New Print Shop Items AND Black Friday Discount

Launched just in time for the holidays, we are thrilled to have 8 additional works newly added to our print shop. This includes the new Indian Summer piece that was recently brought into the Collection thanks to our generous donors. Every work you purchase helps the Walter H Everett Foundation in its mission to preserve and advance the works and legacy of Walter H Everett for generations of artists to come.

Discount Code: WHE10

Only $50 Away from Our Goal – Help Bring Two Stunning Paintings to the Collection

As we enter the final two days of our campaign, we're thrilled to announce that we are only $50 away from reaching our goal of $3,400! We've been blown away by the support of our community, and we can't thank you enough for your contributions to this important cause.

Our campaign is focused on bringing two beautiful artworks – Indian Summer and a newly rediscovered pastel landscape – into the Walter H. Everett Foundation's collection. These stunning pieces capture the essence of Everett's artistic vision and skill, making them valuable additions to our foundation and the public alike.

To make this a reality, our goal is to raise $6,800 by October 31st. Thanks to a generous private donor, every dollar you donate will be matched, so we only need to raise half of that amount. Your tax-deductible contributions will directly impact the preservation and public display of these incredible artworks for generations to come.

We want to extend our heartfelt gratitude to everyone who has already donated to this campaign. Your generosity ensures that these remarkable paintings will be available for the public to enjoy, both through high-resolution scans on our website and in our forthcoming art book, as well as the potential to be displayed at museums and galleries.

There's still time to support our mission and take advantage of our special offer! Donate $100 or more before the end of the campaign, and you'll receive a complimentary giclée paper print of your choice from our collection. These high-quality prints, produced on acid-free fine art paper, showcase Everett's enchanting artwork and serve as a reminder of the impact your donation has made. Check out the selection below:

For those who have already contributed $100 or more, please don't forget to let us know which illustration you would like for your print. We'll be reaching out soon to confirm your selection and ensure your prints are on their way.

We're so close to reaching our goal and making these stunning paintings accessible to the public. Your continued support and contributions are essential in preserving Everett's artistic legacy for future generations. Please share this campaign with friends, family, and fellow art enthusiasts to help us cross the finish line and secure these masterpieces for all to enjoy.

Any donations above our goal will be put towards future acquisitions and preservation of Everett’s artwork. Click the link below to donate today!

Thank you for your ongoing support and love for the art of Walter H. Everett. We can't wait to share these incredible works with the world, thanks to your generosity and dedication to preserving the beauty of art.

Support our campaign and get a free giclée print!

We have a unique opportunity to bring two stunning pieces – Indian Summer and a newly rediscovered pastel landscape – into the Foundation's collection, preserving them for the public and future generations.

To do this, we need your help to raise $6,800 by October 31st. A generous private donor has pledged to match funds, so if we raise $3,400, they'll donate the rest!

As a token of appreciation for anyone donating over $100, we'll send a giclee paper print of your choice from our collection. Scroll through the images below to see the illustrations included in the offer.

Printed on Hahnemühle Torchon, a high-quality, 285 gsm acid-free fine art paper with a parchment-like surface, providing exceptional image sharpness, color accuracy, and water resistance.

Prints will come in a range of sizes, depending on the scale of the original illustration's dimensions, but won’t be larger than 16" on the longest edge. Email olivia@walterheverett.com for more information.

Click the link below to contribute to this wonderful cause and become part of preserving these masterpieces for future generations. Thank you for your support!

Preserving Walter H. Everett's Legacy: A Crowdfunding Initiative for Two Captivating Originals

The Walter H. Everett Foundation is dedicated to preserving, promoting, and sharing the beautiful works of American artist Walter H. Everett. Today, we are reaching out to you, our community of art lovers, to help us by making a donation for a special campaign to make two exceptional original works available for public enjoyment.

We have a unique opportunity to acquire both Indian Summer and a stunning pastel landscape that was recently discovered from private owners. These works represent Everett's exceptional talent and artistic vision, making them significant additions to our foundation's collection.

