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AVAILABLE WORK

Please contact the artist at bradley@bradleyhendershot.com for pricing.
All paintings shown below are original works of art, ©2018 Bradley Hendershot.
Sizes listed are image sizes. All works are framed and matted in neutral colors.

Check back frequently as this page is updated as new work becomes available.




study for ISLAND FISH HOUSES, V
Watercolour, 8-1/2 x 14-1/4 inches






study for MONHEGAN CELEBRATION
Watercolour, 8-1/2 x 14-1/4 inches






ISLAND PATH
Watercolour, 9-1/2 x 14-1/4 inches

One of my favorite locations on Monhegan Island is the area around Lobster Cove and Lobster Point, at the southern end of the Island. I often make a point of walking to this area to watch the surf pounding the rocks. The painting is of Jamie Wyeth's house, known as the Kent House, on Lobster Cove. The house was built in 1908 by artist Rockwell Kent for his mother, Sarah. I love the feeling of the house sitting on the rocks in bold defiance of the force of the sea.




study for ISLAND FISH HOUSES, III
Watercolour, 8-1/2 x 14-1/4 inches






KENT HOUSE, MONHEGAN
Watercolour, 9-1/2 x 14-1/4 inches

One of my favorite locations on Monhegan Island is the area around Lobster Cove and Lobster Point, at the southern end of the Island. I often make a point of walking to this area to watch the surf pounding the rocks. The painting is of Jamie Wyeth's house, known as the Kent House, on Lobster Cove. The house was built in 1908 by artist Rockwell Kent for his mother, Sarah. I love the feeling of the house sitting on the rocks in bold defiance of the force of the sea.




MANANA FOG STATION, c1880s
Watercolour, 10-1/2 x 14-1/4 inches






study for DOCK CRANE, I
Watercolour, 9-1/2 x 14-1/4 inches






SKIFFS AND SEA ROSES AT THE VAUGHAN HOUSE, MONHEGAN
Watercolour, 10-1/2 x 14-1/4 inches






study for ISLAND FISH HOUSES, II
Watercolour, 8-1/2 x 14-1/4 inches






ASSISTANT LIGHTKEEPER'S HOUSE, MONHEGAN ISLAND
Watercolour, 9-1/2 x 14-1/4 inches






LANE TO THE SEA
Watercolour, 9-1/2 x 14-1/4 inches






study for ISLAND FISH HOUSES, I
Watercolour, 8-1/2 x 14-1/4 inches






VAUGHAN HOUSE, MIDDLE BEACH, MONHEGAN
Watercolour, 10-1/2 x 14-1/4 inches






study for THE ASTRONOMER, I
Watercolour, 9-1/2 x 14-1/4 inches






study for COVE HOUSE, I
Watercolour, 9-1/2 x 14-1/4 inches

One of my favorite locations on Monhegan Island is the area around Lobster Cove and Lobster Point, at the southern end of the Island. I often make a point of walking to this area to watch the surf pounding the rocks. The painting is of Jamie Wyeth's house, known as the Kent House, on Lobster Cove. The house was built in 1908 by artist Rockwell Kent for his mother, Sarah. I love the feeling of the house sitting on the rocks in bold defiance of the force of the sea.




study for FLAG DAY, II
Watercolour, 8-1/2 x 14-1/4 inches

The Monhegan Island Schoolhouse was built in 1847 on a lot of land known as "Ledge of Rocks". The school is still active today, and is responsible for educating the Island youth from grades K through 8.




FISH MARKET
Drybrush, 19 x 28-1/4 inches

This drybrush painting was done in the studio and is a composite of many different thoughts and images, and is reminiscent of the feel of Monhegan Island, Maine. I enjoy textures and the various weathered surfaces of the building facade were perfect for instituting the painstaking process of drybrush, using very little water with the pigment and many small strokes of the brush to build up layers that describe the detail. The grays and browns of the weathered siding are in direct contrast to the colorful blues, reds, and yellows of the detail elements in the painting. Although not an exact replication, the sign on the building was inspired by the Fish Market sign that hangs on a stack of lobster traps just outside of our studio door on Monhegan Island.




