Signed lower left: JHSharp

Private collection, El Rito, New Mexico.

Joseph Henry Sharp (American, 1859-1953) Chief Blue Horse, Sioux Oil on board 13-1/2 x 9-1/2 inches (34.3 x 24.1 cm) Signed lower left: JHSharp Titled twice on the reverse: Chief Blue Horse, Sioux / Chief Blue Horse, / Sioux PROVENANCE: Private collection, El Rito, New Mexico. Joseph Henry Sharp first encountered Native Americans near Wheeling, West Virginia, just across the Ohio River. Early in his career, Sharp had a studio in the same building as Henry Farny, another artist who devoted much of his career to painting American Indian tribes. Sharp shared Farny's interest in Native culture and, as a young man, had borrowed books on Indian life from the older artist. That early association with Farny may have planted the seed in Sharp, which led to his development as one of the most skilled and dedicated artists of Native American subjects of the early 20th century. Sharp first met Chief Blue Horse (Oglala Lakota) in 1899 when he had traveled to the West, specifically to the areas around Montana and Wyoming, to capture scenes of Native American life and culture. His encounter with the Chief was significant because while working in Montana and Wyoming, Sharp had difficulty finding models who would pose for him. In a letter written by Sharp that discusses the portrait, he describes Chief Blue Horse as "One of the greatest & mesmerizing warriors of the Sioux. In Custer & many other battles. Almost impossible to get him to pose for a portrait until I offered to throw in my hat with the several $! A strong fighting type." Chief Blue Horse was a prominent leader of the Brulé Sioux (Lakota) tribe during a time of great upheaval for the Native Americans. Unlike other Lakota leaders such as Sitting Bull and Crazy Horse, who are remembered for their resistance, Blue Horse is known for his pragmatic approach to dealing with the U.S. government. He believed in diplomacy and negotiation, understanding that outright military conflict could lead to devastating losses for his people. During his leadership, Blue Horse participated in several treaty negotiations, including the Treaty of Fort Laramie in 1868, which temporarily secured land for the Sioux and halted hostilities with the U.S. government. However, like many such treaties, the promises made were eventually broken, leading to further displacement and hardships for the Sioux. In his later years, Blue Horse focused on helping his people adapt to life on reservations. He advocated for their well-being and rights within the constraints of the new system, recognizing the need to ensure their survival in a changing world. His legacy reflects the difficult choices Native leaders faced as they tried to protect their communities in the face of overwhelming external pressures. Sharp's portrait of Chief Blue Horse, Sioux exemplifies the deep respect and admiration he held for Native American culture and captures the dignity, strength, and resilience of its subject. Portrayed with a quiet yet commanding presence, the soft, almost ethereal brushstrokes create a portrait full of wisdom, personal reflection, experience, and timelessness. Sharp explained, "Most of the Indian painters of the last sixty years have painted the Indians as they are now, or in battle, horse rustling . . . and ignored their legends, sentiments, and home life. [I try] to present the Indian as he is . . . mentally as well as physically; not as ephemeral fiction has delighted to picture him, but as a human being, endowed with intelligence, swayed by nobility of thought, venerated by indolence, animated by craftiness, or calmed by reveries of bygone days." (as quoted in F. Fenn, The Beat of the Drum and the Whoop of the Dance: A Study of the Life and Work of Joseph Henry Sharp, Sante Fe, New Mexico, 1983, p. 249) HID12401132022 © 2024 Heritage Auctions | All Rights Reserved

Under UV exam, there appear to be two small 1/4 inch spots of retouching in the figure's chin and eye lid; Three small 1/4 inch spots of retouching in the black jacket lower left; A few smaller dots of retouching in the hair and clothes. Scattered craquelure visible in the background and hat. A few small abrasions to the extreme edges of the board, not visible in current framing. Framed Dimensions 22.5 X 18.5 Inches