11 x 14 Oil on Board
This painting was a commission for a patron in Southwick.  Her bedroom was done in blue and white and she loves sunflowers.  I get nervous about commissions (what if they don't care for it?) since art is so personal, and we may have a different interpretation.  Fortunately, she loved it.  She had tears in her eyes and I got a hug.  How many professions can say they get a hug for doing something they love?

8 x 10 Oil on Board
This piece was inspired by an early American Still Life artist named Rembrandt Peale.  His whole family were professional artists.  His father named each of his sons after famous artists like Titan.  There are many of the Peales' paintings in museums.  I've seen a painting of a large watermelon by a niece at the Wadsworth in Hartford.  They are still an inspiration to me.

12 x 16 Oil on Board
These raspberries grow in my back garden.  There is a cement wall behind the patch that is now hidden by ivy.  When this was painted the cement was exposed, so I had to do some fancy inventing to make it look good in the painting.  The raspberry canes have leaves starting. Very soon we will have some fruit.  Nice time of year!

8 x 10 Oil on Board
During the spring a few  years ago, the hyacinths were very full and I couldn't resist painting them. This is a red/orange blue/violet color scheme.  It is almost, not quiet a direct complement. 

16 x 20 Oil on Canvas
This is a warm, traditional still life with  more formal elements.  It found a good home in New Jersey.

Granny, Del and Mac

8 x 16 Oil on board
Three of my favorite fall fruits on the railing of my front porch.  The sun leaves a lovely yellow reflection on the green paint.

9x12 Oil on Board
These items fascinated me for two reasons.  The red in the shadow was a surprise.  I thought the pear would show as a wider shape between the red areas on the table.  The shadow would have been wider in a view directly from the top.  It was also a challenge to make the glass area look transparent enought and add all the glints in the pressed glass area.  I actually finally got it after purchasing a white from Winsor and Newton called Cremnitz.  It holds better, it actually sits on top of the surface of the painting and stays very white.