MONHEGAN ISLAND LIGHT c1868
Watercolour, 10-1/2 x 14-1/4 inches

The painting depicts the second light tower constructed on Monhegan Island as it appeared around 1868. It was built in 1850 and replaced an earlier tower that had deteriorated over the years due to a series of storms in the late 1840s. The lantern room boasts a second-order Fresnel lens manufactured in France and installed in 1857. This hydraulic lamp was designed by Captain George Gordon Meade of the Army Corp of Topographical Engineers, who also designed lighthouses. Meade is better known as General George Gordon Meade, commander of the Union army at the Battle of Gettysburg and the defeat of Confederate General Robert E. Lee in 1863. Following the Civil War, many of the country's lighthouses had deteriorated and Monhegan Island Light Station was included on the list. Major improvements to the station were completed in the years after the war, and reports of the Lighthouse Board recorded the work. Interestingly, the name in most of the reports was spelled "Manheigin" as the present spelling was not adopted until 1875. In 1868, the year chosen for this painting, the lightkeeper was Betsy Humphrey, who held the position from the time of her husband's death in 1861 until her retirement in 1880. The man looking out to sea in the painting is imagined to be Betsy's son Edward, who had been wounded in the Civil War and came to help his mother with the duties at the lighthouse despite his being disabled. In 1868, lard oil was being used to light the lamp as whale oil had become very expensive due to the destruction of the Yankee whaling fleet during the Civil War. In the painting, I have used the lowering clouds and incoming fog effect to emphasize the remoteness of Monhegan Island. The lone figure looking out to the undefined horizon further emphasizes the isolation of the lightkeeper. I continue to examine old texts and photographs in order to replicate past eras on Monhegan Island to the best of my ability.




JOHN STERLING CISTERN HOUSE, MONHEGAN ISLAND, c1912
Watercolour, 9-1/2 x 14-1/4 inches
SOLD

Careful academic research of text and dozens of photographs and paintings resulted in my zeroing in on the year 1912 for this historic scene from Monhegan Island�s past. The building is John Sterling's Cistern House, also known as Uncle Henry's. It was built by Sterling on Monhegan Island around 1815. Originally known as the Cistern House, it protected a water supply for the John Sterling House which sits just up the hill. The little building was also called "The Shop" for years and was used by various Islanders. The building was owned by the Davis family (heirs of the Starlings, or Sterlings) from 1844 until 1938. It was owned specifically by Daniel Davis in 1912, the year of this painting, when the stairs appeared on the west gable end of the house. The Cistern House became known as Uncle Henry's in the 1930s when Henry Shaw used it as a place from which to sell his fresh produce and milk, which he brought to the Island once or twice a week. He would set out his wares along with a box for the Island people to drop their money in when he wasn't there. The building was bought by Gerald Stanley Lee in 1938 and was used as a studio where he taught his "sensitivity" classes. Lee was a bit of an odd bird--tall and quite thin, with gray hair, he always wore a tweed suit and white cotton hat with a green visor. He would often be seen walking around with an orange balanced on his head. Elizabeth Neilson purchased the building in 1946, passing it to her daughter Caroline Steiner in 1973. Uncle Henry's was gutted by fire in 1979 and was rebuilt by Vernon Burton in 1982. During this rebuild, the chimney was placed on the opposite end. William A. Oram bought Uncle Henry's in 1993 and it is currently a rental unit in the summer months. The building is still without electricity, and the orange glow of the gas lamps and the smell of wood smoke are pleasant reminders of Monhegan's past.




TRISCOTT-PIERCE FISH HOUSE, SOUTHWEST CORNER, MONHEGAN ISLAND c1910
Watercolour, 9-1/2 x 14-1/4 inches

In the 1880s, British expatriate Samuel Peter Rolt Triscott (1846-1925) was a highly-recognized watercolour artist living in Boston. He first visited Monhegan Island in 1892 and, when he bought the William West house on the Island in 1893, he became the first artist in residence on Monhegan. Triscott seldom left the Island from 1902 until his death in 1925. Triscott and an Islander named Frank Piece eventually developed a large tract of land that Triscott had surveyed in his early years on Island. In 1897, Triscott and a former surveying partner, Fred McClure, purchased this fish house and five-eighths interest in a flaking yard on Fish Beach on the Island. The building in this painting is commonly referred to as the Triscott-Pierce fish house. Careful researching a number of old Monhegan photographs and documents place the date of this appearance of the structure around 1910. Having information on the dates of construction of buildings and additions to buildings in several photos narrow the possible date range. I know that this fish house still existed as a single-story building when the Island Inn, the building with the turret in the background, was being expanded in 1906-1908, and the fish house itself gets expanded into a two-story structure between 1908 and 1910.