Our goal is to raise $6,800 in the next 2 weeks to make this acquisition possible. Your support will directly contribute to the preservation and public display of these remarkable artworks for generations to come. If we are able to raise the funds and secure the works then we'll produce high resolution scans for sharing the works on our website, print shop, and our forthcoming art book. They will also be available to display at museums and galleries.

A generous private donor has pledged to match funds, so if we raise $3,400 by October 31st, they’ll donate the rest. Your contribution, no matter what size, will have an even greater impact in helping us reach our goal.

We are grateful for the generosity of our community, and as a token of our appreciation, we're offering a special gift for those who donate over $100. These donors will receive a complimentary miniature giclee paper print of their choice from our collection, showcasing Everett's enchanting artwork.

Please consider donating today and sharing this campaign with friends and family who also value art preservation and appreciation. Your tax-deductible contribution will bring us closer to our goal of $6,800 and enable us to bring these captivating Everett originals into the public realm.

To support our cause and learn more about the campaign, please visit the link below.

Thank you for your continued support and love for Walter H. Everett's art. Together, we can ensure that his legacy endures and enriches the lives of countless individuals for years to come.

Fine Art Connoisseur, May/June 2024

Lucky us! Look what just arrived in the mail! We have been featured in the May/June 2024 edition of Fine Art Connoisseur with a wonderful writeup by Daniel Grant.

https://fineartconnoisseur.com/2024/05/new-issue-sneak-peek-fine-art-connoisseur-may-june-2024/

Unveiling the opening of our web shop!

We've got some fantastic news to share with you… our shop is now LIVE!

Yes, you heard us correctly, and we can't wait for you to explore the incredible works of Walter H. Everett in your home.

To kick things off, we're taking you on a journey back to 1934 with a limited edition release of Everett's breathtaking masterpiece, "The Sycamores."

Full-scale canvas reproduction of “The Sycamores” in an oak float frame.

In homage to the artist's craftsmanship, we're offering exquisite museum-quality canvas prints in their original scale and an exclusive selection of giclée paper prints.

The canvas edition will be limited to 40 prints over two years and comes with a certificate of authenticity. Want to elevate your artwork display? Choose from our stunning float frames, now available at a 15% discount when purchased with a canvas print.

Choose from a selection of high-quality float frames.

We also have various paper giclée print sizes to suit your space, starting with an original scale (26x24) and 16x20 for easy framing. Have a specific size in mind? Just drop us a message – we'll be happy to assist you!

Whilst our sales are currently limited to North America, we're working diligently to expand our reach and ensure a seamless experience for our valued fans worldwide.

Can’t wait until then? Let us know and we’ll see what we can do for you.

Close up of the paper giclée print.

Your purchase not only brings the enchanting beauty of "The Sycamores" into your home, but supports the Walter H. Everett Foundation in preserving original works and celebrating this remarkable artist's legacy.

Shop now and transform your space with a touch of timeless artistry.

P.S. Don’t worry, the highly anticipated book release is still in the works – keep an eye out for updates, as we're working hard to make it a reality! 📖

Part 3: The True Believer (1922 - 1935)

By Kevin Ferrara

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Though the first two decades of his career were marked by fame, experimentation and a youthful joy in technical virtuosity, Walter Everett had only now and again shown flashes of the true extent of his gifts on the national stage. In truth he had spent the majority of his time since gaining fame rushing work out of his studio; conjuring too many rapid-fire vignettes and overnight monotypes to count. His work was always enjoyable and professional, he was that talented and proficient. But not even the finest talents can do timeless work under such constantly stressful and churning circumstances. 

