Rosemary No. 1

Bevan applies transparent watercolor layers, reinforced by linear accents of black chalk and graphite that define forms and edges. A subtle graphite border frames the image, while a red‑ink grid overlays the surface, likely serving as a reference for scaling or copying the drawing elsewhere.

Created in the midst of World War I, the piece reflects Bevan’s ongoing interest in British countryside subjects. Its precise provenance prior to museum acquisition is not widely documented, but it remains an example of his early 20th‑century drawing practice.

During the 1910s Bevan was experimenting with water‑based media, integrating drawing and painting techniques. The inclusion of a transfer grid aligns with contemporary practices among artists who prepared works for larger formats or prints.