Ca. 1892

Remington holding his horse “Beauty” in front of the stable at Endion, New Rochelle, New York.

Ca. 1892

Remington in a western hat on horseback at Endion, New Rochelle, New York.

Ca. 1892

William Frederick “Buffalo Bill” Cody on horseback at his Wild West Show.

Ca. 1892

Remington lifting up the foreleg of “Beauty,” at the stable at Endion, his home in New Rochelle, New York.

Ca. 1892

Remington galloping on his horse “Beauty” near the stable at Endion, New Rochelle, New York.

Ca. 1892

Remington posing his horse “Beauty” in front of the stable at Endion, his home in New Rochelle, New York.

Ca. 1892

Remington riding his horse “Beauty” on the grounds of Endion, his home in New Rochelle, New York.


Russell works a stock train headed for Chicago, prodding cattle and making sure they don’t lay down or trample each other, in order to attend the World’s Columbian Exposition.


Remington has an exhibition at the American Art Association. On January 24 he writes Powhatan Clarke: “I made $7300 at my sale. It was a rather good sale—a decided art triumph as people and the papers say and will in its ramifications be of benefit to me. I have since many orders.” Of one hundred of his works; ninety-six pieces are sold for the total, an amount equal to the entire proceeds from the spring exhibition at the National Academy.

Exhibits at World’s Columbian Exposition in Chicago. Herbert Bancroft’s The Book of the Fair briefly discusses Russell’s paintings in the World Columbian Exposition.

William Niedringhaus, a St. Louis entrepreneur who runs a hardware business in Missouri and ranches in Montana, commissions at least fifteen paintings, mostly watercolors of American Russell Indian Subjects, which takes Russell several years to complete. These paintings are now part of the Amon Carter Museum collection.


Remington travels to Mexico for Harper’s to write and illustrate articles on ranching in northern Mexico. The destination is a remote ranch 225 miles north of Chihuahua named Bavicora, where he spends four weeks sketching and making notes. Returning north to Albuquerque, where Eva joins him; they travel to California; Remington sketches horses at the Putnam ranch near San Diego.


Russell moves to Cascade, where he lives on and off for two years.

July 21

Remington’s close friend Lieutenant Powhatan Clarke accidentally drowns at Fort Custer while exercising horses in a nearby stream.


Remington meets the writer Owen Wister on September 8 at Norris Basin in Yellowstone. They take a train east to St. Paul, talking about future collaborations; Remington travels to Chicago to visit the World’s Columbian Exposition, where fifteen of his illustrations are exhibited in the Liberal Arts Building.


Leaves the range to pursue full-time career as an artist.


Remington travels west to Fort Wingate, New Mexico, to go on a grizzly bear hunt with General Nelson A. Miles, General Hugh Scott, Colonel Leonard Wood, and others.


Russell sets up a temporary studio in the Brunswick Saloon in Great Falls, then leaves for Cascade and sets up a studio in an unused courtroom.

Ca. 1893

Action photo of a soldier riding his horse at a gallop towards the camera; taken at Endion, Remington’s home in New Rochelle, New York.


Vaqueros breaking a horse at Bavicora Ranch, Chihuahua, Mexico.

Ca. 1893

Main Street, Chihuahua, Mexico.


Russell provides seven watercolors as illustrations for How the Buffalo Lost His Crown, by John Beacom.

In addition to participating in other exhibitions, Remington exhibits a selection of drawings at the Union League Club in New York.

Remington and the writer Poultney Bigelow travel to North Africa on a commission from Harper’s to do articles on the French military posts in Algeria.


Remington begins working with Owen Wister, illustrating the latter’s stories on the American West; seven of Wister’s stories are published in Harper’s Weekly in 1894.


Remington travels to Chicago at the request of General Nelson A. Miles to write and illustrate an article about the Pullman Strike then underway.

Late September

Nancy Cooper’s mother, Texas Annie Allen, dies in Helena; her estranged stepfather, James Thomas Allen, arrives in town and takes her half-sister, Ella Carrie Allen, away, leaving Nancy Cooper to fend for herself. Shortly after this, Nancy Cooper is sent to live with Ben and Lela Roberts in Cascade to help with meals, cleaning, and child care.