TRISCOTT-PIERCE FISH HOUSE, EAST SIDE, MONHEGAN ISLAND, c1910
Watercolour, 9-1/2 x 14-1/4 inches

In the 1880s, British expatriate Samuel Peter Rolt Triscott (1846-1925) was a highly-recognized watercolour artist living in Boston. He first visited Monhegan Island in 1892 and, when he bought the William West house on the Island in 1893, he became the first artist in residence on Monhegan. Triscott seldom left the Island from 1902 until his death in 1925.

Triscott and an Islander named Frank Piece eventually developed a large tract of land that Triscott had surveyed in his early years on Island. In 1897, Triscott and a former surveying partner, Fred McClure, purchased this fish house and five-eighths interest in a flaking yard on Fish Beach on the Island. The building in this painting is commonly referred to as the Triscott-Pierce fish house.

Careful researching a number of old Monhegan photographs and documents place the date of this appearance of the structure around 1910. Having information on the dates of construction of buildings and additions to buildings in several photos narrow the possible date range. I know that this fish house still existed as a single-story building when the Island Inn was being expanded in 1906-1908, and the fish house itself gets expanded into a two-story structure between 1908 and 1910. Additionally, an old photograph of the fish house as a two-story structure is labelled as 1910, but it never hurts to confirm by one's own research. I have not been able to ascertain what the "Fish Market" sign is all about as of this writing.

A dory, a wooden barrel, and a pile of lobster traps represent some of the clutter that is found around a working fish house. The overgrown nature of the weeds and bushes accentuate the clutter. Manana Island is seen through a light fog in the background.




TRISCOTT-PIERCE FISH HOUSE, EAST SIDE, MONHEGAN ISLAND, c1908
Watercolour, 8-1/2 x 14-1/4 inches

In the 1880s, British expatriate Samuel Peter Rolt Triscott (1846-1925) was a highly-recognized watercolour artist living in Boston. He first visited Monhegan Island in 1892 and, when he bought the William West house on the Island in 1893, he became the first artist in residence on Monhegan. Triscott seldom left the Island from 1902 until his death in 1925.

Triscott and an Islander named Frank Piece eventually developed a large tract of land that Triscott had surveyed in his early years on Island. In 1897, Triscott and a former surveying partner, Fred McClure, purchased this fish house and five-eighths interest in a flaking yard on Fish Beach on the Island. The building in this painting is commonly referred to as the Triscott-Pierce fish house.

Careful researching a number of old Monhegan photographs and documents place the date of this appearance of the structure around 1908. Having information on the dates of construction of buildings and additions to buildings in several photos narrow the possible date range. I know that this fish house still existed as a single-story building when the Island Inn was being expanded in 1906-1908, and the fish house itself gets expanded into a two-story structure between 1908 and 1910. Additionally, an old photograph of the fish house is labelled as 1908, but it never hurts to confirm by one's own research.

A couple of dories, a wooden barrel, lobster traps, and some of the clutter that is found around a working fish house is seen in the painting. The overgrown nature of the weeds and bushes accentuate the clutter. Manana Island is seen through a light fog in the background.




study for LONE SENTINEL, MONHEGAN ISLAND, c1912
Watercolour, 8-1/2 x 14-1/4 inches
SOLD

Careful academic research of text and dozens of photographs and paintings resulted in my zeroing in on the year 1912 for this historic scene from Monhegan Island's past. The building closest to the water is the Bainbridge and Walter Davis fish house which was located just north of where the Barnacle stands today. Walter was the son of Bainbridge "Uncle Ben" Davis. I do not have dates for the building of the fish house, but I do know that it eventually succumbed to a winter storm and was washed out to sea.

The building in the foreground is John Sterling's Cistern House, also known as Uncle Henry's. It was built by Sterling on Monhegan Island around 1815. Originally known as the Cistern House, it protected a water supply for the John Sterling House which sits just up the hill. The little building was also called "The Shop" for years and was used by various Islanders. The building was owned by the Davis family (heirs of the Starlings, or Sterlings) from 1844 until 1938. It was owned specifically by Daniel Davis in 1912, the year of this painting, when the stairs appeared on the west gable end of the house.

