For years, it was assumed that this was an interior painting much like In The Sugar House, however, it is no longer believed to be so. We now believe this painting is the EXTERIOR of the Gray Sugar House RSW was making when it got too cold and windy to paint outside and he was carried inside to warm up. That, of course, led to him making the pastel that would become the oil mentioned above.

Brian and Larch are getting pretty good at being able to get the most out of an old photograph and this is a good example. When Brian learned the pic we have is from an old photo taken in the early 1980s, he realized the problem with the picture was that it was over saturated with yellow from the room's lighting. He adjusted the saturation reducing the yellow to get a better representation and showed it to Larch. Larch took it further (to show Brian up, he believes) and worked on it some more to bring out the true reds, blues and purples. While it is still a 1980s picture and the best we have. It now looks much more like the original chalk drawing.

This page has been so long over due. We have known for some time now that the Bennington Church oil painting had a sibling chalk drawing but no page was ever made for it. We offer a theory as to why the chalk was made but fail to point out that the pastels often give RSW an accurate rendering of the colors he will replicate in oil. It is a useful tool.

The first of three new pastel painting discoveries. From its name we have a good idea what painting it is related to and where it exhibited - the Southern Vermont Artist Association (SVAA).

This discovery surprised us a bit. It was seen in the 1942 exhibit program for the SVAA, and while we know there is a painting that once hung in the Equinox Golf Club's dinning room of the ninth hole. We did not, however, know about this chalk drawing.

This chalk drawing is said to be of the Beech Tree in Heath. We are hoping for some pictures soon. We can't wait to see this piece painted in his favorite month.

In Woodward's diary comments, he claims this painting never left the studio until it was sold. However, this is contrary to the facts and it seems inexplicable as to why this would be. This painting hung, alone on its own wall,in a place of honor in a special exhibit in Springfield in Novem-ber 1944 that also featur-ed four other of the country's best painters. The issue may stem from the article we discover-ed... they botched Woodward's name! His middle name no less.

Also, we are finding more and more errors and omissions regarding the 1940s in the artist's painting diary that we have a theory about and will lead to an essay.

Add this painting to award winners! Again from an article we trans-cribed this week, we learn that this painting, which once hung in the London Embassy, is also an Award Winner. It won an Honorable Mention award at the 1941 annual Jordan Marsh Co. event. Again, not mentioned in his painting diary entry and inexplicably, the program for that year is missing from our collec-tion. We have added it to the Awards Gallery and updated the page to add the honor.

Again, this is another example of Woodward's painting diary falling just short on important information.

This page was updated because it was next in line in our audit project. Coinciding with the audit we had located an invit-ation to the re-dedication of East Poultney Church. Woodward was a popular guy with Vermont church-es in 1937. He has been commissioned by Francis P. Garvan to painting historic, architecturally and historical, churches. This was prompted by RSW's painting, Enduring New England, that has the original Marlboro Me-eting House building. It burned down the next year and its architect for the new meeting house used RSW's painting to help in his design and this bookplate honors his contribution.

We cannot even begin to explain how this new image of an unnamed painting got lost in the mix of things, but we have had it for at least a year. A new page was made for it and it simply fell through the cracks.

It is a unique painting made from a perspective not seen in any other canvas. It gives a terrific look of the landscape between Southwick and its neighbor to the north. RSW made numerous paintings of a similar scene but did so from his studio's artists north win-dow. In this piece, shows the gully separating the properties with Holsteins grazing on its slopes.

This page got updated as part of our ongoing audit and update of the website. Not all updates make this list. This canvas did for a couple of reasons, the first being, it is such a unique brush-style for the artist to use. It is actually very similar to the celebrated painting also in this monthly update, Snowing on the Hill, and minimalist for the artist known for his detail. It is very refreshing. We ALSO managed to pinpoint the location from where RSW positioned himself to make it.

Talk about two paintings having very different fortunes. Woodward con-sidered both among his masterpieces, yet one ended up never being sold and remaining in his personal collection. The other is one of his most traveled, recognized, and one of the most frequent-ly mentioned in news-papers at the shows it appears. It ends up in the collection of a famous person and eventually a museum. But the two paintings are #1 and #2 of the most exhibited Keach Farm-themed paintings, as well as, focused on the family home and NOT the farm.

The update of these two pages is a by-product of our work on the Keach barn interior paintings as we are in the midst of doing a complete ac-counting of the Keach-themed paintings.

