{"product_id":"pastel-self-portrait-of-dutchess-county-art-association-co-founder-vincent-a-walker-vincent-a-walker-c-1940s","title":"Self-Portrait of Dutchess County Art Association Co-founder Vincent A. Walker - Vincent A. Walker, c. 1940s","description":"\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"rte-table-wrapper\"\u003e\n\u003ctable width=\"100%\" style=\"width: 98.087%;\" height=\"1543\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eWhy This Work Matters\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis self-portrait gives a face to Vincent A. Walker, an artist and cofounder of the Dutchess County Art Association whose contributions have been largely overlooked. Its confident gaze and deliberate self-fashioning transform the work into something more than a likeness—it is Walker’s own assertion of artistic identity and his place within American cultural history.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eArtwork Description\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePastel Self-portrait of Dutchess County Art Association Co-founder Vincent A. Walker*\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eVincent A. Walker, c. 1940s\u003c\/em\u003e\u003c\/p\u003e\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003eVincent Walker’s \u003cstrong\u003e\u003cem\u003ePastel Self-Portrait\u003c\/em\u003e\u003c\/strong\u003e is not simply a record of facial appearance. It is an act of self-definition. Through a limited range of warm earth tones, deep blacks, and softly worked highlights, Walker constructs an image that communicates seriousness, independence, and artistic consciousness. The portrait feels personal because the artist is looking at himself, yet it also has the authority of a public presentation. Walker appears not as someone casually encountered but as someone deliberately announcing his presence.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe composition is direct and tightly controlled. Walker fills most of the sheet, his shoulders spreading across the lower register while the broad crown and brim of his hat occupy the upper center. The head is turned only slightly, allowing the face to remain almost frontal. This restrained movement avoids the stiffness of a fully symmetrical pose while preserving the impression that the sitter is addressing the viewer directly.\u003c\/p\u003e\n\u003cp\u003eThat directness is intensified by the eyes. They are sharply articulated and comparatively dark, making them the psychological center of the drawing. Walker’s gaze is neither welcoming nor confrontational. It is measured, assessing, and somewhat guarded. The artist seems to be observing the viewer with the same concentration that he must have brought to observing himself. In this sense, the usual relationship of portraiture is reversed: we look at Walker, but he appears equally capable of examining us.\u003c\/p\u003e\n\u003cp\u003eThe expression is remarkably controlled. His mouth is closed beneath a narrow mustache, and there is little overt emotion in the brow or cheeks. Yet the absence of a dramatic expression does not make the portrait neutral. Instead, it creates ambiguity. Walker may be composed, cautious, proud, skeptical, or simply absorbed in the difficult process of translating his own reflection into an image. The portrait’s emotional force emerges from this refusal to explain itself.\u003c\/p\u003e\n\u003cp\u003eWalker’s face is modeled through strong divisions of light and shadow. The left side receives warmer ochre illumination, while the opposite side is darkened by the hat brim and reinforced with dense black marks. This contrast gives the face a sculptural quality. The nose becomes a central structural element, dividing the lighter and darker passages, while the cheekbones and jaw are established through gradual shifts in pressure rather than continuous outlines.\u003c\/p\u003e\n\u003cp\u003eThe technique appears deliberately granular. Rather than smoothing the surface into photographic polish, Walker allows the tooth of the paper and the accumulation of marks to remain visible. This is particularly evident in the cheeks, neck, and shirt, where individual strokes and rubbed passages create a living, irregular surface. The drawing therefore retains the physical evidence of its making. We can sense the artist repeatedly looking, comparing, correcting, and building form.\u003c\/p\u003e\n\u003cp\u003eThe warm brown support is not merely a background. It functions as a middle tone from which both light and darkness emerge. Walker can deepen the surface with black and dark brown while adding ochre or lighter passages to bring the face forward. This economy gives the portrait tonal unity. The sitter seems to materialize from the paper itself rather than being placed against a separately conceived backdrop.