Following the success of Remington’s first sculpture, The Bronco Buster, which depicts a cowboy taming a wild horse, the artist created The Wounded Bunkie, an emotionally charged work in which a U.S. Cavalry soldier supports his wounded brother-in-arms. Here Remington deftly accomplishes a difficult task: rendering two figures in a moment of intense action, while realistically portraying a pair of horses in full gallop. The composition masters a delicate balancing act—only one leg of each horse touches the base. The realism of the horses’ gait was undoubtedly informed by the photographer Eadweard Muybridge’s well-known motion studies, published in the album Animal Locomotion in 1887. An artistic tour de force, The Wounded Bunkie is the most significant sculpture in the Museum’s American collection, owing not only to the composition’s raw power, but also to the fact that this is the first cast in the series, as indicated by the letter A incised on its base.
Open Content Program
The Birmingham Museum of art makes available digital images of works in the Museum’s collection believed to be in the public domain. Images are available free of charge for any use, commercial or non-commercial. Users do not need to contact the Museum for authorization to use these images. They are available through the Online Collection at artsbma.org/collection. See detailed instructions for specific work types below.
Identifying Open Content Images
The mission of the Birmingham Museum of Art is to spark the creativity, imagination, and liveliness of Birmingham by connecting all its citizens to the experience, meaning, and joy of art. The Museum understands that by sharing images of works online without restrictions, the BMA collection becomes more accessible to a larger audience.
For objects with images the rights status is displayed in the “credit line” section of the object information. The rights status or rights holder will be indicated. If the work is in the public domain and/or the image may be downloaded, the download icon will appear in the bottom right corner of the image area. To search the collection click here.
Works With Restrictions
For copyright-protected images that have been approved by copyright holders, a presentation-sized image is available, but can not be downloaded. A copyright statement clearly listing the name of the copyright holder is visible in the credit line area when the image is displayed. Thumbnail-sized images of copyrighted works are displayed under fair use.
When the owner of a work is impossible to determine or contact, the work is deemed an orphan work. The Museum will make thumbnails of orphan works available. If you are the representative or rights holder of an orphan work, please contact Rights and Reproductions.
Please use the following source credit when reproducing an Open Content image: Courtesy Birmingham Museum of Art, followed by the credit line provided in the object description.
Although there are no restrictions or conditions of the use of an Open Content image, the BMA would appreciate a gratis copy of any scholarly publication(s) in which the images are reproduced in order to maintain collection bibliography. Copies may be sent to the attention of:
Open Content Program
Digital Media Department
The Birmingham Museum of Art
2000 Rev. Abraham Woods Jr. Blvd
Birmingham, AL 35203
- If an image is not available under Open Content it may be because the work is still under copyright, the work is not owned by the museum, or the work has not yet been photographed to BMA standards.
- Request Images: If an image of a work is not available online or is under copyright, you may submit a request through our online request form. You may also request files in additional sizes or formats. A fee will be charged for this service.
- Our determination of public domain is made in good faith.
- Electronic records are based on historical information and may not be the Museum’s complete or current knowledge about an object. Research is ongoing.
- The ‘On View’ status may be delayed on the website by 24 hours. Please check with our Rights and Registration Office to confirm that a work of art will be on view before traveling to the Museum.
- Titles My Bunkie (Alternate)
- Artist Cast by, Henry-Bonnard Bronze Company, United States, New York, operated 1882 - 1926 / Frederic Remington, American, 1861 - 1909
- Medium bronze
- Dimensions 20 3/4 x 11 x 31 in. (52.7 x 27.9 x 78.7 cm)
- Credit Line Gift of Dr. and Mrs. Harold E. Simon, 1973.148
- Work Type sculpture
- Classification Sculpture
- On View
- Signature Cast letter "A" from 1896. As discussed by Charles Mason Fairbanks in Harper's Weekly on Nov. 28, 1896. Per Graham Boettcher, 03/14/2013
- Marks Cast letter "A" from 1896. As discussed by Charles Mason Fairbanks in Harper's Weekly on Nov. 28, 1896. Per Graham Boettcher, 03/14/2013
- Inscription On the top of the base, left rear and facing the edges just back of the skull that lies on the ground: COPYRIGHTED BY FREDERIC REMINGTON 1896 [The letter "A" appears within the "F" of Remington's signature.] On the top of the base, right side rear, near the edge: "CAST BY THE HENRY BONNARD BRONZE CO. N. Y. 1896" in small letters. Above this line of lettering, over the end of the word BRONZE is a single isolated letter "A" indicating that this is the first letter cast.
- Provenance Walstein C. Findlay, Jr. (1904-1996), Findlay Galleries, Inc., Chicago [see note 1]; purchased by Dr. Harold E. Simon (1897-1982) and Mrs. Regina P. Simon (1899-1995), Birmingham, Alabama, 1962 [see note 2]; gift to the Birmingham Museum of Art, Alabama, 1973
1. According to a September 13, 1960 letter from Walstein C. Findlay, Jr., Findlay Galleries, Inc., Chicago to Dr. Harold E. Simon, Birmingham, Alabama, The Wounded Bunkie came from Findlay’s personal collection. He writes, “I would appreciate your making your checks payable to me, Walstein C. Findlay, Jr., as the bronze is my property.” See object file.
2. According to January 26, 1962 receipt from Findlay Galleries, Inc., Chicago to Dr. Harold E. Simon, Birmingham, Alabama. See object file.