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Lot Essay
Born in New York City in 1861, Charles Schreyvogel first reached the West in 1893 when he visited the Ute Reservation in the Southwest region of Colorado. Following this trip, Schreyvogel resolved to authentically, and with painstaking historical accuracy, capture the dramatic relationship between Native Americans and United States officers and cavalrymen. Towards the end of his life Schryevogel was hailed as “the greatest living interpreter of the Old West.” (R. Stewart, The American West: Legendary Artists of the Frontier, New York, 1986, p. 77)
Schreyvogel’s strong rivalry with the great western artist Frederic Remington was a constant as the two captivated the nation with their depictions of the West. However, “unlike Remington, Schreyvogel never worked as an illustrator, seeking instead to establish his reputation as an academic artist.” (The American West: Legendary Artist of the Frontier, p. 77) The feud between the two artists became so extreme that Remington “immoderately and unfairly attacked a Schreyvogel canvas, Custer’s Demand, on grounds of historical accuracy. To Remington’s embarrassment, both Mrs. Custer and an eyewitness of the event depicted defended the painting.” (P. Hassrick, History of Western Art, New York, 1987, p. 113)
Schreyvogel’s artistic career was firmly established in 1900 when his iconic work, My Bunkie (The Metropolitan Museum of Art, New York), won a first place prize at the National Academy of Design. Also painted in 1900, Dispatch Bearers is infused with a strong sense of dynamic energy. As two cavalrymen charge directly towards the viewer, their horses in full gallop, one reaches to the aid of his wounded comrade. Meanwhile a third cavalryman can be seen in the background engaging with the Native American braves emerging in close pursuit. Having thoroughly researched the clothing and artillery, each element of the present work was carefully considered by the artist and rendered with precision. During his career, Schreyvogel produced less than one hundred major canvases, making Dispatch Bearers a rare and significant work.
Schreyvogel’s strong rivalry with the great western artist Frederic Remington was a constant as the two captivated the nation with their depictions of the West. However, “unlike Remington, Schreyvogel never worked as an illustrator, seeking instead to establish his reputation as an academic artist.” (The American West: Legendary Artist of the Frontier, p. 77) The feud between the two artists became so extreme that Remington “immoderately and unfairly attacked a Schreyvogel canvas, Custer’s Demand, on grounds of historical accuracy. To Remington’s embarrassment, both Mrs. Custer and an eyewitness of the event depicted defended the painting.” (P. Hassrick, History of Western Art, New York, 1987, p. 113)
Schreyvogel’s artistic career was firmly established in 1900 when his iconic work, My Bunkie (The Metropolitan Museum of Art, New York), won a first place prize at the National Academy of Design. Also painted in 1900, Dispatch Bearers is infused with a strong sense of dynamic energy. As two cavalrymen charge directly towards the viewer, their horses in full gallop, one reaches to the aid of his wounded comrade. Meanwhile a third cavalryman can be seen in the background engaging with the Native American braves emerging in close pursuit. Having thoroughly researched the clothing and artillery, each element of the present work was carefully considered by the artist and rendered with precision. During his career, Schreyvogel produced less than one hundred major canvases, making Dispatch Bearers a rare and significant work.