Recent Website Updates

Painted in the summer of 1932, this painting was never sold by RSW. It hung in his home throughout his life only to be sold upon the settling of his estate. Its name was always been unknown until now. There are 3 entries to his '32 diary in which he calls it, "Red Barns," with captital letters. It has been removed from the Unnamed Gallery. Visit and see the diary entries...

These two works of art where made in the summer of 1932. Both are from Whitingham, VT near Mount Haystack and along Sadawga Lake. The lake and a patch of cleared trees on the side of a hill appear in both but from very different vantage points. One from Kentfield Road, the other near the old common. We added a graphic to illustrate.

While Woodward was making as many as 15 trips to Whitingham, VT in the summer of 1932, he managed to squeeze in a day to head to Rowe, MA to paint what we believe is Mountain Shoulder near the Hoosac Tunnel. We suspect it was the late start to his day that changed his plans to paint closer to home instead of Vermont.

We have added a new image of a letter written by RSW to this painting's buyer along with its transcription. In the letter, RSW, gives telling insight to his perspective regarding the value of intimacy and close contact with a subject. It is a prevailing theme in his work for which critics often noted in their reviews.

We have added a new image of a letter written by RSW to this painting's buyer along with its transcription. In the letter, RSW is responding to what we believe is a question the owner has asked regarding why there are no notable peaks in the distant hills. RSW descibes the vantage point from his Heath studio as facing southeast towards the Buckland Hills, confirming our suspicions.

This hand-drawn illumination made during Woodward's commercial artist years (1911 - 1917) was discovered by Janet Gerry who has an uncanny ability to locate RSW's work while doing something unrelated. The verse is borrowed from Robert Louis Stevenson's book of poetry, Underwood, Chapter XI, "To Will. H. Low.

It was time to update a number of the sepia prints in the estate. Many of the images we had were scanned nearly 15 years ago so we set out to re-capture them in a higher, most crisp resolution. This painting is one of a number of new scans. Enjoy!

It was time to update a number of the sepia prints in the estate. Many of the images we had were scanned nearly 15 years ago so we set out to re-capture them in a higher, most crisp resolution. This painting is one of a number of new scans. Enjoy!

It was time to update a number of the sepia prints in the estate. Many of the images we had were scanned nearly 15 years ago so we set out to re-capture them in a higher, most crisp resolution. This painting is one of a number of new scans. Enjoy!

The only image we have of this painting is an old grainy photograph. However, that photograph was scanned for the website nearly 15 years ago and we made every effort to re-cpature the photo in a high resolution and better contrast and depth.

It was time to update a number of the sepia prints in the estate. Many of the images we had were scanned nearly 15 years ago so we set out to re-capture them in a higher, most crisp resolution. This painting is one of a number of new scans. Enjoy!

We now have a new image of this painting which was added 6 months ago but the sepia image we had has always had a glare in the lower portions of the print. We re-captured it in hopes of providing a clearer respresentation of the sepia. There is still a glare of sorts because there is a sheen on the image but the new scan is better.

It was time to update a number of the sepia prints in the estate. Many of the images we had were scanned nearly 15 years ago so we set out to re-capture them in a higher, most crisp resolution. This painting is one of a number of new scans. Enjoy!

We have a lovely color picture of this vibrant painting. Over the past couple of years we have been adding the sepia prints to the artwork pages and with that have now added this paintings sepia to its page.

As we work to build the new Sketchbook Gallery we have been releasing new, never before seen sketches featured in the gallery. Here are some more...

Peltier Farm, Chalk

Rolling Pastures

Shaded Farm

Simple Hills

Strength of New England

It was time to update a number of the sepia prints in the estate. Many of the images we had were scanned nearly 15 years ago so we set out to re-capture them in a higher, most crisp resolution. This painting is one of a number of new scans. Enjoy!

We have two images of this painting, (1) is its sepia which has always been used and the other (2) is from the Boston Museum of Fine Arts. It is a simple, but crystal clear black and white photograph. We have decided the because of its clarity we would use the photo with credit given to the Boston MFA.

It was time to update a number of the sepia prints in the estate. Many of the images we had were scanned nearly 15 years ago so we set out to re-capture them in a higher, most crisp resolution. This painting is one of a number of new scans. Enjoy!

In transcribing Woodward's 1932 personal diary we have learned that he was incorrect about the buyer of this painting in his painting diary. This information is supported by another source and so we have updated the info regarding its buyer... The surprise is it was bought by RSW's bookplate client Francis Meredyth Whitehouse! Read more...

As we work to build the new Sketchbook Gallery we have been releasing new, never before seen sketches featured in the gallery. Here are some more...

Back of the House

Below the Orchard

Big Chimney #2

Big Chimney #3

Blue Hills

This chalk drawing was brought to our attention by its current owner. Though we will work on getting a better picture please enjoy this new addition to the catalogue.