That changes beginning in 1921, a watershed year not only for him, but the illustration field as a whole. The magazine market had come out of a slump caused by the economics of the first World War and was flying high again. And now the top periodicals were starting to reward better work with the advent of new young stars such as Dean Cornwell and Norman Rockwell, both of whom created fully composed and finished paintings for their commercial clientele. In this suddenly reignited field Everett seems to have decided that it was time that he fulfill his potential and compete in the top echelon of illustrative art. To accomplish that, however, he had to slow down and reinvest in himself again as an Artist. He had to get back to drawing and dreaming. He had to treat his illustration work as Howard Pyle envisioned it; as a high destiny.*1 He even moved back to the Howard Pyle art colony in Wilmington to be alongside those stalwarts who had remained – like Frank Schnoover and Stanley Arthurs – who had kept the Pyle faith alive after his death.

Thus, from the early 1920s until the end of his career in 1935 we get the mature and fascinating artist we all recognize today. Everett’s work undergoes a decisive change in character and quality. He makes fully composed easel pictures only, abandoning all the quick and tricky work that he had allowed to become his bread and butter in the prior era. His work becomes simultaneously deeper in poetic feeling and more meticulous in its craftsmanship. His influences so integrated they feel entirely backgrounded, as his own artistic ideals and personality take center stage. 

He becomes more keenly aware of the “Total Effect” of the picture, and less concerned with mark-making for its own sake. He works through a period of dazzling showmanship into a quieter, more concise mode. His figures loom larger, his silhouettes get flatter, yet his pictures seem more spacious somehow.

He seems to have revisited Howard Pyle’s ideas and suddenly found new possibilities in them, new freedoms and inspiration. Howard Pyle taught that suggestion was the highest aspiration of art.*2 That less can mean more if it suggested more. So Everett began editing out anything from his work that could be suggested, clearing his work of the redundant and the lifeless. Which then left room for more suggestion. And so his work became broader, more silhouette-oriented and full of brilliance and aesthetic life. 

He becomes increasingly concerned with pre-visualizing his compositions, both dreaming them over idle days purposely set aside, and then diligently outlining them in preparatory drawings which he traced off to his canvases.*3

He became more specific in his choices, more concerned with the judicious selection of elements for his pictures and the quality of the drawing. Everything was used to contribute to the overall pictorial idea. He becomes more diligent about his referencing and draftsmanship, and increasingly analytical in sculpting his forms, more apt to nail the complications of drapery and musculature rather than guess at it and disguise his guesses with brushwork bravado. He paid greater attention to expressive space division, and balance.

The result of all this was that Everett, like many of the great illustrators and imagists, developed a kind of aesthetic dreamworld all his own; hypnotic, strangely beautiful and instantly identifiable.

But Everett’s newfound dedication to his art had its downside as well. Dreams and deadlines rarely mix well. And as his career wore on into the 1930s, as he became widely talked about in art circles *4 and sought after by top editors *5 he also began having trouble meeting the demands of his profession.  Stunning but unfinished canvases began piling up, some published, some not. He retreated into the hinterlands of Pennsylvania to a brother’s farm.

His output dwindled. But he kept dreaming. He loved nature. He painted bright poetic landscapes in watercolor, delicate visual haikus of flowers, stunning still lives. But with one last masterful set of images in 1935, his illustration career came to a halt.

Everett family lore has it that he made an attempt to switch to fine art gallery work around the same time he left the illustration field. But he was rebuffed; denied entry because, he was told, he was only a ‘mere illustrator’.*6

Only in his mid 50s, the great painter-illustrator Walter Everett essentially stopped being an artist. And began breaking down. In a fit of despair, frustration or insanity – probably all three - he set fire to the contents of his studio. He watched the bulk of his life’s work, even the bulk of his life’s meaning, burn to ashes at his own hands.

Everett continued being, but he was no longer the same. He was still a fascinating conversationalist, and a keen appreciator of nature, he still entertained visitors and had a wide circle of friends and gave a few local art lectures, but he no longer made much of anything except arrowheads, chipping, eventually, a boxful. He smoked too much, became dissipated, and disinterested in daily responsibilities. Eventually the smoking killed him. A quiet, sad end to a life that had long since gone quiet.

