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The West in Bronze: Analyzing the Market and Networks of Western American Bronze Sculptures, 1895 – 2019

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The West in Bronze: Analyzing the Market and Networks of Western American Bronze Sculptures, 1895 – 2019 THE WEST IN BRONZE: ANALYZING THE MARKET AND NETWORKS OF WESTERN AMERICAN BRONZE SCULPTURES, 1895 – 2019 A Thesis Submitted to the Faculty of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Master of Arts In Interdisciplinary Studies University of Regina By Kylie Rae Dahlstrom Regina, Saskatchewan May 2020 Copyright 2020, Kylie Rae Dahlstrom UNIVERSITY OF REGINA FACULTY OF GRADUATE STUDIES AND RESEARCH SUPERVISORY AND EXAMINING COMMITTEE Kylie Rae Dahlstrom, candidate for the degree of Master of Arts in Interdisciplinary Studies, has presented a thesis titled, The West in Bronze: Analyzing the Market and Networks of Western American Bronze Sculptures, 1895-2019, in an oral examination held on April 13, 2020. The following committee members have found the thesis acceptable in form and content, and that the candidate demonstrated satisfactory knowledge of the subject material. External Examiner: *Dr. Mark C. Anderson, Carleton University Supervisor: *Dr. Francesco Freddolini, Department of Visual Arts Committee Member: *Dr. Christine Ramsay, Department of Film Committee Member: *Dr. Megan Smith, Department of Visual Arts Chair of Defense: *Dr. Troni Grande, Department of English *via ZOOM Conferencing ABSTRACT This thesis examines the market growth of Western American bronze sculpture over the course of 124 years (1895-2019), from Frederic Remington’s Bronco Buster until now. The genre of Western American art is a highly marginalized genre that has received limited study, and the market analysis even less so. The research for this thesis was primarily conducted through the use of digital methodologies falling under the realm of the digital humanities and, in particular, digital art history. Such methodological approach, particularly productive for art market studies, brings to the fore quantitative data in relation to artist’s sales, dealer’s activities, auctions, and collectors’ interests that enable us to pose new questions in relation to the production of Western American sculpture throughout a large chronological span. Analysis of this data proves that although the work has a racist and nationalistic past, it is changing towards more inclusive iconographies, and the market networks are still growing and show no signs of slowing down. 2 ACKNOWLEDGEMENTS I would like to express my sincere gratitude to my supervisor, Dr. Francesco Freddolini who guided me throughout this project. Thank you to my committee members Dr. Christine Ramsay and Dr. Megan Smith for your assistance and support throughout the final and crucial stages of my research, and to Dr. Mark Anderson who took the time to assist as my external examiner. Thank you to the staff at the Glenbow Museum in Calgary Alberta for allowing me access to their private collection and archives, and to Dr. Ian Johnson and his team at the University of Sydney for making the use of the Heurist Database possible. I would also like to thank Dr. Rae Staseson and Dr. Kathleen Irwin who provided additional support in the initial stages of my research. Finally, thank you to my family who provided immense support and encouragement to me throughout my life and academic career. Without your support and guidance, this thesis would not have been possible. 3 Table of Contents Abstract…....................................................................................................................................2 Acknowledgements……………………………………………………………………………..3 Table of Contents.........................................................................................................................4 List of Figures..............................................................................................................................5 CHAPTER 1: Introduction..........................................................................................................7 1.1 Literature Review……..........................................................................................................22 CHAPTER 2: Digital Methodologies.........................................................................................26 2.1 Developing the Database......................................................................................................31 CHAPTER 3: Reading the Market for Western Bronze.............................................................46 3.1 Auctions, Value & the Collector….......................................................................................54 3.2 The Calgary Stampede …………………………………………………………………….64 3.3 Publications, the Web & Social Media…………………………………………………….66 CHAPTER 4: Iconographies…………………….