Coming Through the Rye
1902, cast ca. 1916
Cast by Roman Bronze Works
30 7/8 x 29 3/4 x 28 1/4 in.
No. 12 of an estimated 15 authorized casts, the first 8 of which were numbered lifetime casts. An additional two unnumbered prototypes were produced in the artist's lifetime. [estate cast]
On the base: Copyright by. \ Frederic Remington
Plaque adhered to side of the base: PRESENTED TO MR. A. BARTON HEPBURN \ BY THE OFFICERS OF THE CHASE NATIONAL BANK OF THE CITY OF NEW YORK \ AS A TOKEN OF THEIR ADMIRATION AND AFFECTION FOR A PERSONAL FRIEND, A PROFOUND SCHOLAR, AND A BRILLIANT BANKER \ ALBERT H. WIGGIN GERHARD M DAHL WILLIAM E. PURDY M. HADDEN HOWELL \ EUGENE V. R. THAYER ALFRED C. ANDREWS CHARLES D. SMITH S. FREDERICK TELLEEN \ SAMUEL H. MILLER CHARLES C. SLADE WILLIAM P. HOLLY ROBERT I. BARR \ EDWARD H. TINKER EDWIN A. LEE GEORGE H. SAYLOR SEWALL S. SHAW \ CARL J. SMIDLAPP LEON H. JOHNSTON \ JANUARY 1, 1918
Inside the base, inscribed: N[o] 12
On the side of the base: ROMAN BRONZE WORKS N- Y-
Amon G. Carter Collection
Amon Carter Museum of American Art, Fort Worth, Texas, Amon G. Carter Collection
In March 1902, Remington wrote Riccardo Bertelli, the head of the Roman Bronze Works foundry in New York City, explaining that he was hard at work on a sculpture that portrayed four rambunctious cowboys on their mounts as they galloped along, shooting off their pistols. The composition was derived from an 1888 illustration that he prepared for an article written by future president Theodore Roosevelt, and it proved one of Remington’s most technically accomplished creations. The artist wanted as many of the horses’ hooves lifted into the air as possible—in the finished version, only six of the 16 legs touch the ground—and it took the artist and the foundry nearly seven weeks to devise a workable design. Despite the complexity and ingenuity of the cast, sales were disappointing. Coming Through the Rye was bulky, heavy, and expensive, and fewer than 10 were made in Remington’s lifetime. This is a posthumous cast, authorized by the artist’s widow.
—Text taken from the Carter Handbook (2023)