The epilogue to his story, however, is interesting. After his death, his son found on the dirt floor of his father’s barn a small pile of monotypes, drawings, sketches, tearsheets, paintings, and printer’s proofs that had been left unscathed, spared incineration at their creator’s hands during that feverish ‘bonfire of the vanities’ moment. Among these discovered remnants, by some miracle, were a handful of Walter Everett’s very greatest works.

“1. Richard Wayne Lykes. “Howard Pyle, Teacher of Illustration,” Pennsylvania Magazine of History and Biography, July, 1956, 369.
2. Allen Tupper True. Unpublished Notebook; Notes Taken In the Class of Howard Pyle. August 15, 1904. Manuscript.
3. Benjamin and Jane Sperry Eisenstat, “Methods of the Masters: Walter Everett,” Step By Step Graphics, January, 1988, 109.
4. Henry C. Pitz. “Howard Pyle – Writer, Illustrator, Founder of the Brandywine School” 1975, 222
5. Henry C. Pitz, The Brandywine Tradition (Boston: Houghton-Mifflin, 1968), 165.
6. Mark Everett. Private conversation with the author. New York City, Society of Illustrators, 2016.”

Part 2: A Unique Talent Makes His Mark (1911 - 1921)

By Kevin Ferrara

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Walter Everett’s early professional work was as mercurial and interesting as he was. Whereas most illustrators kept at one style that relied on a single technique, Everett was adept at a host of different styles and seemingly any medium he turned his hand to. He produced professional works on deadline in oil, watercolor, gouache, tempera, charcoal, and pencil. It didn’t seem to matter what pigment or substrate he used, when he put his mind to it, every method yielded to his artistic will. He was that rare combination of born artist and born craftsman. 

While thriving in the highly competitive illustration market, Everett constantly pushed his already formidable technical expertise. He hand-cut and shaped his painting brushes to ensure the quality and fidelity of his tools for those key moments of ‘action’ at his easel.5 Obsessed with the language of brushwork, he became a virtuoso of laying down in one go confident and descriptive paint strokes, creating work that feels as fresh as an impromptu performance, even on the poorly-printed page.

Everett exhibited his mastery most theatrically via monotype; a method of painting on glass in sepia and pulling off a print before the pigment dried. Everett may have been the only illustrator in the Pre-War period with the intense imaginative concentration, accuracy of drawing, and blazing speed to pull off this technique professionally. It was one of his calling cards, and his editors at Curtis publishing drew attention to it by crediting such illustrations ‘Monotype by Walter Everett.’ 

Clearly an avid museum and exhibition-goer, Everett was passionate about both the current state of the fine and decorative art world and its deep plumbing of art history. He had a voracious mind; appreciated and analyzed keenly. He saw all around him the world of modern culture and Art bursting with interesting new ideas worth pursuing. And Everett had no fear of experimenting with his Art in public to incorporate these heady au courant influences.

He created beautiful pieces in the turn-of-the-century Art Nouveau style. He crafted graphic posters. He adapted Assyrian motifs, Egyptian decorations, Japanese Screens, Stained Glass Windows, Medieval Illuminated Manuscripts, and Blackletter Calligraphy into otherwise naturalistic work. He learned the lessons of Impressionism and Tonalism, and developed his own brand of Cartooning.

Everett was acutely aware of the merit of other artists too, besides the work of his mentor. He was heavily influenced by the thick decorative painting and early modernist abstractions and patterning of Frank Brangywn and the striking brushstrokes and sparkling rendering of J.C. Leyendecker and Henry Reuterdahl.

Yet with all this outside content pouring into him, he integrated it all. He was one of the rare few who could incorporate a multitude of styles and artistic eras into his work without losing what was unique in himself.