The Cistern House became known as Uncle Henry's in the 1930s when Henry Shaw used it as a place from which to sell his fresh produce and milk, which he brought to the Island once or twice a week. He would set out his wares along with a box for the Island people to drop their money in when he wasn't there. The building was bought by Gerald Stanley Lee in 1938 and was used as a studio where he taught his "sensitivity" classes. Lee was a bit of an odd bird--tall and quite thin, with gray hair, he always wore a tweed suit and white cotton hat with a green visor. He would often be seen walking around with an orange balanced on his head. Elizabeth Neilson purchased the building in 1946, passing it to her daughter Caroline Steiner in 1973. Uncle Henry's was gutted by fire in 1979 and was rebuilt by Vernon Burton in 1982. During this rebuild, the chimney was placed on the opposite end. William A. Oram bought Uncle Henry's in 1993 and it is currently a rental unit in the summer months. The building is still without electricity, and the orange glow of the gas lamps and the smell of wood smoke are pleasant reminders of Monhegan's past.

Here, I imagine Daniel Davis himself standing on the landing of his house, keeping watch over the Monhegan harbor and his relative's fish house.




study for INDEPENDENCE DAY, III
Watercolour, 8-1/2 x 14-1/4 inches

Early morning light strikes the side of the lightkeeper's house on Lighthouse Hill on Monhegan Island. I find endless satisfaction in painting the varied angular red rooflines of the lighthouse structures. Here, a red, white, and blue bunting has been hung from the eaves in celebration of Independence Day, and also in recognition of the seasonal opening of the Monhegan Museum, which is housed in the lightkeeper's house.




study for SUMMER BREEZE, I
Watercolour, 9-1/2 x 14-1/4 inches

Mid-day light finds much of the lightkeeper's house on Lighthouse Hill on Monhegan Island in shadow. I find endless satisfaction in painting the varied angular red rooflines of the lighthouse structures.




RED RIBBON
Watercolour, 19-1/4 x 29-1/4 inches
SOLD

This 3-1/2 story, 40 x 50 foot stone and stucco mill was built in 1857-58 on the site of an earlier log mill (Buzzard's Mill, c1700s) that was torn down by Jacob Christman. Known as Christman's Mill, it is located on the headwaters of the Perkiomen Creek in Berks County, Pennsylvania and is currently being restored.




WHITE BELL
Watercolour, 19-1/4 x 29-1/4 inches

Located not far from my house and studio in Hoppenville is a wonderful grouping of farm buildings. The emphasis here is the white farm bell standing out in contrast to the darker browns, grays, and blues of the stone farmhouse. The farm is located near the intersection of Mill Hill Road and Warner School Road in Upper Hanover Township, Montgomery County, Pennsylvania.




BLUE OAR AND LOBSTER BUOY
Drybrush, 16-1/4 x 12-1/2 inches

Here's a statement that I wrote several years ago about the house depicted in this painting:

"From the first time I ever got off of a boat on Monhegan Island, I have been intrigued by the large, rambling, old house that sits atop Wharf Hill overlooking the harbor. You can see its present owner, sitting on the knoll most summer afternoons, at the top of Wharf Hill, watching the events in the harbor. Known officially as the John Sterling House, it is one of the oldest houses on Monhegan, dating to 1809. It is in disrepair--boards falling off, dark and looming. To me, it conjures up images of Shirley Jackson's The Haunting of Hill House, Nathaniel Hawthorne's House of the Seven Gables, and Stephen King's Marsten House (in 'salem's Lot). I have never been in the house--maybe it's best that I don't go in; maybe it would take all of my feelings away, when I saw that it was just an ordinary house inside instead of the haunted house I've imagined."

And now to the present:

The owner has now passed on; her descendants have restored the house, with new roof, new windows, and new clapboard siding. It's now divided into two halves, each one a rental unit. In the summer of 2008, I decided to move from my Monhegan home of a dozen years and rent the right-hand half of this house, now called the John Sterling Harbor House. This grand old house of Monhegan Island served as my summer home and studio for several years prior to opening a studio/gallery on Island with my fiancee, artist Katharine (Katy) Krieg.