The first of six, maybe seven painting's of the Keach barn interior. It is a pastel painting the artist called chalk drawings.

The second Keach barn interior painting is the largest and went into the private collection of a famous person in Boston. It is also the painting by which the next, smaller version, was made.

A smaller version of Old Rafters, this painting never exhibited and was kept by the artist in his personal collection. The reasons are unknown to us.

We believe this was made specifically for the Littlecote exhibit which was his first in Eastern New York and the new Myles Standish Hotel art gallery in Boston that followed. Another first, the Standish event would be the first of many shows at the hotel.

Of note, however, is that we needed to strike the entirety of Woodward's diary comments for this painting which he mistook for Old Rafters. We have found errors in the diary as we go through this process but for him to forget a painting equally as important to the one he is mistaking it for is a big surprise, even to us.

This pastel painting appears to have been made specifically for the show it appears, the 1931 Tryon Gallery Exhibit at Smith College. Much like the 1929 Pychon event where the artist featured chalk drawings with their oil counterparts. This piece hung with Dusty Rafters at Smith.

Nine years later this painting appears seem-ingly out of nowhere to hang at the Grand Cen-tral Art Gallery in New York City and Woodward makes no record of it in his diary.

This name/painting is as of now still unconfirmed.

Part of our brief J Gallery audit, it was the only artwork page in need of updating as the other four had been done prior to getting to the gallery. Nonetheless, we offer you a treat by adding pictures to the page showing what we believe to be the "falls" he painted in this interior woods painting.

Not only did we have this page listed in the wrong order, alphabetically, on the gallery page (we corrected it) but we believe there is enough evidence to conclude that this painting is not the same as the previously unnamed but now given a name by its owner Into the Woods.

There are two seasons for "haying time" and neither are in the Spring, yet the Spring was a pop-ular season for Wood-ward to paint at the Keach farm, all of which are exteriors. While we do not have a picture of this painting we offer you several options and even make one inconclusive suggestion of a strong possibility with what we feel is MORE than a coincidence.

These two paintings were included in our accounting of the Keach farm paintings. It turns out that both paintings were also popular with the reviewers. Last of Winter was called "arresting" by critic Royal Cortizzos, and critic Henry McBride admired all of the "enticing facts" of New England in November, so much so, he chose not to be hyper-critical of it being too much.

We have updated both pages to include the articles associated with these painting, as well as adding more pictures.

While examining the most exhibited paintings, this piece which is in the same collection as Keach's Stove, did not exhibit as much as Keach's Stove but it is where it hung that says all you need to know about how important it is, needed a refresher on it picture that had a distracting glare.

We used some of our new editing skills on the old picture and managed to reduce the glare and improve the image.

another painting in the same collection as Country Piazza and Keach's Stove with a terrible glare was corrected using our new editing methods. As of this moment, however, the image of Keach's Stove is the best it is going to get for now. We are working on getting a better image.

Back in January all of the attention was on the recently restored When Drifts Melt Fast. This painting is its sibling but facing down the steep hill on the road. It was also plagued with a terrible glare and we were able to reduce it without altering the color and look of the painting's true tones. We also updated the page.

This new gallery's idea was inspired, in part, by our "In November" gal-lery. The concept behind it is that Woodward was particularly interested in the moments just after the peak and before the impending change. We were not sure what would come of it. It really turned out more surprising than we could have imagined- 90 paintings making it one of the largest theme galleries on the website.

It is not perfect. We had to make some educated guesses. One of the key factors was, 'when did it exhibit?' If it hung at the So. Vermont Artist Assoc. in mid-August, it was not a late summer scene. If it exhibited in December, January, February or March thereafter- it was late summer.

This is embarrassing, but we have had a terrible picture of this painting on the website unnecessarily for so many years. That has been corrected.

Mining for a better image of this painting was the product of the "Late Sum-mer" gallery and our new found ways to locate Dr. Mark's original pictures, along with better methods of image editing. We wish we had a color image. It was a fav of the artist.

This is still a poor image because the original is poor, however, we got hold of its original scan and worked on it a bit. Hopefully, it helps give you a better sense of this "Late Summer" scene.

Again, another "Late Summer" scene, the first in a series of 3, maybe 4, similar paintings. It is still a blurry sepia, but that is because the negative we have is blurry. However, there was once a crisp negative of this painting because it was used twice in print and we included those images for you.