Everett became a star in the illustration world at about the same time that his great mentor and teacher Howard Pyle unexpectedly passed away. Following in his mentor’s footsteps, while still at the height of his powers, Everett began a parallel teaching career at his alma mater PMSIA passing on Pyle’s principles.6 With his top-shelf training and experience – and his innate gift for inspiring young talent - he had much to give his students. And he molded many callow artists quite quickly into the next generation of illustration pros.

Much of what is known about Everett as both a character and a talent comes from the reports of his students during his teaching days. Anecdotes attest to his personal magnetism, his whimsical nature, his penchant for dreaming and flights of poetic fancy. Also his constant roiling creativity, which resulted in a somewhat brisk intolerance for the mundane and rote. Everett was quickly annoyed at the walled-in classroom setting for the teaching of Art. As an antidote, he would readily take his class on impromptu field trips to experience the wonderment of sketching from nature first hand; of course accompanied by his observant guidance. Just as Howard Pyle had done for he and his classmates years earlier.7

As an in-class demonstrator, even half a century later his students would attest to Everett’s astonishing facility with paintbrush and charcoal. A true virtuoso, he dazzled his pupils at the easel and drawing board with his visual memory, speed and accuracy. His top students – fired by not only the quality of their teacher but how quickly they were advancing in their own art - became fiercely loyal to him. And as word spread of Everett as the natural successor to Howard Pyle as the teacher of the very popular “Brandywine-style” Illustration, his classes grew and grew.

For PMSIA, having Everett around was a boon; registrations skyrocketed. But for Everett – famous, driven, and quirky - the responsibilities began adding up beyond a sum he was able to tolerate. Giving back was taking too much of him. 

He left PMSIA, but briefly came back to academia to fill in at the Spring Garden Institute in New Jersey for a former student who had been called up in the World War One draft. But as the 1920s began, Everett clearly decided he needed to retrench as a creative force once and for all. He still periodically gave lectures on aspects of illustration art thereafter, but in the main he rededicated himself to being solely an artist.

“1. Benjamin and Jane Sperry Eisenstat, “Methods of the Masters: Walter Everett,” Step By Step Graphics, January, 1988, 110-111.
2. Henry C. Pitz, “Four Disciples of Howard Pyle” American Artist Magazine, January 1969, 38.
3. Benjamin and Jane Sperry Eisenstat, “Methods of the Masters: Walter Everett,” Step By Step Graphics, January, 1988, 116.”

Part 1: Master and Apprentice (1900 - 1910)

By Kevin Ferrara

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Walter Hunt Everett was born in the trolley town of Haddonfield New Jersey in 1880; at the dawn of what came to be called The Golden Age of American Illustration.

Even in early childhood Everett showed a fascination for artistic depiction; filling notebooks with precocious drawings of animals and outdoor scenes. While still a teen, he became a prize-winning student at the prestigious Pennsylvania Museum & School of Industrial Art (PMSIA). 1 But though that rigorous technical school gave him much needed skill for the burgeoning commercial art field of the day, Everett was at heart a poet and a dreamer; and to make a profession of that entailed a different kind of training entirely.

If any one man could be said to best represent The Golden Age of American Illustration it was Howard Pyle. A national cultural force, Pyle was not only the top illustrator of his day and a pioneer in the field – at a time when fine art and illustration were essentially one – he was also a teacher who trained and ushered into his heady and popular field many of the top young talents of the subsequent era.

Everett entered all three of Pyle’s popular illustration classes at Drexel University in the Fall of 1899.2 And there he found a true master under which to apprentice; an accomplished, dedicated Artist with both practical knowledge of the field and an artistic soul.

