.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Lot Essay
Modeled in 1908 and cast by 1913, the present cast is number 34 of Frederic Remington’s larger sized version of The Rattlesnake. Eleven castings were produced of the smaller, approximately 21-inch model before the artist enlarged the sculpture in 1908. The two sizes were cast in an uninterrupted sequence, making cast number 12 the first of the larger scale. Approximately the first twenty were produced during the artist’s lifetime.
Because of The Rattlesnake’s popularity, approximately 100 casts were produced in total, and it was also later recast by authority of the Remington Art Memorial. Michael Greenbaum notes that "the rearing bronc and rider, posed masterfully in a spiraling sweep of motion, became one of Remington's most popular works. The artist's 'marvelous knowledge of anatomy, action and expression' were strikingly infused in the bronze's unfolding drama. Shortly after it was completed, Collier's further called it 'the work of a master's hand.'" (Icons of the West: Frederic Remington's Sculpture, Ogdensburg, New York, 1996, p. 123)
The artist felt this larger reworking was a significant improvement over the earlier model of 1905, as he also enhanced the sculpture’s drama with more pronounced curves accommodating the unbridled movement of the startled horse. In keeping with his earlier subjects that captured critical moments of action, such as The Broncho Buster and The Mountain Man, the high drama of The Rattlesnake further mythologized the West by conveying an exhilarating sense of danger synonymous with the ‘Wild West.’ Peter Hassrick writes, "The Rattlesnake (sometimes referred to as The Snake in the Path) is Remington’s most graceful, sculptural rendition of the bucking horse in motion. The powerful thrust of the frightened horse and the desperate counterbalancing of the rider are expressed with a vigorous sweep and flow that make this bronze both eloquent and powerful. All movement and attention focus on a central point. All lines within the swirling configuration are directed toward one thing, the inconspicuous but deadly rattler in the foreground." (Frederic Remington: Paintings, Drawings, and Sculpture in the Amon Carter Museum and The Sid W. Richardson Foundation Collections, New York, 1973, p. 200)
Because of The Rattlesnake’s popularity, approximately 100 casts were produced in total, and it was also later recast by authority of the Remington Art Memorial. Michael Greenbaum notes that "the rearing bronc and rider, posed masterfully in a spiraling sweep of motion, became one of Remington's most popular works. The artist's 'marvelous knowledge of anatomy, action and expression' were strikingly infused in the bronze's unfolding drama. Shortly after it was completed, Collier's further called it 'the work of a master's hand.'" (Icons of the West: Frederic Remington's Sculpture, Ogdensburg, New York, 1996, p. 123)
The artist felt this larger reworking was a significant improvement over the earlier model of 1905, as he also enhanced the sculpture’s drama with more pronounced curves accommodating the unbridled movement of the startled horse. In keeping with his earlier subjects that captured critical moments of action, such as The Broncho Buster and The Mountain Man, the high drama of The Rattlesnake further mythologized the West by conveying an exhilarating sense of danger synonymous with the ‘Wild West.’ Peter Hassrick writes, "The Rattlesnake (sometimes referred to as The Snake in the Path) is Remington’s most graceful, sculptural rendition of the bucking horse in motion. The powerful thrust of the frightened horse and the desperate counterbalancing of the rider are expressed with a vigorous sweep and flow that make this bronze both eloquent and powerful. All movement and attention focus on a central point. All lines within the swirling configuration are directed toward one thing, the inconspicuous but deadly rattler in the foreground." (Frederic Remington: Paintings, Drawings, and Sculpture in the Amon Carter Museum and The Sid W. Richardson Foundation Collections, New York, 1973, p. 200)