Over the years, I have done a number of paintings of the front facade of this building and have once again returned to the textures of the wooden clapboards that so intrigue me. I became interested in the many textural elements in the front facade of the building, particularly the clapboard siding, which lent itself to the painstaking detail-oriented nature of drybrush. And blue - I love blue - the window shade, the oar. And then there's the red and white of the buoy and the lobster sign in the window. The grays and browns of the weathered siding are in direct contrast to the colorful blues and reds of the detail elements in the painting. My memories of the way the house used to appear prior to restoration dominate, and the restored house is in excellent shape today.

"No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone."
Shirley Jackson The Haunting of Hill House




DUTCH HINGE
Drybrush, 19-1/4 x 29-1/4 inches
SOLD

This drybrush painting was done in the studio and is a composite of many different images. I'm fascinated by the aging red paint on barn overhang and on the door. I became very involved with the rough textures of the wood and stone surfaces depicted in the painting and their contrast with the smooth dull sheen of the farm bucket. The namesake of the painting refers to the type of hinges on the Dutch door below as well as on the hay door above. The capture of these textures was perfect for instituting the painstaking process of drybrush, using very little water with the pigment and many small strokes of the brush to build up layers that describe the detail.




study for MILL HILL, II
Watercolour, 8-1/2 x 14-1/4 inches
SOLD

Located not far from my house and studio in Hoppenville is a wonderful grouping of farm buildings. I have started to produce small studies of the property, this being the second, that will eventually lead up to one or more large paintings. The farm is located near the intersection of Mill Hill Road and Warner School Road in Upper Hanover Township, Montgomery County, Pennsylvania.




study for MILL HILL, I
Watercolour, 8-1/2 x 14-1/4 inches

Located not far from my house and studio in Hoppenville is a wonderful grouping of farm buildings. I have started to produce small studies of the property that will eventually lead up to one or more large paintings. The farm is located near the intersection of Mill Hill Road and Warner School Road in Upper Hanover Township, Montgomery County, Pennsylvania.




study for HILLTOP FARM, V
Watercolour, 18 x 29 inches

Located not far from our house and studio in Hoppenville, I used to drive by this farm several times a week. For several years, I have kept this image of the farmhouse located up on the ridge, often silhouetted against a wonderful sky backdrop. I have started to produce a series of, this being the fifth and largest thus far, of the property that will eventually lead up to one or more large paintings. The farm is located on Little Road in Zieglerville, Pennsylvania.




study for HILLTOP FARM, IV
Watercolour, 8-1/2 x 14-1/4 inches

Located not far from my house and studio in Hoppenville, I used to drive by this farm several times a week. For several years, I have kept this image of the farmhouse located up on the ridge, often silhouetted against a wonderful sky backdrop. I have started to produce small studies, this being the fourth, of the property that will eventually lead up to one or more large paintings. The farm is located on Little Road in Zieglerville, Pennsylvania.




study for HILLTOP FARM, II
Watercolour, 8-1/2 x 14-1/4 inches

Located not far from my house and studio in Hoppenville, I used to drive by this farm several times a week. For several years, I have kept this image of the farmhouse located up on the ridge, often silhouetted against a wonderful sky backdrop. I have started to produce small studies, this being the second, of the property that will eventually lead up to one or more large paintings. The farm is located on Little Road in Zieglerville, Pennsylvania.




study for HILLTOP FARM, I
Watercolour, 8-1/2 x 14-1/4 inches

Located not far from my house and studio in Hoppenville, I used to drive by this farm several times a week. For several years, I have kept this image of the farmhouse located up on the ridge, often silhouetted against a wonderful sky backdrop. I have started to produce small studies of the property that will eventually lead up to one or more large paintings. The farm is located on Little Road in Zieglerville, Pennsylvania.




study for AUTUMN AT HOPPENVILLE HOUSE, I
Watercolour, 8-1/2 x 14-1/4 inches

Autumn is setting in at Hoppenville House in Marlborough Township, Montgomery County, Pennsylvania. This is the house and studio that I share with my fiancee, artist Katharine (Katy) Krieg. This watercolour is the first in a series of studies leading up to a final large painting.




study for INCOMING FOG AT HOPPENVILLE HOUSE, I
Watercolour, 8-1/2 x 14-1/4 inches

A fog bank rolls in at Hoppenville House in Marlborough Township, Montgomery County, Pennsylvania. This is the house and studio that I share with my fiancee, artist Katharine (Katy) Krieg. This watercolour is the first in a series of studies leading up to a final large painting.




