Heavy Metal

Collectorʼs Focus: Western Sculpture

By Michael Clawson and Alyssa M. Tidwell

Watch almost any movie or episode of TV and there is a strong likelihood you’ll see a Broncho Buster pop up for a brief cameo. Displayed on a sheriff’s desk. On a coffee table in a Montana lodge. Tucked into a corner on a bookshelf. Behind the president on every Oval Office set ever constructed from basically the 1960s onward. Obviously, Western settings are more prone to include Frederic Remington’s first and most famous bronze, but it will pop up almost anywhere, from California to New York, Washington to Florida, Steven Spielberg to Quentin Tarantino. It’s as if every director is given a Broncho Buster before each shoot. “Find a place to put it,” the director barks at the set dresser.

We often joke that we’re running way too many Broncho Busters in the magazine, but they are essential pieces to many exhibitions and auctions. In fact, in this very issue, a rare second casting of Broncho Buster is available at the Coeur d’Alene Art Auction. Any set dressers reading the magazine are probably twitching.

Alexander Phimister Proctor (1862-1950), Indian Warrior, bronze, 39¼ x 31½ x 10 in.

But why is this iconic work so ubiquitous in film and television? Because Western bronze—especially that Western bronze—has become shorthand for larger ideas. Any room with a Western bronze in it can mean several things: First and most obvious, these works signify the American West, be it Wyoming and Montana or Arizona and Texas. Second, these pieces indicate authority and power, which is why it’s been consistently part of the real Oval Office in the White House since the John F. Kennedy presidency. And third, these images speak to American values, history and traditions. These depictions of riders on horseback represent our enduring freedom, our fearless resolve and grit, and our eagerness to explore and discover.

President Gerald Ford at work in the Oval Office, January 27, 1976. Frederic Remington’s Broncho Buster is on a table on the left. Courtesy Gerald R. Ford Presidential Library from White House Photographic Collection.

“Bronzes of the West are America’s most unique form of sculpture. As no other land shares the same frontier heritage, no other land could produce a sculpture which breathes the spirit and tells the story of the American West. This art is not a naïve art, and these bronzes are not primitive efforts which charm or delight with their childlike simplicity. They are neither academic copies of the heroic statuary of ancient Greece or Rome, nor are they imitations of the flamboyant works of the Renaissance or the Baroque,” writes Patricia Janis Broder in Bronzes of the American West. “These bronzes are dramatic representations of the Western migration and settlement, creative expressions of America’s natural, cultural and spiritual heritage.”

As you add to your collection, consider acquiring bronzes. Not only will they add some dimension to your collection, they will also speak to who you are and where you want to go.

Cyrus Dallin (1861-1944), Appeal to the Great Spirit, bronze, 21½ in.

“A discerning wildlife art collector should first study anatomical accuracy,” says Buddy Le, owner of Coeur d’Alene Galleries. “The finest bronze sculptures capture not only movement but the true musculature, balance and spirit of the animal. Collectors should also pay close attention to edition totals. Smaller editions create greater rarity, helping preserve long-term desirability and value, while oversized editions can dilute exclusivity. Exceptional bronzes also master positive and negative space; the silhouette, openings and surrounding air are as important as the sculpture itself. Finally, bronze wildlife sculptures bring depth and dimension to a collection, beautifully complementing paintings by adding texture, shadow and a dynamic three-dimensional presence that enriches the entire collecting experience.”

Top: Cassens Fine Art, Two of a Kind, bronze, ed. 3 of 21, 16 x 30 x 8 in., by Mike Barlow. Bottom: Coeur d’Alene Galleries, One Minute Mile, bronze, ed. of 21, 15 x 73 x 11 in., by Mike Barlow.

Western sculpture has long been an important part of American art, documenting the people, history and experiences that shaped the West—and it’s a huge part of Legacy Gallery’s inventory. Early artists like Frederic Remington and Charles M. Russell helped establish sculpture as a lasting record of frontier life, creating works that continue to influence the genre today. Contemporary sculptors such as Buck McCain, John Coleman, Greg Woodard and Scott Rogers carry that tradition forward, exploring Native culture, wildlife and Western life through form and craftsmanship. “Sculpture offers something distinct within Western art because it allows viewers to experience these subjects in a physical, dimensional way. These works serve not only as fine art, but also as historical and cultural records,” the gallery notes. “As Western art continues to evolve, sculpture remains central to preserving its stories, honoring its heritage and connecting collectors to the broader narrative of the American West.”

Clockwise from left: Legacy Gallery, Wedding at Crow Fair, bronze, ed. of 20, 31 x 14½ x 11 in., by John Coleman. Legacy Gallery, Off the Mogollon Rim, bronze, ed. of 30, 18½ x 36 x 6 in., by Scott Rogers. Legacy Gallery, Monarch, bronze, ed. of 9, 26 x 36 x 11 in., by Buck McCain.

Cassens Fine Art in Hamilton, Montana, has represented Mike Barlow since 2019. The artist’s relationship with wild animals began before he could read. Growing up in the Bighorn Mountains, he spent his early years modeling in clay the creatures he saw in his father’s art books on African wildlife. He came to sculpture through photography, spending a decade as one of the most published wildlife photographers of his era and years guiding expeditions on two continents. That time in the field consisted of tracking lions in Africa, photographing pronghorn in Yellowstone and watching elk winter in the Absarokas. These adventures became the foundation for everything that followed. In 2000, he made the full transition to bronze, and his work found its way into collections worldwide, including the Montana governor’s office, the U.S. Department of State and more. His sculptures have been featured on the set of Paramount’s Yellowstone and selected for the Coeur d’Alene Art Auction, The Russell and the Jackson Hole Art Auction.

Margaret Drake, Wagon Deep Mules Steady, bronze, 15 x 40 x 18 in.

Coeur d’Alene Galleries, Brown Trout - Yellowstone River, bronze, ed. of 21, 13 x 12 x 7 in., by Mike Barlow.

“Unlike most things we buy, great art does not diminish. It does not wear out, go out of style or lose meaning. If anything, it deepens. The piece you buy today may mean something entirely different to you in 20 years, and that is the beauty of fine art,” says Michelle Cassens, owner of Cassens Fine Art.

Top: Coeur d’Alene Galleries, Prime Time, bronze, ed. of 21, 17 x 55 x 9 in., by Mike Barlow. Bottom: Cassens Fine Art, Bad to the Bone II, bronze, ed. 3 of 10, 34 x 18 x 15 in., by Mike Barlow. Margaret Drake, Descent, bronze, 23 x 36 x 18 in.

Growing up in northwestern Colorado—where daily life was closely connected to animals and the land—shaped artist Margaret Drake’s sensitivity to movement, structure and form. Years of observation and hands-on experience fostered a deep understanding of anatomy and an enduring respect for balance, strength and grace across species. Her work explores the expressive character of the animal form, using motion and weight to convey presence, energy and quiet power.

Cassens Fine Art, Mt. Lion, bronze, ed. 5 of 35, 3 x 8 x 3 in., by Mike Barlow.

“I aim to create sculptures that feel both accurate and alive, inviting close viewing and offering something new to discover over time. I work primarily in bronze for its permanence and expressive depth, remaining closely involved from modeling through casting and finishing. Each piece is created with intention and longevity in mind, allowing it to translate beautifully across scale and edition while maintaining its integrity as a finished work,” she says. “If a piece draws you in, if it truly speaks to you, bring it home. Art that moves you will continue to reveal itself over the years, and you’ll never tire of living with it.” —