More of the same here... we got our hands on a better image of this sepia and made it better with our new techniques.

This pastel version of The Proud Elm also got an upgrade in quality with a more accurate color balance in a better high resolution.

The image of this painting, unfortunately is a copy of a copy. It was taken from an old faded photograph and up to now there was no way to get a higher resolution out of it. While the image is still poor you will clearly make out the sugar-shack seemingly located in the sugarbush. We had to do some homework as to the difference between a sugar grove and a sugar bush

It was our audit of this page that led us to the previous artwork above. Its name gave us a different picture in our heads than the articles describing it. This page was updated to included the definition of a sugar bush and some links.

This page was updated by our audit. It appears to be one of as many as six paintings inside the Keach barn; this painting being one of the earliest.

This painting was also part of our audit and while we did not need to make many changes, we included it here to draw your attention to what RSW said was, "One of my most perfect windows," along with an early color picture taken by his friend of the painting next to the arranged window!

This page was very outdated. We updated it to include RSW's best customer, Adaline Frelinghuysen.

Mislabeled as a chalk from the very beginning of the website. This paint-ing has been proven not only to be an oil but it is the painting we identified as New England in October just last month. It would make it the fourth painting in a series we thought stopped at three.

Lesson learned... there was one discrepancy when we linked a color picture to this painting name. Its current owner had done their won homework and traced the provenance back to its original buyer which dif-fered from the one RSW gives. Since we know of no example of RSW ever making such a mistake- we doubted the owner to our own embarrassment.

This painting and the one listed below have similar issue to that of Mountain Meadow and its sibling. It was also mislabeled a chalk drawing since the start of the website. Only for these two paintings, it is also likely that they are the same painting because we do not have the information we have for the other group. It complicates the matter that the difference is two transposed words.

Page undated to reflect the info above.

We found this new image in website founder Dr. Mark's copious volume of file folders. The image is a higher resolution than the previous but you will see that the problem with quality was not just the low-res image. This painting might be one of the artist earliest "hill road" pieces. Also found with the old sepia are two photos of the luxurious room it once hung. It is a great treat, enjoy!

The painting is still listed as unnamed as we work to confirm our suspicions.

As we always promise, we do all we can to get the best possible pictures of Woodward's work. It is not always possible. We publish what we have primarily to locate the paintings. Countless painting owners have reached out to supply new pics. While still not perfect, this pic is better than the previous.

Another find from the depth of Dr. Mark's records and it is much better than the previous.

We are not even a third of the way through web-site founder, Dr. Mark's file folders and we have caught so many trea-sures. This pic we grab-bed from a torn photo-graph of someone's home. We believe it was taken by RSW friend, F. Earl Williams. It is not the best image, BUT, one can clearly see that it is of what RSW called "the farmyard" along side of the "little red barn" from a perspective unlike any other painting of the same subject.

As much as we love redundancy, we have been trying to eliminate having double artwork pages for the same paint-ing. Usually, this results from the painting's name being changed later either by Woodward, for whatever reason or be-cause the owner has a name they like. None-theless, for this artwork we will two pages for the piece, for now...

... the new picture while better is still not great. However, this one has much better color bal-ance than the previous one.

This image is the same as the previous one, only with a much higher resol-ution. The biggest ob-stacle with the new web-site (2009) is that all of the original scans of let-ters A through I, were cor-rupted in their original PowerPoint slides made by Dr. Mark (2002). We have been trying to re-cover them somehow for years. But there may be a light at the end of this tunnel. We are finding some of the lost prints in Dr. Mark's file folders and we just located a cashe of old CDs!!! Cross your fingers.

Not only did we find a new better picture in Dr. Mark's files of this painting we have known of since the website's beginnings. We found a way to edit it so that we can now tell you what it is, if not what its name is.

A new high resolution sepia print image along with new thoughts as to why this is only one of no more than a handful of chalk drawings sepias.

It was also updated as part of our website audit where we are now in the "I" gallery, as is the one listed below...

This page was updated as part of the website audit we are performing.

Coincidentally enough, just a day or two after we did an audit of this page did someone email us a photograph of this painting signed and given as a gift by the artist! We have added the picture and provided some information as to the connection of the gift's recipient and the artist.

The next painting on the list for our audit turned out to be much more than we expected. This is the first of 3 very similar com-posite paintings made by Woodward between the winter of 1942 and some-time in late 1944. All three paintings are differ-ent sizes. Each one has tiny variations and differ-ences in the scenes that prompted us to update a total of 5 web pages which led to the discovery of two new images as well as the swapping of names of two images we incorrectly labelled years ago.