study for HOPPENVILLE SQUALL, I
Watercolour, 8-1/2 x 14-1/4 inches

An early winter snow squall passes Hoppenville House in Marlborough Township, Montgomery County, Pennsylvania. This is the house and studio that I share with my fiancee, artist Katharine (Katy) Krieg. This watercolour is the first in a series of studies leading up to a final large painting.




study for LIGHT IN THE LIBRARY, I
Watercolour, 9-1/2 x 14-1/4 inches

Someone is catching up on some reading in the library at Hoppenville House on this late evening in early spring. This is the house and studio that I share with my fiancee, artist Katharine (Katy) Krieg. This watercolour is the first in a series of studies leading up to a final large painting.




study for KITCHEN LIGHT, I
Watercolour, 9-1/2 x 14-1/4 inches

Hoppenville House stands quiet and cozy in the snow as a light in the window suggests some late afternoon activity, hopefully supper preparations (!), taking place in the kitchen. The property is located in Marlborough Township, Montgomery County, Pennsylvania. This is the house and studio that I share with my fiancee, artist Katharine (Katy) Krieg. This watercolour is the first in a series of studies leading up to a final large painting.




DIVIDED TOO
Watercolour, 17-1/2 x 29-1/2 inches

When I'm staying on the mainland in St. George, Maine, this is the first thing I see upon looking out my bedroom window in the morning.

I did a similar painting, more of a close-up of the house, in 2011; This one was called DIVIDED. The porch pillar cutting vertically through the American flag created the namesake for the painting DIVIDED, as that's where I saw our country at the time.

Six years later, I still see our country as divided. The second part of the painting title, "TOO", can be taken in the "also" sense, as it is still divided. Or, replace "TOO" with "TWO" and this painting becomes the second in the series of DIVIDED paintings. Notice how the right side of the flag is larger than the left side, subtly stating my political affiliation; and there is more red showing, as the blue is reduced. The open attic window symbolizes "out with the old and in with the new", a changing of politics in Washington. The flowers on the porch symbolize a re-birth, and the watering can is their nourishment. The electrical connections on the outside of the house represent all of the power in Washington. The red, white, and blue theme of the flag is repeated in the items on the porch. I've also changed the colour of the roof to red, which, along with the white of the house and the blue of the sky further emphasize my patriotism.

My friend Robert Skoglund, "The humble Farmer", who I rent from in St. George, Maine, used to own this property. He says, in an e-mail to me:

"When I was 10 I used to deliver newspapers there. I can remember going down to that dooryard in the 40s and watching Ernest polish his motorcycle. I owned it for 20 plus years. I have seen it every time I have looked out of the window for over 40 years. I have seen paintings of it by Gary Akers and Barbara Ernst Prey and Jamie (Wyeth). I had Mac Daggett put on the power entrance. I stuffed insulation in the cellar window. I had Faustini fix the chimney. I rebuilt the porch and put on the storm windows. I caught the kid who kicked out the front door. I have laughed at the chair and the flag and the flower pot on the porch as blatant, obvious props to draw in artists and chided Gary Akers for being sucked in. I have looked at this house many tens of thousands of times over the past 65 years. So what is there not to recognize unless it is the trees to the left on the northern side?" (some artistic license by me, the artist).




Monhegan Island study No. 49: Lobster Buoy
Drybrush, 14-1/4 x 10-3/4 inches

Interior scene of lobster buoy, "Lobster" sign, and window looking out to sea. Monhegan Island, Maine.




study for PICKUP, I
Watercolour, 10 X 14-1/2 inches

This is Quarry Farm following a recent snowfall. I've often been drawn to this interesting cluster of farm buildings on Mine Road in Oley Township, Berks County, Pennsylvania, and I've done many paintings here. In this watercolour, I've captured the old pickup truck out by one of the outbuildings. The farm is located across the road from a large limestone quarry, and the sound of the quarrying operation is a daily reminder of the encroachment of the quarry. The quarry actually owns the farm property, and the house and barns may someday be razed. The shock waves from the blasting operations must shake the house!




