(n/a) Joseph Henry Sharp (American, 1859-1953) Hunting son, firelight and daylight, Taos 20 1/4 x 16in
Lot 157
(n/a) Joseph Henry Sharp
(American, 1859-1953)
Hunting son, firelight and daylight, Taos 20 1/4 x 16in
Sold for US$ 109,800 inc. premium
Lot Details
(n/a) Joseph Henry Sharp (American, 1859-1953)
Hunting son, firelight and daylight, Taos
signed 'J.H. Sharp' (lower right) and inscribed '"Hunting Son" - Taos / Firelight and Daylight' (on the backing board)
oil on canvas
20 1/4 x 16in
overall: 21 x 17in

Footnotes

  • PROVENANCE:
    Private collection, Nebraska

    Joseph Henry Sharp was regarded as the spiritual father of the Taos Art
    Colony. It was through his friendships with Ernest Blumenschein, Bert
    Geer Phillips, E. Irving Couse and others that the colony eventually
    came to form in Taos. Sharp was interested in American Indians
    beginning at an early age. He was completely deaf from a childhood
    accident, and at age fourteen, because of his deafness, left public
    school to study art in Cincinnati at the McMicken School and the
    Cincinnati Academy of Art. The studio he painted in happened to be in
    the same building occupied by another artist, Henry Farny. The two met
    and became friends. Farny had many books in his studio illustrating and
    describing Pueblo Indians. He would often lend them to Sharp and the
    two would talk about Indian life on many occasions.

    In 1893, Sharp first went to Taos, and his sketches from that trip were
    eventually published in Harper's Weekly. He began making summer trips
    West to sketch Indians, and in 1902, he painted in Arizona, California,
    Wyoming, and Montana. By 1912, Sharp was a permanent resident of Taos,
    living across from Kit Carson's home and painting many of the Pueblo
    Indians in their daily activities. His longtime close friend and model
    was Jerry (Elk Foot) Mirabal, who lived to be 110.

    Once fully established as a professional painter, Sharp began amassing a
    huge personal collection of Native American artifacts and costume. It
    was important to him that these historical records be preserved and
    understood. He also believed this to be the best way to fully
    understand and appreciate what he was painting. He even made sure that
    he knew all of his portrait sitters personally. In this way he was as
    much an anthropologist as a painter.

    Over the course of his career, Sharp produced a vast cultural record of
    Native American life, landscapes, and portraiture. His work is poetic,
    and steeped in deep nostalgia for the vanishing culture of the American
    Indian and the old west. This nostalgia was never more exemplified by
    Sharp than in 'Hunting son, firelight and daylight, Taos'. Although the
    figure holds a bow and arrow, there is no thought of fear or danger,
    only the vulnerability of the young man standing alone in a dark
    interior. The composition exemplifies this vanishing history simply and
    succinctly.
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