This 1937 painting has a perspective of Mount Equinox never before seen in RSW's work.

Fitting with our effort to provide the best images of avaliable. We recently re-shot new pictures of this early Woodward paintings of the interior of the Keach home using a new technique to reduce the glare from the high gloss RSW used early in his career.

Another new image from the estate's sepia collection (the previous was A Hill Road below). This painting is one of several "Editorial" paintings RSW painted between 1929 and 1933, at the rise of the American Art Scene Moverment. The painting was widely exhibited culminating in it being invited to the Art Institute of Chicago in 1936 by its director Robert Harshe.

As we work to launch the new Sketchbook Gallery we realized that it would be a good idea to start rolling out the individual pages of the new ones for you to enjoy. We start with the sketches we qualify as "drawings." This is to say they had to meet a criteria of completeness without evidence of hast or brevity. This includes shading and skies with clouds. See the next column for links...

Barn Along the Orchard

Camel's Hump

Clouds Over Equinox

Deerfield Church

Diginity of Age

Distant Drama

Down a Shaded Road

Endless New England

Haying Time

Low in the Valley

Majestic Farm

Some of RSW's early paintings were painted in a style of impasti so heavy on the brush it has ridges that pick up the slightest light from any direction, New Hay has been our greatest challange because of the dark browns and blacks used to paint the inside if the Keach barn. The glare from this painting is so distracting it makes it difficult to fully appreciate its vibrancy. To date this is our best effort yet...

Not only did we just recently correct some information on this page but we have also come across prints the allow us to offer the viewer a better look at this painting.

We recently heard from the owner of this wonderful 1927 chalk drawing. It was featured in the October issue of McCall's magazine accompanying an essay written by Corinne Roosevelt Aslop, cousin of Eleanor Roosevelt. We always wondered how this came to be but now seeing how it was drawn suspect that RSW drew it specifically for print.

For some time now, we of extended an offer to the owners of unnamed Woodward's. In Woodward's time he permitted buyers of his work direct from his studio to name the paintings they were purchasing if not already named. In that tradition we offered owners of unnamed paintings to select a name so that they may join the regular alphabetical galleries. This is the first painting to take advantage.

In the constant pursuit of digitalizing the archive of Woodward's papers and documents, we have also been updating the images on the website in new high-resolution pictures. Regarding this particular painting, RSW commented in his personal diary in 1932 as he was painting it. We have updated those images and transcribe them for your convenience, enjoy!

New color pictures of this wonderfully bright and vibrant Heath pasture and Beech Tree scene.

New, clear and crisp pictures of the early 1920s painting. The picture shows a better look of the pink reflection on the snow in what is probably a setting sun.

Another photograph that appears similar to paintings of the same subject. This one in particular is early 1930s, years before the hurricane of 1938 which wiped out the Charlemont Bridge featured. All but one of these paintings were painted after the '38 storm.

Found in a series of color slides left in Woodward's personal items is this previously unknown south window painting. The slide had some damage but it is clearly different from the only other known south window painting June Sun. From the same slides we included to photos of the south south window arrangements, in color, as it was in the 1940s.

We have always had a black and white image of this painting. What we didn't know is that the black and white prints were actually color pictures printed black and white. The color images were made into slides recently discovered in RSW's personal items. As an extra treat we added a color pic of a studio dinner table setting and arrangement.

Among the recently discovered color slides was a photograph of this barn appearing much the way it does in RSW's 1947 painting but from a different vantage point. The color pictures are from the early 1940s and we bleieve it was 1942 to be more precise.

When revising and adding new pictures to Bennington Church page (see below: 2 rows down) we were reintroduced to the 1940 Yankee Magazine feature on Woodward. In that article was a picture of this painting. We already had a sepia image of this painting but it a bit blurred. We added the magazine pic for its better focus.

Among the recently discovered color slides was a photograph of Woodward's Heath Studio garage from almost the exact perspective found in these paintings! Another excellant example for our exploration into what role photographs had in Woodward's work.

For the first time ever, we are sharing more intimate pictures of Woodward left in his personal items after his passing. HERE we share 3, never before seen photographs of RSW painting "The Hills" from his beloved Heath pasture, under the Beech tree, near the edge of the ledge.

Another never before seen photograph of Woodward in his '36 Packard painting this artwork. You cannot see RSW very well. The picture was taken from a distance but reading his diary comments adds a great deal of importance. This picture was taken, probably by Dr. Mark, the day before he was to leave for the Air Force in 1944.

In an effort to digitalize every photograph left to Woodward's estate from his personal items. We are finding a few pics related to, if not exactly but close enough, in perspective to known paintings raising the question of how much RSW used photos in making them. This chalk drawing, however, is what we believe to be emblematic of RSW's larger philosophical view.