ISLAND CAFE
Watercolour, 21-3/4 x 29-1/4 inches

Soon after we arrived on Monhegan Island, one of its "famous" fog banks set in, blanketing the Island on and off (mostly on) for four or five days. This gave me the opportunity to work on this large watercolour of the Barnacle and the Freight Shed near the wharf. I hope that the isolation of this windswept and fogbound Island comes across in the painting. The building on the right in the painting, currently known as the Barnacle and serving as a small store and cafe;, sits on the Island wharf. It was built around 1809 as the Starling Brothers fish house, and has served as various tea rooms and gift shops in recent years.




study for KENT HOUSE, I
Watercolour, 9-3/4 x 14-1/2 inches
SOLD

One of my favorite locations on Monhegan Island is the area around Lobster Cove and Lobster Point, at the southern end of the Island. I often make a point of walking to this area to watch the surf pounding the rocks. The painting is of Jamie Wyeth's house, known as the Kent House, on Lobster Cove. The house was built in 1908 by artist Rockwell Kent for his mother, Sarah. I love the feeling of the house sitting on the rocks in bold defiance of the force of the sea.




BLUE SKIFF AND THE BARNACLE
Watercolour, 10-3/4 x 14-3/4 inches

This is the "Barnacle" and the wharf on Monhegan Island, Maine. The blue and red skiff adds a hint of colour to the grays and browns of Monhegan. Over the course of the summer, I did a lot of paintings that included this particular skiff. I was teased by a friend that it must've been a difficult job hauling that skiff all over the Island just to put it in a painting! In reality, the skiff remains tied up on Fish Beach.




BURLAP
Drybrush, 20 x 29-1/4 inches

This painting was done in the studio and is a composite of many different images. I'm fascinated by the aging blue paint on the door and on the bait barrel. I became very involved with the textures of the various surfaces depicted in the painting - wood, brick, stone, concrete, and, of course, the focus of the painting, the burlap. The capture of these textures was perfect for instituting the painstaking process of drybrush, using very little water with the pigment and many small strokes of the brush to build up layers that describe the detail.




LIFE RING
Watercolour, 13-3/8 x 9-3/8 inches

This painting was started on location at Lobster Point on the southern tip of Monhegan Island Maine and was completed in my Monhegan Island studio. The life ring and cross represent danger and is the sign that a death has happened at this location. It serves as a reminder that the sea is beautiful and attractive to artists, photographers, and tourists, but is unpredictable and dangerous, and should command respect.




SEMAPHORE
Drybrush, 13-1/2 x 21-1/2 inches

This wintry scene is based on the Frye's Mill complex in Lehigh County, Pennsylvania. The unique arrangement of the fence post with the two cross pieces reminds me of an old-time railroad semaphore signal, hence the name of the painting. I hope the viewer can sense the bitter coldness of this midwinter day. This painting actually started out as a fairly loose, for me (!), watercolour, but I became very interested in the texture of the stucco over stone of the mill and of the background trees, and this painting quickly (or maybe not so quickly) turned into a drybrush. The capture of these textures was perfect for instituting the painstaking process of drybrush, using very little water with the pigment and many small strokes of the brush to build up layers that describe the detail.




BAIT BARREL
Drybrush, 18-1/2 x 29-1/4 inches

This scene is based on one of the outbuildings on Presqui'le Farm on Quarter Cove, Wye East River, Talbot County, on the Eastern Shore of the Chesapeake Bay. I'm fascinated by the aging blue paint on the door and on the bait barrel. A crab basket sits ready by the stoop, while a single oar balances precariously as it holds the top section of the Dutch door from blowing closed. A horseshoe is hung above the door to assure good luck for the waterman. This painting was done in the studio and is a composite of many different images. I became very involved with the textures of the various surfaces depicted in the painting - wood, brick, concrete, and burlap. The capture of these textures was perfect for instituting the painstaking process of drybrush, using very little water with the pigment and many small strokes of the brush to build up layers that describe the detail.




ISLAND RENTAL
Drybrush, 17 x 28-1/2 inches

Here's a statement that I wrote several years ago about the house in this painting:

"From the first time I ever got off of a boat on Monhegan Island, I have been intrigued by the large, rambling, old house that sits atop Wharf Hill overlooking the harbor. You can see it's present owner, sitting on the knoll most summer afternoons, at the top of Wharf Hill, watching the events in the harbor. Known officially as the John Sterling House, it is one of the oldest houses on Monhegan, dating to 1809. It is in disrepair -- boards falling off, dark and looming. To me, it conjures up images of Shirley Jackson's The Haunting of Hill House, Nathaniel Hawthorne's House of the Seven Gables, and Stephen King's Marsten House (in 'salem's Lot). I have never been in the house - maybe it's best that I don't go in; maybe it would take all of my feelings away, when I saw that it was just an ordinary house inside instead of the haunted house I've imagined."

