Paintings of New England Scenes
The gnarled, articulated trunk of this massive Elm tree, at the corner of Green Street and fronting a historic house, had a weighty presence suggestive of its age, perhaps beyond 200 years.
After an enormous blanketing storm, this evocative winter vista of a cross-country skier perfectly captures another way the Charles River embankment provides connections to nature for the many residents of Boston, Cambridge and adjacent towns. Painted for the Charles River Conservancy.
The former notable quarters of the Tedesco Country Club, now demolished, offers this unique view of its elevated 3rd hole, looking back to the course-ending Clubhouse entry, its 19th hole respite. It was painted plein air for the Rotary Club of Marblehead Auction, and is now a unique surviving record of a golf club’s glory days.
A commissioned work for the homeowners of their period brick residence, in the historic Old Town section of Marblehead, MA.
Inspired by Frank Benson’s and Samuel Chamberlain’s earlier drawings, this tightly composed view of the mansion’s facade portrays the classical presence of this historic structure.
Marblehead’s majestic, iconic Abbot Hall is capped by a unique steeple-like tower and weather vane that appear almost graphic with its sharp angled forms, patterned roof shingles, and delicate, circular tracery of the vane – a dynamic vignette by itself; painted during the town’s annual Festival of the Arts.
Marblehead’s iconic brick and stone civic structure, Abbot Hall, situated in the center of town on its highest ground, was undergoing much needed exterior weatherizing, pointing, and general maintenance.
A small vignette, in a complimentary color sheme with a contrast of nature and man-made, is of one of the oldest first period houses in America.
A plein air seminar demo was an exercise in large shapes, quick execution and bold color. The movement of the flags, as suggested by its tatters, was of primary interest. The contrast of shaded houses and trees provided a dark backdrop to the flags and lawn.
Low Float at Donovan’s Beach – en plein air watercolor seascape painting with boat by Frank Costantino.
A daily vista for many residents driving out of town, this familiar red lobster boat has been moored at its dock for years, at one of the shallower edges of Winthrop’s inner harbor.
This watercolor was painted on occasion of the 100th Anniversary year of the 1903 founding of the Winthrop Improvement Association, now the Winthrop Improvement and Historical Association, WIHA.
Winthrop, MA A small pond, remnant of a larger marsh area, is where Winthrop's ocean harbor waters meet levels of fresh. The bordering houses and green pathways ringing the lake convey a tranquil place during an inspiring sunset. Purchase Options...
The 350 year old Deane Winthrop House, a first period structure, the oldest continuously occupied house in the US is in my hometown. Its historic character suggests a nobility of age that is conveyed by this nearly full frame view of its east and south facades in a morning’s light and shadow.
A simple gesture painting of the out-of-plumb sides of a 350 year-old house, accentuating the wear of time on its structure. The brightness of a summer sun and strong shadows are balanced by the large areas of greenery and flowers. The historic first period Deane Winthrop House, Winthrop, MA.
Moor’s End Farm, on Polpis Road is a family owned enterprise with many greenhouses, sheds, stands, and outbuildings, all providing intriguing subjects. The piece, inspired by Andrew Wyeth’s work, was close to completion when high winds of the oncoming before Hurricane Earl on 8/25/10 nearly blew over my easel.
Situated in the middle of Upper Main St., Nantucket, this memorial is a most noticeable reminder of the lives sacrificed by Island’s soldiers in this nations’ most dreadful conflict.
Set in the center of Main St. Nantucket, the Town’s weathered patina Memorial planter, always seasonally decorated, has become one of the welcoming sights to the historic island, as well as an enduring symbol of its traditions.
An extended shadow of an ovoid lantern, distorted by the sun’s angle into a transluscent reshaped ellipse, was portrayed essentially as a duo-color palette, with analogous accents.