Lot 35
Hunting Son: Young Medicine Man of Taos
Oil on canvas
Signed l.r., “JH Sharp, Taos”
Suder’s label and family inscription to verso
Housed in the original carved and giltwood frame.
Plaque to frame bearing title
30” x 36” (canvas size)
33.5” x 40” (framed)
PROVENANCE
Acquired directly from the artist by Mr. Herbert DInkelaker (1890-1967) and descended in the family until the present day.
The work is accompanied by a remarkable cache of material related to the artist, the original collector, the subject, and the circumstances around its acquisition, providing a window into a collector’s interest in Sharp’s work during the height of his reputation and career. These include:
- An undated letter, likely early Spring of 1930, written by Sharp seeking the address of Mr. Herbert Dinkelaker, and suggesting his willingness to paint a “firelight” subject like the example that was already promised to another in Taos.
- A letter on Sharp’s stationary from Taos, New Mexico dated April 27th, 1930, addressed to Herbert Dinkelaker, discussing at length his process, cost, and logistics for the “firelight” painting the artist intends to execute.
- A letter on Sharp’s stationary from Taos, New Mexico dated September 10th, 1930, announcing the completion of the work, and details related to its transportation to Cincinnati, via Sharp’s framing agent, Suder’s.
- Two photographs of “Hunting Son”, one of Sharp’s principal model in Taos during the early-mid 20th century. These were acquired on a trip to the Southwest by descendents of Herbert Dinkelaker.
- An inscribed map on a signature paper, along with Hunting Son’s signature.
Catalogue Essay
Based upon a letter from Sharp addressed to an associate of Herbert Dinkelaker, it appears as though the Dinkelakers had visited the artist’s studio in 1929, and were disappointed to learn that a “firelight” oil was already promised to another collector of Sharp’s work. He suggests that he could work on a similar example for them, in a great communication between artist and collector:
“I think both, + the son in particular were much disappointed in not getting the firelight painting of “The Medicine Man” (Sold to another). The picture sold for full price $1200. Now if they will give me some sort of encouragement I will make a fine firelight this summer, with lots of glow and color like the Medicine Man, and submit to them individually instead of thru the gallery and exhibition…”
Sharp gets down to brass tacks regarding pricing, and hopes his friend will relay the information (along with Herbert DInkelakers address):
“Now I will make a $1200 canvas, say 30 x 36 in size (same size as Medicine Man) for $850, or a 25 x 30 for $750. There will be no commission or discount or reduction.”
It appears Herbert and Sharp began communicating directly in the Spring, as a letter from April 27th, 1930 from Sharp’s Taos stationary directly to Dinkelaker’s Northside, Cincinnati address is also present. It includes a fabulous description of Sharp’s methodology and practice.
“It is always cold here in the Spring in my big studio + for a couple of months have to have a good fire. It is then I start + paint on my firelights- and if I do not get them finished, take them up in the Fall again. I am painting less of this kind all the time because it is more difficult,...”
A final letter from Sharp to Dinkelaker dated September 10th, 1930 announces the completion of the work and the logistics in getting it to the collector. Again, it is a fascinating bit of detail related to Sharp’s network of communication, framer, and gallery contacts that he still maintained in his native Cincinnati:
“Dear Mr. Dinkelaker,
Yours last night. We boxed picture today, and in are it will go via stage to R.R. Station for Ex. + Suder should get it soon after this letter. I am writing him to put glass and deliver. This picture is worth twice as much as we agreed on + could have sold it several times, so if “dad” is not hit hard + perfectly-satisfied, let Suder take it right back to shop.
To me, it is much better than the one you missed last year
Regards to “dad” and the rest.
Sincerely,
JH Sharp”
“Hunting Son: Young Medicine Man of Taos” is a large and quintessential example of Sharp’s modernist-leaning firelight subjects. It is a larger scale size than most of his interior subjects, and presents his model, Hunting Son, in a seated pose, wearing full eagle headdress, facing to the side and away from the viewer, basking in a firelight glow. On the wall hangs a bow and quiver, a drum in the left foreground, and a table stand in the background.
The work has never been restored, and hangs in the frame selected by Sharp and installed by “Suder”, his friend and gallerist in Cincinnati (Suder’s still operates today). It has never been offered for sale until today, and is in a remarkable state of preservation- likely due to Sharp’s choice of placing the oil under glass upon completion. The artist held this example in high regard- a testament to the quality of the painting, and he appears to have granted it considerable attention over the Spring of 1930, thanks to an extreme interest from Herbert and John Dinkelaker, who had visited the studio of the famed Cincinnatian and founding member of the Taos Art Society.
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Condition:
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In outstanding condition, and housed in a Sharp approved frame, under glass, which has protected the canvas. Note: Sharp mentions that the work will be placed under glass in a letter of 1930 to the buyer, included with the painting. Zero evidence of conservation - never relined, on its original and fine linen canvas, with no inpainting evident under UV. The work has never been cleaned, though it could possibly use the lightest of surface cleanings, given the slightly turned varnish in a few areas. In entirely original condition and including the letters and photographs, which are also in a fine state of preservation.
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