By the Spillway

oil on canvas, 14x16, 1997

This early summer scene was done on the campus of Mount Holyoke College. I like the atmospheric effect obtained by diminishing contrast in the distance..

Currently in wooden gallery frame, $300

Early Autumn Bouquet

oil on canvas, 24x20, 2001, reworked 2007

(Goldenrod is a favorite of mine, and is here juxtaposed with wild phlox in a New England bouquet that can only be seen for a few weeks in early autumn. In the original setting, the vase rested on a blanket, and never carried very well. I recently reworked the table and shadows, and like the result much better.)

framed, $550

Elm Stream on the Penobscot

oil on canvas, 14x16, 1997

A fast sketch done while my brother unsuccessfully tried to persuade salmon to take his fly.

unframed, $100

Flag Day

oil on canvas, 29x37, 2001

(Although I'm a brush painter, now and then a subject calls for special treatment: This scene cried out for size, but not detail, so I used only painting knives. Every artist dreams of filling a canvas with various reds straight from the tube. Here's the result.)

framed, $900

Flower Box Petunias

oil on canvas, 14x11, 1993

Here's a little Impressionist work done a while back right outside the studio. I still love the richness of the shadow work. It's a painting that came out exactly the way I wanted it to.

framed, $350

Half Tide - Acadia

Harbor at Camden

oil on canvas, 24x30, 2003

An ambitious large painting, done on location over several days, not all of which were sunny. Boats came and went while I painted, including the two tied to the floating dock. Painting a moving target is always fun, seldom accurate.

framed, $750

Iris Garden

oil on Masonite panel, 16x24, 1997

(Hybrid iris only bloom for a couple weeks during the summer. Here's an Impressionistic way to enjoy them during the other 50 weeks. In this painting, I explored the virtues of ultramarine. That blue can be found in just about every color I mixed here.)

framed, $450

Late Spring, with Shadows

oil on Masonite panel, 20x24, 1996

(An outdoor study in bright-hot sunlight done with warm colors juxtaposed with deep shadows rendered in cool tones - A perfect day in May.)

framed, $450

Lilacs & Lladro

oil on prepared panel, 24x20, 1994

(Done after seeing the dramatic lighting in some of the Baroque paintings at the Prado in Madrid. The Impressionist treatment of the flowers is in complementary apposition with the detailed rendering of the lace and the statuette, both souvenirs of the trip to Spain.)

Currently in metal frame, $500

Looking North from Thunder Hole

oil on canvas, 14x18, 1998

(Painted on a dull day with a limited palette at Thunder Hole in Arcadia National Park. Absent from this painting is the sea gull that stole various pieces of my painting kit and dropped them in the ocean.)

framed, $400

Low Tide at Yarmouth

oil on canvas, 11x14, 1997

(It's not always high tide on the Maine Coast, a fact to which this quick little painting will testify.)

(currently unframed) $100

Martha's Vineyard - Looking South Over the Atlantic

oil on canvas, 14x18, 1999

(I did this muted roadside sketch on a visit to Martha's Vineyard. This is definitely an ocean sky - This effect is not seen over land areas. The couple walked by just as I was finishing, and managed to get themselves included.)

framed, $400

Otter Cliffs - Acadia

oil on canvas, 20x24, 2003

"There are graceful gulls and terns wheeling over the breakers as I paint. In a song from the 1960s, Judy Collins sang of birds “Stitching to the sea the sky,” and I always imagined it so since I first heard that line. In my seascapes, I always place a bird on the horizon as a unifying element, and if the bird seems to be stitching the line of the sea to the sky, so much the better."

(from "Just Off Main Street," a book by the artist.)

framed, $650

Retirement - B&M Cabooses

oil on canvas, 18x24, 2001

(I spent two afternoons painting these old-timers in Deerfield. I still like the calligraphic work that indicates the foreground foliage, and how well the deep violet tones carry the shadows.)

framed, $500

Rockland Maritime Vista

oil on canvas, 14x11, 1997

(Sometimes the sketch comes out so well that a more elaborate follow-up would be anti-climatic. Less can be more, as this evocative arrangement demonstrates.)

framed, $350

September Fishing on the North River

oil on canvas, 18x24, 2001

(An example of how contrast can be more important than color, and how detail can be suggested rather than painted-in. While I worked on this at streamside in Vermont, the portable radio carried continuous news of the tragic events of the previous week.)

framed, $650

Springtime Crabapple

oil on canvas, 22x28, 1997

(A scene from the campus of Mt Holyoke College, done over the course of two weeks. The blossoms had fallen by the time I finished the painting. Use of an extreme warm-cool juxtaposition makes the shadow areas glow.)

framed, $650

State Park Vertical Abstract

oil on canvas, 14x18, 2001

(Painted within walking distance of my home, and about as close as I come to abstract art. This balanced design is an example of how depth and space can be rendered with value adjustments.)

framed, $450

Summer Afternoon - Rocking Chairs

oil on panel, 24x25, 1994

(I'm fond of the "fatness" of the light in this painting, and the diagonal margin provided by the porch railing. I explored a different color scheme for each set of shadows on the white rockers.)

with metal frame, $600

View at Westover - Early Spring

oil on Masonite panel, 16x24, 1997

currently unframed, $150

Windy Sky Over the Penobscot

oil on canvas, 24x20, 2000

(Painted on the rocks outside of a fishing camp with the river flowing all around me. Accuracy? The surface of the water changed each time the breeze shifted, which was at least a thousand times during the two afternoons I worked at this. Ultimately, the painter goes with an effect that seems to work.)

framed, $500