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a.p. proctor - equestrian warrior

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TasunkaWitko View Drop Down
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    Posted: 23 March 2004 at 05:36

 

A.P. Proctor, Equestrian Warrior, 1898, bronze, 38 ½” x 29” x 8”, excluding spear, Permanent Collection (Gift of Archie J. and Velma V. Miller)

 

COLLECTION PROFILE

 

April 2004

 

The Artist: Alexander Phimister Proctor

 

Alexander Phimister Proctor was born on September 27, 1860 in Bosanquet Township, Ontario. During his early childhood his family relocated to the United States, moving from Michigan to Iowa, then finally to Denver, Colorado where he grew to adulthood.

 

He knew early in life that he wanted to be an artist, and began taking lessons in 1873. As he grew older, he took every opportunity to study art and animals, whether at school, while hunting or simply hiking on the prairie. His tenacity paid off; as early as 1879 he was receiving commissions for his illustrations. Though his sketches and drawings showed great talent, Proctor decided in 1884 that he wanted to be a sculptor, and made every effort to learn everything he could about sculpture. To that end, he left Colorado for New York in order to continue his formal education in this genre. His first sculpture, Fawn, was completed in wax in the fall of 1887. His first bronze, titled Mule Deer, was modeled at the New York Zoo, and he received national recognition when a photograph of this bronze was published in Harpers Weekly.

 

Proctor’s incredible, almost photographic memory enabled him to utilize a method known as retaining an “action picture” in his mind. He would close his eyes, open them for a split-second, and then close them again. This capturing of an image was invaluable in developing his ability to freeze an object in time, which is, in essence, the very fundamental element of sculpture. It did not take long for Proctor to become a master at this technique.

 

As his talent grew, so did his fame. In 1891 he was commissioned to sculpt 35 life-sized wild animals for the World’s Colombian Exposition, scheduled to open in 1893. For many years after this, he studied in Paris, returning to the states as needed to engage in commissions. His credentials became complete when, in 1900, he won a gold medal at the Paris Exposition for the sculptures Stalking Panther and Indian Warrior. As his career progressed, he became known widely for his realistic animal sculptures as well as his life-sized equestrian monuments, and his work could be found in many major cities. The climax of his career was reached with a series of commissions from President Theodore Roosevelt, one of which was destined to embellish the State Dining Room. As his years progressed, Proctor was active in art and sculpture of wildlife, cowboys, soldiers and Indians on a prodigious level, pausing only during the Second World War due to a shortage of available metals. He died in Palo Alto, California in 1950 at the age of 89, leaving behind an incredible number of sculptures. His works grace many of the finest cities of the United States, from New York to Portland; Chicago to Denver.

 

Equestrian Statues

 

 

Legend has it that equestrian statues contain a convention whereby the rider's fate can be assumed by noting how many hooves the horse has raised. The most prevalent theory contends that if one hoof is raised, the rider was wounded in battle, possibly dying of those wounds later but not necessarily so; two raised hooves signifies death in battle; all four hooves on the ground indicates that the rider survived all battles unharmed.

There is, of course, much discourse on this subject. Some assert that it is factual, and that if an artist did not follow the code, then he was simply unaware of it. Others argue that it is sheer happenstance, and that there are enough statues which do not follow the rule to prove that the rule does not exist.

 

When looking at statues to try to determine the validity of this practice, one will encounter mixed results. For the most part, the code holds true in terms of Gettysburg equestrian statues, but there is at least one exception: James Longstreet wasn't wounded in this battle, yet his horse has one foot raised. Conversely, even the most superficial look at the statues around Washington, D.C. quickly disproves that the hoof system holds any sway at all in the nation’s capital. Washington is home to more equestrian statues than any other city in the nation, yet it is noteworthy that less than a third of the statues follow the convention. It is possible that some sculptors created their works with this canon in mind; more likely, it is sheer coincidence. The conclusions are perhaps best left to the viewer of the statue.