Well, in the summer of 2006, I went into the house, as the owner, then in her 90's, had moved off-island. The house had been fixed up, with new roof, new windows, and new clapboard siding. It's now divided into two halves, each one a rental unit. I decided to do this drybrush of the front facade as it was before repairs, and for some reason I've placed a placard above the door with my initials, "BJH", carved into it. This must've been some sort of sign, as several weeks later, I decided to move from my Monhegan home of a dozen years and rent the right-hand half of this house, now called the John Sterling Harbor House, beginning in Summer of 2008. My front door will be none other than the door over which I placed the initialed placard!

"No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone."

Shirley Jackson
The Haunting of Hill House




TOOL HOUSE AND DORY
Watercolour, 20 x 29-1/4 inches
SOLD

This watercolour was painted on location on Monhegan Island, Maine. I've attempted to capture the mid-morning light striking the side of the lightkeeper's house on Lighthouse Hill. I find endless satisfaction in painting the varied angular red rooflines of the lighthouse structures. The blue dory sits next to the tool house, where lobster buoys hang in the window. The open Atlantic Ocean is seen 160 feet below.




MELTING OFF
Watercolour, 18-1/2 x 29-1/4 inches

The last snow of the season is slowly melting away at Quarry Farm. I've often been drawn to this interesting cluster of farm buildings on Mine Road in Oley Township, Berks County, Pennsylvania, and I've done many paintings here. The farm is located across the road from a large limestone quarry, and the sound of the quarrying operation is a daily reminder of the encroachment of the quarry. The quarry actually owns the farm property, and the house and barns may someday be razed. The shock waves from the blasting operations must shake the house!




LIGHT TOWER
Drybrush, 28-1/4 x 21-1/4 inches

This drybrush was painted on location on Monhegan Island, Maine, in August of 2005. The painting started out as a fairly loose watercolour, but I became involved with the texture of the granite blocks that make up the light tower. I believe that the granite came from the island of Vinalhaven. The forty-seven foot tall tower was built in 1850, and is the second light tower on this site, the first being built in 1824. The beacon is 178 feet above sea level, making it the second highest in the state of Maine (Seguin is two feet higher at 180 feet). The light was automated in 1959. The brick "service room" was added onto the entrance to the lighthouse in 1892. The building just behind the dory is known as the tool house.




BUCKS COUNTY
Watercolour, 26 x 47 inches

This large watercolour was inspired by a visit to the Burgess Lea farm, located along River Road north of New Hope, in Bucks County, Pennsylvania. The farm, which dates back to 1689, was up for sale and currently unoccupied, and I was free to roam about the property. As I trudged through the deep snow, the buildings just spoke "Bucks County" to me. Although the initial inspiration for the painting came from the actual farm, the buildings have been selectively rearranged and altered to support a stronger artistic composition.




FOG WALK
Watercolour, 18 x 29-1/4 inches

John Sterling's Cistern House, also known as Uncle Henry's, was built on Monhegan Island around 1815. Originally known as the Cistern House, as it protected a water supply, it became known as Uncle Henry's in the 1930s when Henry Shaw used it as a place from which to sell his fresh produce and milk, which he brought to the Island once or twice a week. The painting depicts Uncle Henry's in the fog, as a woman walks down Wharf Hill on her way to greet the morning boat from the mainland. An American flag on the upper deck gently waves in the breeze.




CENTER DIAMOND
drybrush, 30-1/2 x 46-3/4 inches

One day, while driving with an artist friend of mine to a gallery in Lancaster County, I ran across this Amish farmhouse. I was immediately drawn to the interesting cluster of buildings and to the long white board fence. This large drybrush includes an Amish quilt of the popular Center Diamond pattern, the namesake for the painting, hanging on the porch railing. The farm is located in Lancaster County, Pennsylvania, on West Newport Road (Route 772) near Scenic Road.



Additional works may be currently available. Please contact the artist at bradley@bradleyhendershot.com