Materials: Look for period papers (laid or wove) consistent with late 19th–early 20th century. Media include graphite, ink, watercolor, and gouache.
• Signs of publication use: Editorial annotations, printer’s marks, or verso stamps can enhance provenance.
• Signatures: Pencil or ink signatures vary; cross-check style and placement against authenticated examples.

Paintings (oils):

• Support and ground: Period canvas or panel, with appropriate stretcher construction and aging. Fluorescence under UV should be consistent with natural varnish aging and expected retouches, not blanket modern overpaint.
• Provenance: Published exhibition histories, early gallery labels, and period photographs can corroborate.

Photogravures, collotypes, halftones, and later reproductions:

• Photogravure/collotype (period fine prints): Continuous tone, rich blacks, and sometimes a plate mark. Often published in limited runs around the turn of the century. May include printed signatures or titles; a hand signature is uncommon and must be scrutinized.
• Halftone (magazine) prints: Visible dot matrix under magnification. These are mass-produced and typically have minimal value unless tied to a complete, collectible periodical.
• Later lithographic or giclée reproductions: Even tonal fields, modern papers, and uniform inks. Market value is decorative unless a reputable publisher’s limited edition with proper documentation.

Beware the “signed print” trap:

• Many reproductions bear a plate signature (“Frederic Remington” printed in the image). This is not a hand signature. A genuine hand signature should be in graphite or ink on the margin, with appropriate age, pressure, and patina, and ideally accompanied by irrefutable provenance.

Condition, Conservation, and Red Flags

Bronze:

• Acceptable wear: Softened high points consistent with handling, subtle wax sheen, minor rubbing on the most exposed edges.
• Problems: Active bronze disease (powdery, light green chloride corrosion), harsh chemical cleaning, miscolored modern over-patination, fractures at legs or reins, mismatched base screws. Numerous “cold repairs” with fillers or solder are serious condition issues.
• Care: Dust with a soft brush; wax lightly with high-quality microcrystalline wax when necessary; avoid ammonia, acids, and abrasive polishes. Maintain stable humidity to reduce corrosion risk.

Paintings and works on paper:

• Avoid direct sunlight, large humidity swings, and non-archival mats. For oils, discolored varnish or extensive retouching affects value; for works on paper, staining, mat burn, and foxing matter.
• Reversibility: Professional conservation should prioritize minimally invasive, reversible treatments, documented in a condition report.

Red flags across categories:

• Incongruent marks: Incorrect foundry fonts, misspellings, or mark placements.
• Overly convenient provenance: Newly minted “estate certificates” or unverifiable dealer letters.
• Too-good-to-be-true patina: Uniform chocolate coating hiding surface softness.
• Scale anomalies: Later aftercasts sometimes shrink or expand subtly; check known dimensions for the model.
• Price parity: A “bargain” Broncho Buster is rarely a lifetime cast; pricing often signals authenticity.

Research Tools and Appraisal Pathways

• Compare against authoritative references: Catalogue raisonnés, museum exemplars, and reputable scholarly publications. Photographic comparisons of signatures, foundry marks, and model details are indispensable.
• Foundry records and archival notes: Surviving ledgers and period invoices, when available, are strong evidence.
• Expert consultation: For high-value works, obtain opinions from specialists in Western American art and recognized Remington scholars. A written report with images and condition analysis is standard.
• Technical examination: Magnification, X-radiography (for casting features and repairs), UV fluorescence for paintings, and material analysis (e.g., alloy composition in bronzes) can provide decisive evidence.

Practical Inspection Checklist

• Verify the name: Does the work bear “Frederic Remington” (no k) in a manner consistent with the medium and model?
• Foundry and period:
  • Bronze only: Is the foundry mark correct for the claimed date (Henry-Bonnard vs. Roman Bronze Works)?
  • Casting method cues: Sand-cast traits for early Henry-Bonnard; lost-wax detail for Roman Bronze Works.
• Model identification:
  • Confirm the title and model against known Remington compositions. Does the anatomy, action, and base configuration match?
• Measurements:
  • Check against known dimensions for the model; beware of scale discrepancies in aftercasts.
• Patina and surface:
  • Look for nuanced, hand-applied patina; avoid overly uniform finishes.
  • Note repairs, replaced reins, or filled fractures.
• Documentation:
  • Gather bills of sale, exhibition labels, period photos, foundry invoices, or references in catalogues raisonnés.
• Comparative analysis:
  • Align signatures, copyright marks, and foundry stamps with documented exemplars.
• Condition and care:
  • For bronze: Watch for active corrosion; for works on paper: assess staining and mat burn; for oils: evaluate varnish and overpaint.
• Appraisal next steps:
  • For significant finds, commission a written appraisal from a specialist and consider technical imaging for bronzes or paintings.

Frequently Asked Questions

Q: Did Remington ever sign “Frederick” with a “k”? A: The artist signed “Frederic Remington.” Listings and dealer tags often use “Frederick” for search purposes, but on the object, the authentic incised signature should read “Frederic.”

Q: Are Remington bronzes numbered editions? A: No. They were produced in open editions during his lifetime, then in limited estate-authorized runs after 1909. You should not expect edition numbers. Foundry marks, signatures, and period-correct casting traits matter more.

Q: How do I tell a lifetime cast from a later aftercast? A: Start with foundry, casting quality, and patina. Early casts show crisp detail and compelling patina, with correct foundry marks for the model/date. Posthumous estate casts can still be excellent and collectible; later aftercasts often have softer detail, suspect markings, and uniform finish. Provenance and expert comparison are key.

Q: What’s the most faked Remington sculpture? A: The Broncho Buster is the most widely reproduced and faked. Treat all examples with caution: confirm foundry marks, compare signatures, inspect detail sharpness, and verify dimensions.

Q: Can I clean a Remington bronze with metal polish? A: Do not. Abrasives and chemical polishes strip patina and destroy value. Use a soft brush and, if needed, a light application of microcrystalline wax. Complex cleaning or stabilization should be done by a conservator.

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Whether you’re evaluating a dynamic Roman Bronze Works cast of The Cheyenne or a period photogravure after a published illustration, Remington rewards careful, evidence-driven appraisal. Anchor your assessment in foundry facts, surface scrutiny, and documentation. With discipline and the right comparisons, you can separate blue-chip Western masterpieces from the vast field of imitations.