 

The Work:  Equestrian Warrior

 

This bronze sculpture is known by several names, including Indian Warrior, Indian on Horseback, Indian Warrior on Horseback, Indian Warrior with Spear, Indian Chief, and Indian on Horse. At the C.M. Russell Museum, it bears the title, Equestrian Warrior, and for good reason.

 

Proctor created this sculpture in 1898, a time when American artists were memorializing the vanishing frontier and its inhabitants in works that frequently succumbed to sentimentality and inaccuracy. Contrary to the trends at the time, Proctor chose to present a strong and dignified man and his steed. The work adapts a European model, that of the noble equestrian, to an American subject, the Plains Indian. It was a unique approach, and the result was the work titled Indian Warrior. Proctor’s creative vision was rewarded when this piece won a gold medal at the 1900 Paris Exposition. The piece in the possession of the C.M. Russell Museum is a re-cast that was created in 1973, and was named Equestrian Warrior by the art dealer who oversaw the re-casting.

 

Along with the hullabaloo over the statue’s name, there appears to be some conflict over the identity of the Indian model as well. The warrior has been recognized as either a Blackfoot or a Nez Perce, and named Weasel, Weasel Head or Aims Back (all Blackfeet); Jackson Sundown (Nez Perce) or Weasel Tail (Blackfoot or Nez Perce). After some research, it can be determined that the true identity of the model is a Blackfoot named Weasel Head. As if this weren’t enough, there are two versions of this sculpture; a small one (18 ½” x 15” x 5 ½”) and a large one (38 ½” x 29” x 8”). Sculptures of either size may or may not include the spear, which in some unfortunate cases has broken off. Finally, one is forced to wonder if the position of the horse’s hooves has any meaning, and if the warrior depicted is riding off to his death, as would be the case if the “equestrian convention” were followed.

 

All controversy aside, Equestrian Warrior remains one of the most beautiful works completed by Proctor, and also one of his most wide-spread. Aside from the C.M. Russell Museum, which has a bronze in each size, this sculpture can be found under various names and in either size at the Gilcrease Museum, The Portland Art Museum, The Amon Carter Museum, and many others. Castings of this statue can also be found in the private collections of William Ruger, Belle Clegg Hays and American Airlines.


For More Information:

 

Some material for this collection profile was obtained through e-mail correspondence with Laura Proctor Ames and Phimister Proctor Church of the A. Phimister Proctor Museum in Poulsbo, Washington. The C.M. Russell Museum would like to extend wholehearted appreciation for the opportunity to benefit from their knowledge, and is grateful for their assistance.

 

Selected Internet Sources: www.askart.com, www.bronze-gallery.com, www.portlandartmuseum.org, www.proctormuseum.com, www.snopes.com

 

Hassrick, Peter H., Wildlife and Western Heroes: Alexander Phimister Proctor, Sculptor. Amon Carter Museum, Fort Worth, Texas (2003).

 

Proctor, Alexander Phimister, Sculptor in Buckskin: An Autobiography. University of Oklahoma Press, Norman, Oklahoma (1971).

 

Join us for an informal discussion on the first Wednesday of each month at 12:15 p.m.

 

 

 



Edited by TasunkaWitko
TasunkaWitko - Chinook, Montana

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Post Options Post Options   Thanks (0) Thanks(0)   Quote TasunkaWitko Quote  Post ReplyReply Direct Link To This Post Posted: 04 April 2004 at 16:23
if anyone is going to be in great falls this wednesday, 7 april, i will be doing the collection profile for this piece at 1215 pm at the c.m. russell museum.
TasunkaWitko - Chinook, Montana

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Post Options Post Options   Thanks (0) Thanks(0)   Quote TasunkaWitko Quote  Post ReplyReply Direct Link To This Post Posted: 29 October 2004 at 09:32

this and other collection profiles can be found at the c.m. russell museum in great falls, montana.

Collection Profile is a program designed to provide in-depth information about a specific piece in the Museum’s permanent collection. Throughout the month, visitors may pick up a copy of the Collection Profile, which includes an interpretation of the artwork. Also provided are details about the artist’s background, techniques and methods, as well as a listing of resources for more information. Copies of past Collection Profiles are usually available; simply contact the front desk or the education department. 

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