When Pyle decided to depart Drexel the following year and form his own School of Art catering only to the most promising hand-picked talents, Walter Everett was one of only a handful that made the grade. So in 1900 Everett attended Pyle’s Wilmington Composition Lectures3 and advanced summer program in Chadds Ford, Pennsylvania along with fellow soon-to-be-famous Pyle School alumnus, Frank Schoonover and Stanley Arthurs.4

Pyle’s mentoring was at turns completely pragmatic, then wondrous and elevated. He required that his students research their subjects thoroughly, costume their characters with authenticity and construct objects and settings with the expertise of a carpenter. But he also wanted them to be poetic and suggestive, standing against the explicit and matter-of-fact at every turn. Pyle was also against the academic, against the slavish drawing of classical statues or the copying of the tired nude model on the stand in charcoal and paint. He wanted his students to always be thinking pictorially. To dream, to live inside their pictures, to put their hearts and souls onto canvas. He wanted their works to be evocative and full of mystery and beauty and the appreciation of the natural world. But he also wanted them to get work done on deadline properly prepared for press reproduction.

With this level of bandwidth demanded of his protégés, obviously only the most determined, intelligent and imaginative young artists survived the gauntlet.

When Pyle deemed Walter Everett ready – only a scant year into his training - he ushered the twenty-year-old into the field with an assignment to illustrate for a classic anthology of Nathaniel Hawthorne’s short stories.5 Everett was shaky at first as he acclimated to the real world of pressure, deadlines and art directors, but quickly, almost preternaturally for such a young man, he professionalized and proved every bit the artist Pyle thought he might become.

Everett found steady work at the Curtis Publishing Company of Philadelphia, the top magazine outfit of the era, earning regular spots in Curtis’ top selling and most culturally impactful titles including, and especially, the revered Saturday Evening Post, the nation’s most widely circulated periodical.  Here he became famous for performing his illustrative and illustrious art week after week on the top national stage.

1. The Pennsylvania Museum and School of Industrial Art (Twenty Third Annual Report of the Trustees). Philadelphia, 1899. Supplemental Report For the Six Months Ending May 31, 1899, 44.

2. Drexel University, Record Book, Day Students – Art Department, 1899-1900, 31. Entry for Walter H. Everett, Haddonfield, N.J., Illustration I, II, III.

3. Henry C. Pitz, “Four Disciples of Howard Pyle” American Artist Magazine, January 1969, 38.

4. June 6, 1900. Twelfth Census of the United States, Delaware County, Pennsylvania, Schedule No. 1 - Population, Birmingham Township (Chadds Ford), p. 51-A (stamped), enumeration district No. 140, sheet 5, dwelling 78, family 81 Walter H. Everett; boarder (with Philip Hoyt, Stanley Arthurs and Frank Schoonover).

5. Howard Pyle, letter to Winthrop Scuder, Editor at Houghton-Mifflin, September 20, 1900, Houghton-Mifflin Collection, Harvard University.

6. "Magazine Illustrators: Well-Known Artists at Play," The Saturday Evening Post, September 4, 1909

Preserving A Legacy: Announcing the Walter H. Everett Foundation

As the grandchildren and great-grandchildren of Walter H. Everett, we have been honored to share his work and protect the handful of illustrations remaining within our family. The reception by fans of Walter’s worldwide to our social media pages has been nothing short of astounding to us and we are so glad to know his legacy continues.

Today, we are excited to announce both the official formation of the Walter H Everett Foundation as well as the gift of The Mark Everett Family Collection to the Foundation. This collection includes all 65 original works and early edition prints previously owned by Walter H Everett’s grandson and his wife, Mark and Gloria Everett. Through their generosity and foresight, this new institution and the founding gift ensure that Walter's legacy in illustration and American art will be preserved and celebrated for generations to come.

The mission of the Walter H Everett Foundation is to preserve, enhance, and promote the collection of works by and artistic practices of Walter H Everett for the benefit of American art history. As a 501c3 private operating foundation, we are governed by an independent board of directors and able to accept donations of original works bequests, and operate programs to make these works available to the public. This means that collectors and Walter’s fans can make tax-deductible contributions of artwork as well as money and other gifts to support our mission.

We also have a shiny new logo to unveil! The logo was inspired by Walter’s iconic “E” monograms that he used throughout his early career. It blends some of the more iconic curved elements of the 1910 version with the tapered serif bars of his later harder edged design. Thank you to Ken Dille, great-grandson of Walter H Everett and designer with General Design Studio, for collaborating with us on the design.