\u003c\/p\u003e\n\u003cp\u003eThat unity is especially effective around the shoulders. The shirt is only partially resolved, its folds and edges dissolving into the surrounding ground. Walker establishes the open collar and broad shape of the torso but avoids carrying the same degree of finish downward. This selective completion directs attention toward the head while allowing the lower body to merge into atmosphere.\u003c\/p\u003e\n\u003cp\u003eThe hat, by contrast, is treated as a major formal and symbolic element. Its dark crown creates the heaviest mass in the composition, while the brim extends horizontally across the face and surrounding field. That brim casts both a literal and psychological shadow. It partially conceals Walker even as the portrait reveals him.\u003c\/p\u003e\n\u003cp\u003eThe fedora also participates in the construction of identity. Clothing in self-portraiture is rarely incidental, particularly when one accessory dominates the composition so completely. Walker could have depicted himself bareheaded or in ordinary studio attire. Instead, he chose a hat associated with urbanity, masculine style, authority, and a degree of mystery he was known for. It gives him the presence of an actor, writer, traveler, and modern professional as much as that of a traditional artist.\u003c\/p\u003e\n\u003cp\u003eThis self-fashioning does not necessarily make the image artificial. All self-portraits involve choices about how the artist wishes to appear. Walker’s hat and steady gaze suggest that he understood the portrait as an opportunity to communicate a position in the world. He presents himself as observant and composed, perhaps even slightly elusive. The image declares artistic identity while preserving personal privacy.\u003c\/p\u003e\n\u003cp\u003eThe nearly monochromatic palette deepens this sense of restraint. Browns, rusts, ochres, and blacks dominate, with no brilliant color to distract from the structure of the head. These tones give the portrait an aged, almost archival character, even apart from the physical wear visible along the edges of the sheet. They also connect the figure to the ground, making Walker appear embedded within his own material and environment.\u003c\/p\u003e\n\u003cp\u003eThe strongest contrast occurs between the illuminated face and the black hat. This opposition establishes a visual hierarchy immediately: hat, eyes, nose, mouth, and collar. Yet the portrait is not built through outline alone. Walker continually softens edges, particularly around the cheeks and shoulders, so that the figure alternates between clarity and dissolution. The face is present, but never completely separated from the atmosphere surrounding it.\u003c\/p\u003e\n\u003cp\u003eThis movement between definition and obscurity is particularly appropriate for a self-portrait. The genre suggests access to the artist, but it can never provide complete knowledge. Walker shows us what he looked like and something of how he wished to be perceived, yet the image remains fundamentally guarded. His direct gaze offers contact, while the shadowed face and dominant hat resist complete exposure.\u003c\/p\u003e\n\u003cp\u003eWithin the developing documentary record surrounding Walker’s life in Poughkeepsie, the portrait gains additional significance. Research indicating his participation in the founding of the Dutchess County Art Association places him within a regional community attempting to build an enduring cultural infrastructure. His proximity to the artistic world associated with figures such as Thomas Weeks Barrett Jr. further suggests that Walker was not working in isolation but participating in a broader network of artists, organizers, and advocates.\u003c\/p\u003e\n\u003cp\u003eSeen in that context, the self-portrait may be read as more than a private exercise. It becomes the face of someone helping to define what an artist could be within a local community. Walker’s expression conveys neither bohemian eccentricity nor genteel amateurism. He appears disciplined, modern, and professionally self-possessed. The work asserts that the artist is both maker and cultural actor.\u003c\/p\u003e\n\u003cp\u003eThe signature at lower right contributes to this declaration. Positioned against the relatively unresolved shirt, the name becomes a firm graphic mark within the softer surrounding field. It identifies the sitter and author as the same person, completing the circuit between image and maker. In a conventional portrait, the signature tells us who created the likeness. Here it also confirms who is being represented.\u003c\/p\u003e\n\u003cp\u003eThere is also a cinematic dimension to the image. The broad-brimmed hat, divided lighting, narrow mustache, and brown-black tonality recall the visual language of early twentieth-century photography and film. Walker resembles a figure emerging from shadow, poised somewhere between artist, protagonist, and observer. This quality gives the portrait a cultural resonance beyond straightforward likeness.