…..................................................................69 4.1 Wildlife ………….................................................................................................................70 4.2 Cowboys and Rodeo ……….................................................................................................71 4.3 Indigenous……...…………………………………………………………………………...75 4.4 Western Lifestyle…………………………………………………………………………...79 4.5 Domestic Animals…………………………………………………………………………..80 CHAPTER 5: Conclusion…………………………………………………..…………………..82 BIBLIOGRAPHY……………………………………………………………..………………..84 4 LIST OF FIGURES Figure 1 Frederic Remington, The Bronco Buster, 1895, Bronze, 32.5” (Glenbow Museum, Calgary, AB.) Figure 2 Charlie Russell, Assiniboine Warrior, 1913 plaster model (cast in 1970 by Montana Historical Society), Bronze, 11” (Glenbow Museum, Calgary, AB.) Figure 3 Frederic Remington, The Mountain Man, 1904, Bronze, 28” (Glenbow Museum, Calgary, AB.) Figure 4 Veryl Goodnight, Back from the Brink, 2000, Bronze, 24” (Medicine Man Gallery, Phoenix, AZ. Photo by Veryl Goodnight, Mancos, CO.) Figure 5 Creation of Heurist database. Figure 6 Heurist database dashboard. Figure 7 Heurist record types and fields. Figure 8 Heurist record vocabulary. Figure 9 Adding a record in Heurist. Figure 10 Filtering database records. Figure 11 Network graph in Heurist. Figure 12 Gephi import. Figure 13 Gephi show labels. Figure 14 Gephi force atlas. Figure 15 Gephi size and color adjustments. Figure 16 Attraction strength in Gephi. Figure 17 Gephi statistics panel. Figure 18 Gephi graph degree range filter. Figure 19 Gephi graph color adjustments. Figure 20 Gephi show network Joe Beeler. 5 Figure 21 Gephi show network Veryl Goodnight. Figure 22 Google my maps Artists/Organizations Figure 23 Heurist iconography pricing table. Figure 24 Google my maps organizations (1895-1945) Figure 25 Google my maps organizations (1945-1980) Figure 26 Google my maps organizations (1980-2000) Figure 27 Google my maps organizations (2000-2019) Figure 28 Charlie Russell, The Medicine Man, 1920, Bronze, 7” (Glenbow Museum, Calgary, AB.) Figure 29 Frederic Remington, The Scalp, 1898, Bronze, 26.5” (Glenbow Museum, Calgary, AB.) Figure 30 Top auction house record sales table. Figure 31 Table showing artists whose pieces have sold at top auctions. Figure 32 Table showing prices of the pieces sold featuring cowboy iconographies. Figure 33 Dealer graph in Gephi (Altermann Galleries). Figure 34 Artist connection graph in Gephi. Figure 35 Scott Rogers, Rescue, 2003, Bronze, 27” (Sold to Private Collector, Photo by J. Levine Auctions, Phoenix, AZ.) Figure 36 Richard Loffler, Buffalo Trail, 2012, Bronze, 65” (Private Collector, Photo by Richard Loffler, Regina, SK.) Figure 37 Richard Loffler, Outlaw, 2009, Bronze, 33” (Private Collector, Regina, SK.) Figure 38 Charlie Russell, Counting Coup, 1905, Bronze, 16” (Amon Carter Museum of American Art, Fort Worth, TX. Photo by Museum) Figure 39 Doug Hyde, Candlelight Vigil, Bronze, 13” (Broadmoor Galleries, Colorado Springs, CO.) Figure 40 Veryl Goodnight, No Turning Back, 1994, Bronze, 16” (Sold to Private Collector, Photo by Veryl Goodnight, Mancos, CO.) 6 CHAPTER 1: INTRODUCTION There has been a limited research focus in art history on the art of the American West. A majority of research on the genre is limited to issues of style and iconography, failing to uncover what sets it apart from more popular genres.1 This situation stems from connections among a distinct audience who have always respected the work for being representational and figurative not succumbing to trends set by what is popular in the overall art market.2 Western American art has a place within the North American art market due to its appeal to collectors not interested in mainstream art consumption. Moreover, Western American art not only helps to increase interest in art collection but helps feed the artistic economy in both Canada and the United States. Figure 1. Frederic Remington, The Bronco Buster, 1895, Bronze, 32.5” Glenbow Museum, Calgary, AB. 1 Brian Dippie, “Drawn to the West,” Western Historical Quarterly, 35: 1 (2004) 4-26; Dippie, “One West, One Myth: Transborder Continuity in Western Art,” American Review of Canadian Studies, 33: 4 (2003) 509-541; Dippie, “Western Art Don’t Get No Respect: A Fifty-Year Perspective,”Montana: The Magazine of Western History, 51:4 (2001) 68-71. 2 Brian Dippie, Conversation at Calgary Stampede Western Showcase, July 4, 2019; Laura Meyers, “Cowboy Art Corrals Collectors,” Art Business News, February, 2003; Peter H. Hasserick, “Where’s the Art in Western Art?” Ed, Peter H. Hasserick, Redrawing Boundaries: Perspectives on Western American Art (Denver: The Institute of Western American Art, 2007) 9. 7 To explore Western American art’s importance to the Canadian and American art market, the first research task for this
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