As a family, we talked a lot about the highest purpose for art and stories in our care. We feel a big advantage to having all the works stay together was being able to see his process in crafting the works and his evolution as an artist over his career. So it was critical to us to make sure that we didn’t see this as personal treasure but we see ourselves as stewards of a great gift, especially because of the interest we have received by artists worldwide and because the fires taught us how delicate this collection is.

One option was to donate the works to an institution that already exists, for example, a museum. Through talking with established institutions, we quickly came to realize that the reality is that although we could be confident in their care, Walter's work would probably be fated for the archives. There simply isn’t enough known or a relevant enough case for his work in the history of illustration to allow for its permanent display and most museums don't have the resources or bandwidth to do the curatorial footwork to research a relatively obscure artist, no matter how masterful.

So, with some time on our hands during the pandemic and the generosity of our founders, we thought “This is a great ‘plan b’” and decided to see if we couldn't do some of the leg work on our own – that's where the idea of a private foundation came up.

So far we have used our limited resources to commission high-quality scans of the entire Mark Everett Family Collection as well as several loaned to us by other descendants, we have professionally restored one especially delicate work that was gifted back to the collection, we have moved all the works to a top secure climate controlled facility, and we have been maintaining our Instagram and Facebook accounts to share these illustrations with the public.

As for what’s next… We hope to continue finding new ways to create meaningful opportunities and connections with Walter’s audience through virtual and live seminars, educational videos, intimate showings, partnerships and exhibitions, and high-quality reproductions and products for sale. We can’t wait to show you what we have in store!

And a sincere thank you to everyone who has been a part of our growing community - you are why we do what we do.

Hit “follow” on our blog to keep up to date, donate, and support our mission.

Fourteen New Images Released

We are proud to say that all existing works in the Everett Family Collection have been professionally scanned and uploaded to the Collections page of this site! Be sure to check it out. As we continue to source the original publication information for these and all WHE works, we will update the site so stay tuned for additional notes and a complete bibliography. This would not be possible without the research and passion of our friend Kevin Ferrara who has generously shared his entire catalog of original research on our great grandfather, Walter H Everett.

Limited Edition Prints Available

The Everett Family Trust is releasing a limited number of museum-quality original scale canvas prints from the family’s private collection. Proceeds from these sales will be used to conserve works in the collection as well as advance public awareness and access to Walter H Everett’s artistry and body of work.

Currently, we are releasing Pan Playing Flute (up to 25 prints will be released; $1,500) and Trees on the Farm (up to 50 prints will be released; $1,250) available. All our prints are a 1:1 scale using museum-quality pigments on 100% cotton stretched canvas. We also offer the option to have the prints pre-framed with solid wood floating frames for an additional $300-$350. Prices do not include shipping and tax.

Did you have your heart set on another work? Let us know! We are always interested to know what fan favorites are to help us in selecting the next releases. Pricing will vary from work to work.

If you are interested in learning more, please contact us!

New Color-Corrected Images

Recently, the Everett Family Trust has started a process of professionally photographing the collection. Now you can see updated images with true color and clearer resolution of several works on the Collection page! Fans can now see the works as they were meant to be seen, thank you to generous collectors who have purchased limited edition prints to make this project possible. More images will be posted over the coming months.

Newly photographed works:

• Pan Playing Flute

• Trees on the Farm

• Nativity Scene

• Three Nereids on the Shore

• Poor Family

• Field of Wheat

• Old Man Tells Young Man

• Skirmish on the Ship

• Boy with Hat (sketch)

• Girl in a Bonnet (sketch)

• Head of a Woman II (sketch)

• Vultures I (study)

• Walter Chipping Arrows by Frederick Sands Brunner

Follow Us on Facebook and Instagram

You can now enjoy regular doses of Walter’s work and updates on collection news by following us on Facebook and Instagram!