\u003c\/p\u003e\n\u003cp\u003eYet the work avoids theatrical exaggeration. The hat may be dramatic, but the face remains carefully studied. Walker does not turn himself into a fictional character. The individualized nose, asymmetrical eyes, restrained mouth, and subtly uneven lighting maintain the specificity of an observed person. Style and likeness remain in productive tension.\u003c\/p\u003e\n\u003cp\u003eThe physical surface reinforces the sense of time and survival. Slight irregularities and wear around the paper’s perimeter remind us that the drawing is an object that has passed through decades, not merely a reproduced image. Those signs of age do not undermine the portrait’s power. They heighten the contrast between the vulnerability of the material and the confidence of the person represented.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ePastel Self-Portrait\u003c\/em\u003e\u003c\/strong\u003e is compelling because Walker balances revelation with concealment. He gives the viewer a direct gaze and a recognizable likeness, but surrounds both with shadow, atmosphere, and carefully managed presentation. The portrait tells us that Walker saw himself as serious, stylish, disciplined, and worthy of being remembered. At the same time, it withholds any simple explanation of his inner life.\u003c\/p\u003e\n\u003cp\u003eThat tension is especially meaningful for an artist whose historical presence is only now being reconstructed. Walker’s expression seems almost to anticipate the need to be looked at again. The portrait survives as both image and evidence: a declaration of authorship, a record of self-perception, and a forceful reminder that regional artists often possessed identities and ambitions far larger than the historical attention they ultimately received.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n-\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eJonathan Flike\u003c\/strong\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003ch6 class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cstrong\u003e\u003cem\u003e*The title of this work was assigned by Visard Gallery.\u003c\/em\u003e\u003c\/strong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eVincent Alexander Walker\u003c\/strong\u003e\u003c\/span\u003e was born in St. Ann, Jamaica, on April 19, 1902, and came to North America through Canada before settling in Poughkeepsie, New York, in 1927. His arrival in the Hudson Valley appears to have been connected to his health: he entered Bowne Memorial Hospital, a tuberculosis-focused institution, first as a patient and later became part of its working community. While at Bowne, Walker quickly emerged as both a writer, performer, and artist, editing the hospital’s monthly newsletter \u003cem\u003eThe Tempstick\u003c\/em\u003e and contributing poetry and illustrations. The Poughkeepsie Public Library District’s research also notes the complexity of Walker’s racial identity in public records, including his use of “West Indian” on naturalization papers and later records that identified him as white, placing his life within the broader history of racial passing and assimilation in early twentieth-century New York. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWalker’s artistic promise was visible early. A 1929 \u003cem\u003ePoughkeepsie Eagle-News\u003c\/em\u003e article described him as a Bowne Memorial patient whose artwork and design talent were already attracting attention, and in 1930 he won recognition for book-jacket design, including work connected to the Everyman’s Library series. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e \u003cspan class=\"contents\"\u003e\u003c\/span\u003e The Public Library District further identifies Walker as the designer of the dust jacket for Leslie MacFarlane’s \u003cem\u003eStreets of Shadow\u003c\/em\u003e, confirming that his work extended beyond local amateur circles into published commercial illustration. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eBy the mid-1930s, Walker had entered the Poughkeepsie art world through his friendship and collaboration with Thomas Weeks Barrett Jr., the WPA-associated muralist and central figure in the city’s regional arts network. Walker modeled for Barrett’s murals, worked alongside him at the 55 Noxon Street studio, and participated in the major 1934 exhibition at Luckey, Platt \u0026amp; Co. In that exhibition, Walker showed three drawings, including \u003cem\u003ePneumothorax\u003c\/em\u003e, which a contemporary review praised as evidence of his mastery in depicting the grotesque. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWalker’s importance, however, was not limited to his relationship with Barrett. Newspaper documentation places him within the founding generation of the Dutchess County Art Association, where he helped shape the organization’s early identity and continuity. A 1935 article on the association’s second annual exhibit identifies Thomas Barrett as president and lists Vincent Walker among the artist members participating in the group’s exhibition program. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e Later documentation becomes even more important: a 1965 thirtieth-anniversary Charter Members’ Show lists Walker among the association’s charter members alongside Barrett, Elizabeth Barrett, Edith Louisa Hubbard, Henry Billings, John W. Prakken, and others. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e Additional newspaper references, including those in which Barrett himself confirmed Walker’s founding role, further support identifying Walker not merely as an early member, but as Barrett’s cofounding counterpart in the creation of the association.\u003c\/p\u003e\n\u003cp\u003eWalker also served the organization over time, not only as an exhibiting artist but as an officer and administrator. In 1943, during the wartime Victory Calendar project, the \u003cem\u003ePoughkeepsie Journal\u003c\/em\u003e identified him as vice president of the Dutchess County Art Association, noting that he presided at a meeting in the absence of president James Scott. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e This detail is especially meaningful because it confirms Walker’s leadership role within the association during a period when the DCAA was raising funds, organizing exhibitions, and contributing to the local war effort.\u003c\/p\u003e\n\u003cp\u003eWalker’s personal life also remained tied to the arts. In 1946, his marriage to Brita DeCormier was announced in the \u003cem\u003ePoughkeepsie Journal\u003c\/em\u003e. DeCormier was herself connected to art and design, and the Public Library District notes that she joined the Dutchess County Art Association as well. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e Their marriage is significant within Walker’s biography not only as a personal milestone, but because it sits within the racial and social tensions documented in his surviving records and correspondence.\u003c\/p\u003e\n\u003cp\u003eNear the end of his life, Walker was still recognized as a living source for the association’s history. In October 1984, as the Dutchess County Art Association marked its fiftieth anniversary, Walker gave a formal talk at the Mid-Hudson Arts and Science Center on the history of the organization. The notice identified him as an area artist and founding member of the association, and stated that his remarks would be based on his recollections of working with Thomas Barrett and others. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e That final public role is essential to understanding Walker’s legacy: he was not simply remembered by the institution after the fact; he was invited to speak as one of the people who had helped bring it into being.\u003c\/p\u003e\n\u003cp\u003eVincent A. Walker died in 1985. His surviving record is fragmentary, but the fragments are unusually rich: a Jamaican-born artist navigating the racial codes of twentieth-century New York; a hospital editor, poet, actor, and illustrator; a published designer; a collaborator of Thomas Weeks Barrett Jr.; and a cofounder, officer, and historical witness of the Dutchess County Art Association. His life expands the story of Poughkeepsie art beyond the usual singular emphasis on Barrett, revealing a more complex regional network in which Walker was not peripheral, but foundational.\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eUnderrepresented Artist Information\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003eVincent A. Walker’s story reflects the kind of archival absence Visard seeks to address: an artist who was present at the formation of a regional art institution, active within its exhibition culture, and remembered by those who knew the early history, yet whose role has been largely compressed into the shadow of Thomas Weeks Barrett Jr.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eBorn in Jamaica and later settled in Poughkeepsie, Walker lived and worked within the racial contradictions of twentieth-century New York. The Poughkeepsie Public Library District notes that his records moved through categories including “West Indian” and “White,” framing his life within the broader history of racial passing and assimilation. That context matters because Walker was not merely navigating private identity; he was also building a public artistic life in a community where race, class, respectability, and cultural access were deeply intertwined. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWalker’s surviving record shows him as more than a local footnote. He was a writer, illustrator, published book-jacket designer, model and collaborator of Barrett, and an exhibiting artist whose drawing \u003cem\u003ePneumothorax\u003c\/em\u003e was praised in 1934 as evidence that he was “a master in the depiction of the grotesque.” \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e Newspaper documentation further supports Walker’s role as a founding figure, officer, and later vice president of the Dutchess County Art Association, including later recognition as a charter member and, in 1984, an invitation to speak on the association’s history from the perspective of one who had helped shape it. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFor Visard, Walker’s importance lies not only in what survives, but in what nearly disappeared. His biography expands the story of Poughkeepsie art beyond a singular founder narrative, restoring visibility to a Jamaican-born artist whose administrative labor, creative production, and institutional participation helped form the cultural life of Dutchess County. This portrait is therefore more than a likeness; it is a document of presence, identity, and historical recovery.\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eCustom Shipping Notice\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eInformation\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eStyle: Modern\u003c\/li\u003e\n\u003cli\u003eSubject: Portrait\u003c\/li\u003e\n\u003cli\u003eYear: 1940s\u003c\/li\u003e\n\u003cli\u003eSize: 18.0 x 21.5 in (45.72 x 54.61 cm)\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Pastel\u003c\/li\u003e\n\u003cli\u003eMaterial: Paper\u003c\/li\u003e\n\u003cli\u003eSignature: Signed\u003c\/li\u003e\n\u003cli\u003eCirculation status: One of a kind\u003c\/li\u003e\n\u003cli\u003eFrame Status: Unframed\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eVintage Condition Disclaimer\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003ePlease note that this item is vintage and shows wear consistent with age, use, and history. Signs of wear may include, but are not limited to, minor surface marks, patina, fading, or imperfections typical of older items. All items are sold\u003cstrong\u003e as-is\u003c\/strong\u003e, which is standard with vintage and pre-owned goods and cannot be returned on the basis of condition. Measurements are approximate. We do our best to describe items accurately; however, condition assessments are subjective. If you would like additional details, images, or clarification before purchasing, please contact us through the contact form.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eSpecial Condition Notes\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWear to edges consistent with age. \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eProvenance*\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1940s:\u003c\/strong\u003e Vincent Alexander Walker\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1940s - 1985:\u003c\/strong\u003e Estate of Vincent Alexander Walker\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1985 - 2026\u003c\/strong\u003e: Private collector\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026\u003c\/strong\u003e: Secondary Market\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026 - Present\u003c\/strong\u003e: Visard Gallery\u003c\/p\u003e\n\u003ch6\u003e\u003cem\u003e*Provenance and attribution details are based on our best research and are offered in good faith but are not guaranteed. Please contact us through the contact form with any questions prior to purchase.\u003c\/em\u003e\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAcademic Resources\u003c\/strong\u003e\u003c\/span\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.nga.gov\/artworks\/177610-nature-obverse\" target=\"_blank\"\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.nga.gov\/artworks\/177610-nature-obverse\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/xonhojiw2vnzwmdwsbwm1\/AOTBn_PQKo387aonhR7e5vw?rlkey=zwkhrxi9jh21z1b9log2zfroe\u0026amp;st=368t4rpw\u0026amp;dl=0\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eVincent Alexander Walker Research\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca style=\"color: rgb(80, 197, 215);\" href=\"https:\/\/www.dropbox.com\/scl\/fo\/azy0g1jiiuwoqobunfvnr\/AGNcmO5EW9EmfgkXAAtYTGg?rlkey=4fny60lhndc49gpfh98y8e84j\u0026amp;st=45vm26dt\u0026amp;dl=0\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/poklib.org\/vincent-a-walker\/\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eVincent A. Walker: Black, White, or Passing?\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.hudsonrivervalley.org\/dutchess-county-art-association-barrett-house\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eDutchess County Art Association \u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Barrett_House_(Poughkeepsie,_New_York)\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eBarrett House_Wikipedia\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Visard Gallery","offers":[{"title":"Default Title","offer_id":46856552775841,"sku":"ART234","price":3250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0698\/6072\/0801\/files\/ART234_VincentAlexanderWalker_PortraitofVincentAlexanderWalkerCo-FounderoftheDutchessCountyArtAssociation_Full.png?v=1786323734","url":"https:\/\/visardgallery.com\/products\/pastel-self-portrait-of-dutchess-county-art-association-co-founder-vincent-a-walker-vincent-a-walker-c-1940s","provider":"Visard Gallery","version":"1.0","type":"link"}