Another couple of photos found in RSW's personal items of the balcony at his Southwick Studio. One, in particular, has a similar perspective but the table setting arrangement is different, the other is from a different vantage point but shows a similar table setting.

As part of RSW's personal items we found 2 photos of the Potter Homestead in Greenfield, MA. The pinting was to be part of the Garvin commission which consisted of mostly churches. This is the only home we know of painted. Also part of the Garvin commission is the Bennington Church (the next row down).

In light of new information regarding RSW's good friend actress Beulah Bondi, particularly from Helen Patch's recollection we have revised the page devoted to her adding more specific details to when Bondi visited RSW and reported some exciting news about her estate./

As we continue to pore over RSW's papers we learn of more exhibitions. The two most recent additions are significant... (1) 1926, Josephine Everett lent two Woodward's to the Los Angeles Museum of Fine Arts. This is much earlier than we expected the two to have had a relationship. (2) 1937 the Inaugural Exhibition of Mint Museum, Charlotte, NC. Today one of the most highly regarded museums in the country.

The next three updates are related to our attempt to digitalized ALL the images we have from Woodward's personal item left in his estate. In the collection we located a photograph that nearly mirrors the subject matter of these to related paintings of Monadnock from East Jaffrey, NH.

In old photographs in RSW's personal items we found these two pictures of the Bennington Church, one of which looks to be very close to the painting's perspective raising the question of how much Woodward use photographs to paint artwork from his studio.

In old photographs in RSW's personal items we found this photograph of the "Goodnough" house in West Halifax, VT. It was the neighboring farm to his beloved Halifax House. The picture appears nothing like the perspective of the painting, however, we do wonder if it may have been used as a reference point to paint the scene.

The website has been busy digitalizing ALL the pictures in the estate scrapbooks. In that process we came across this old pic of the Griswold maple trees and sugar house seen in these works of art. The picture has been added to the pages.

Digitalizing all the pictures in the estate's scrapbooks we discovered a picture of this painting better than the one we had and have now updated the page.

Digitalizing all the pictures in the estate's scrapbooks we discovered a picture of this painting better than the one we had and have now updated the page.

The website has been busy digitalizing ALL the pictures in the estate scrapbooks. In that process we came across this old pic of Woodward in his Packard painting en plein aire this very piece. These pictures are some of the best samples we have of him working from the touring car. Also, he just so happen to note the pictures as , "Beecher's Pasture (Leyden)" and so we have changed the name of this Unnamed painting to reflect its location.

Digitalizing all the pictures in the estate's scrapbooks we discovered a picture of this painting better than the one we had and have now updated the page. This image has been difficult to get a true representation of its appearance because all we have is the magazine cover on which it appeared and the colors used in print (particularly the yellow) is a bit over saturated, as well as, faded by time. We will continue to work to get it as close as we can.

Digitalizing all the pictures in the estate's scrapbooks we discovered a picture of this painting better than the one we had and have now updated the page. This image stamped, "Oct 88", has been re-scanned and is better than the previous one. Unfortunately, the image is still not as high a quality as we would like.

This painting once appeared on the original website and in the process of updating and redesigning the website... got lost in the shuffle. It is the ONLY painting we have come across in the 11 years of the new design to have been misplaced. Leaving no piece of work behind, it has now been added to the Unnamed Gallery where it belongs.

Helen is a friend made from his childhood and became a life long pen pal. If not for Helen's foresight to save her letters from RSW we would know next to nothing about RSW's personal views and interest. We would know so little about his recovery from his accident... A page dedicated to her has been LONG over due! She is in her own right an amazing and accomplished person, please enjoy our story...

This new illumination was recently discovered in papers related to Helen Ives and later given to RSW's cousin Florence by her sister-in-law Anna after Helen's death.

Made for print, we believe while RSW was making his way as an illustrator, this piece is one which he also wrote the verse! RSW does not mention the publication this piece was published, nor the date.

This signed painting by RSW came up for auction online January 28, 2019 and sold for $600.

An interesting piece, we believe, this painting was made very early in his career, and most likely in his childhood. If this is the case, it is the earliest example we have of RSW spelling out his entire name to sign a painting. There is SO much about this piece that raises a multitude of questions and speculation...

Victor is one of the friends who was most likely with RSW the day of his tragic gun accident. Fast friends through their mutual love of literature and philosophy during their brief year together at Bradley. After graduating from the University of Chicago, Victor was in Los Angeles working for RSW's father as a secretary for the Briggs Realty Company. Victor went on to become the first head of the newly formed Political Science department at Stanford University.

After revising the Boston Theme Gallery to reflect our most recent research we also sought to amend the scrapbook story regarding the Boston trip RSW made in 1930. A critical examination of the Boston paintings raised a number of questions as to exactly what was RSW's complicated relationship with Boston itself. We attempt to draw out the relationship's value as well as its flaws. Both essays reflect our effort to put RSW's career and legacy into context.