Remington travels west to New Mexico as a guest of General Miles.


Remington’s next-door neighbor, the playwright Augustus Thomas, visits the artist in his studio to observe him painting, and tells him he has “a sculptor’s degree of vision;” at this point Remington begins thinking of modeling a sculpture.


The sculptor Frederick Ruckstull visits Remington and encourages him to try sculpture; Ruckstull returns to New York and purchases sculptor’s tool. Remington joins him in the sculptor’s studio to learn the rudiments of constructing an armature and modeling in clay and wax.

Ca. 1894

Remington standing with a saddled horse, cyanotype.

Ca. 1894

Studio photo of Remington on horseback; cyanotype.


Remington and Eva travel to Punta Gorda, Florida, where he collects material for an article titled “Cracker Cowboys of Florida,” published in Harper’s Monthly in August.


Remington writes Wister “you ought to see the great model I am making,” and he writes Poultney Bigelow that he was “making a bronze which is to be one of the world’s treasures.”

March 14-25

Russell exhibits one oil painting (#261, titled Buffalo Hunt) and four watercolors (#s 352-355, titled simply Cow-boys and Indians) in the Historical Art Exhibition of Works by St. Louis Artists of the Last 50 Years, organized by the Palette, a St. Louis art union.


The sculptor Frederick Ruckstull erects a shed on Augustus Thomas’ property next door to Remington to create a large equestrian sculpture; Remington visits Ruckstull every day to watch him work on the statue.

June 18

Mary Mead Russell, Russell’s mother, dies in St. Louis; Russell may or may not have returned home to attend the funeral.


Remington’s first book, Pony Tracks, a collection of earlier articles, is published; Remington dedicates the book to “the fellows that rode the ponies that made the tracks.”


Remington finishes the work on his model of The Bronco Buster; he selects the Henry-Bonnard foundry in New York City to do the casting using the sand-cast process.


Owen Wister’s article, “The Evolution of the Cow-Puncher,” accompanied by five illustrations by Remington (including The Fall of the Cowboy, ACM) is published in Harper’s New Monthly; Remington gives Wister The Last Cavalier, one of the paintings made for the article; the masterpiece accompanying the article, however, is the painting titled The Fall of the Cowboy.


Russell meets Nancy Cooper (Mamie Mann) at Ben and Lela Roberts’ house in Cascade. She later recalled: “While he washed, I watched him as closely as possible without being observed. When he was drying his face, there seemed to be a chance to take a good look from boots up. By the time my eyes reached his head, he was drying one side of his face and peeking out of one corner of the towel at me. He laughed and I almost dropped the plate of fried ham.”

October 1

Remington copyrights the design for The Bronco Buster on his eleventh wedding anniversary and three days before his thirty-fourth birthday; it becomes the first sculpture of a cowboy in bronze.

October 19

The art critic Arthur Hoeber writes a glowing review of Remington’s The Bronco Buster in Harper’s Weekly; the writer William Dean Howells tells the artist that “you are such a wonder in every way that it would be no wonder if sculpture turned out to be one of your best holds.” The Century Magazine publishes an article on the bronze illustrated with photographs, and the work is praised by the New York Times.

November 19

Remington has his second exhibition and sale of 114 works at the American Art Galleries of the American Art Association; only ten are oil paintings in color, the rest black-and-white illustrations in various mediums, and the artist realizes $5,800.

November 20

Theodore Roosevelt writes Remington, “It seems to me that you in your line, and Wister in his, are doing the best work in America to-day.”

Ca. 1895

Remington posing on horseback in front of his barn at New Rochelle, New York.

Ca. 1895

Studio portrait of Remington’s friend, the writer Owen Wister.

Ca. 1895

Remington working on the clay model of his first bronze, The Broncho Buster.

Ca. 1895

Remington on horseback in Central Park, New York.

Ca. 1895

Remington on the steps of his home in New Rochelle, New York.