Barton Portrait Paintings

Gouache and watercolour on corrugated cardboard after the famous self portrait by Vincent van Gogh with his fur hat, bandaged ear and pipe. This painting is by Jean Ducel who has pla...

Adolf Arthur Dehn Haitian Scene A, ca. 1951 Watercolor gouache on board Signed on the front Frame included: held in vintage modern frame Measurements: Framed: 11 inches vertical by 13 inches horizontal by .75 Painting 4.5 inches by 6 inches Watercolor gouache, hand signed; framed with AAA Gallery label verso Signed on the front bearing the original label on the verso of Dehn's longtime gallery, the prestigious Associated American Artists Gallery, New York City. Provenance Associated American Artists Frame included: held in vintage frame with original label as provenance Dehn, an influential artist and teacher (and author of the definitive textbook of his era on watercolor painting) joined Associated American Artists gallery in 1941. Although this painting is undated, it is likely circa early 1950s, as in 1951 Dehn won a Guggenheim Fellowship, which enabled him to travel to Haiti -- the subject of this work. It was part of a series inspired by Dehn's visit to Haiti. Dehn, an influential artist and teacher (and author of the definitive textbook of his era on watercolor painting) joined Associated American Artists gallery in 1941. Although this painting is undated, it is likely circa early 1950s, as in 1951 Dehn won a Guggenheim Fellowship, which enabled him to travel to Haiti. ADLOF DEHN Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere - not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic "little magazines" such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895 - 1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs...

Elegant and graphic study of a figure of undetermined gender. It's executed with quick and confident brush strokes in the artist's signature color scheme of black and red. It's a fla...

A lovely gouache on cardboard painting featuring an Art Deco singer with a typical stylish outfit. Utilizing the contrast of black and white components against primary colors like y...

"As an African-American artist in today’s world, I embody the vast differences found in our collective backgrounds. I view them as cultural assets. We are always self discovering and...

Woman is an original modern artwork realized by Eliseu Visconti (1866-1944) in 1930. Mixed colored oil painting on board. Hand signed and dated on the lower margin.

Antique illustration of a golfer getting out of a sand trap by well listed illustrator Leslie Saalburg whose work appeared in Vanity Fair and Esquire.

Woman on an armchair. Gouache on cardboard. Upper left corner broken, lower corners trimmed. Small dirt. 46 x 27.5 cm

A beautiful watercolor painting of a brown Carmel house with a white picket fence in front by Lillie Esther (Hillman) Heebner, a Watsonville, Monterey Bay area, California watercolor artist. Unsigned, but acquired with a collection of her work. Lillie (Lil) E. Heebner was guided through life by her creativity. Even at 92, she never felt old, and often said so. She met every situation in life—including death—with ingenuity. Although born in Richmond, Lillie lived in Watsonville all her life. Her father, Frederick H. Hillman, grew up on a strawberry ranch in Pajaro, graduated from Watsonville High School in 1916, and served in France during World War I. He later worked for Martinelli's Apple Cider plant and became foreman. Lillie's mother, Esther C. Hobson, moved as an infant from Bakersfield to Santa Cruz with her family in 1901, when they founded Hobson's Bath House at the Santa Cruz Boardwalk...

WHISPERS Mixed Media on Board Size: 30 x 37 cm (including frame) A wonderfully expressive and brilliantly executed figurative composition in mixed media (oil, watercolour gouache), painted onto board. Two women in black headscarves are the focus of the scene, with very captivating expressions. The woman on the right appears to look almost shocked, with her mouth ajar and her eyes widened. The woman on the left stares directly at us, her emotion less identifiable. The scene is intriguing, making us question what these women have heard or what has happened. Their faces have been painted with brilliant detail, capturing the shadows on their faces as well as the aged skin of the woman on the right. These two women are set against a blue-ish green backdrop, making their faces stand out even more from within their black head scarves...

An original illustration by Cuban artist Andres Garcia Benitez which was used for the cover of the iconic Carteles magazine in November of 1938. ...

A complex story is portrayed in one picture. American Glamour Illustrator Jon Whitcomb interprets a Mid-Century Cosmopolitan story about a beautiful blond actress who, on set, appea...