The second painting of this series of similar scenes put together by Woodward using two other paintings was intended for the same customer as the first and it was still not sold. Woodward drastically changed the perspective. He altered both the tree grouping to the left and stonewall on the right for a more dramatic effect.

However, we had used the wrong image to identify this painting because of how similar it is to the THIRD painting of the same scene with a slightly different perspect-ive and size! RSW gives us just enough inform-ation on each painting for us to put it all together.

Researching the issue above we found a new and better sepia image swapping it out with the old one.

Minor updates were made and added.

The third and more tempered painting of Woodward's composite series using the farm from Just After Haying Time and the road of Wind'll Blow Hill to paint this very romantic scene. It was not until we did an overlay of the two images we had of these painting did we discover we had them mixed up according to RSW's painting diary.

There has always been confusion surrounding this painting that border-ed on an existential crisis- it is or is it not a painting? Well, we have confirmed that it is. Not only that, we sort out the whole mess that is Woodward's Bos-ton paintings to learn that there are 6 Old Boston paintings, of 2 different scenes all exhibiting between 1931 and '35.

This painting is one of 3 of the same scene seen in the chalk drawing by the same name, In Old Boston. This was estab-lished after discovering this piece hung with the pastel at the Mt. Holyoke College event in 1931.

Three paintings, 2 oils and this chalk, all with basically the same name, does not make it easy on us to figure out what is what in regard to the Boston paintings but thank goodness RSW kept this pastel for himself. Otherwise we would have no idea what there is a second scene the artist also painted in oil as well.

This page was updated to reflect the new inform-ation established by the exhibition list. However, we did add a cool feature illustrating an image of the scene from In Old Boston, chalk, to make a list of all of the art work in the order we believe they were made and identify-ing what is the subject of the painting- - neighbor-hood or oyster house.

This painting owned by the estate has deterior-ated so much over the past decade it was pack-ed and stored until we could get it restored. One of the artist most cele-brated paintings, it was never sold and the rea-son may very well have been because RSW knew it would not last the test of time.

We have new pictures and illustrations that demonstrate the evolu-tion of this painting from a 40" x 50" to its current size of 24" x 36" along with before and after images.

A painting name we have no image for and only one record of (a news-paper article) comes into question. Is it really a painting or was the name mistaken for another painting omitted from the article? While we could not come to any answer with confidence, the questions tell an interest-ing story that links two paintings made at the same location, roughly at the same time- one with an unquestioned name and the other, nameless. The nameless one could very well be the painting by this name only we have no way of confirm-ing it.

We recently came across a picture of this painting's sepia print that is better than the one we were using. It was found in the pictures Larch took during his visit to the Smithsonian a couple of years back. It was found in the "Harold Grieve" papers of Woodward's collection.

We have updated the pictures, including a never before used photograph of Woodward at his desk taken by his friend F. Earl Williams, also in the Smithsonian. We also link the scene to two other paintings.

As part of our artwork page audits we are also re-thinking the inform-ation we have for each piece and connecting it with other related pieces. For this 1946 painting, sold to the artist dear friend Ethel Dow, the related piece is a sketch made of the same scene sometime in the mid-1930s. RSW mentions in his painting diary that Ethel had been saving for several years to buy a painting and that this one, "seemed to hold her choice of 'everything'," and we are wondering if he had arranged this all intentionally? Read the story and see how we put a few things together indicating a poetic fate.

This page has been reorganized and updated, however, there is now a question as to here the name came from because a label on the stretcher has a different name.

A painting name with no image, but not hard to surmise the subject and scene of the painting we suspect might have been made special for Wood-ward's first Smith College exhibition.

Another painting name with no image. Still, we offer some possibilities of what the subject of this chalk drawing may be...

The moment the idea came to us we realized it was necessary, for context, to assemble an image gallery solely devoted to Woodward's award winning paintings. There are twenty that we know of in his 37 year career. Two paintings won two awards each making it actually 18 total paintings. We pictures of 18 of the winners, and one is an image of a smaller version of the original. We also include the 3 paintings invited to 3 World Fairs as well as the four paintings to hang at the 1938 International Rotary Convention held in Boston.

One of only two multiple prize winning paintings by Woodward, this particular one held pretty high ex-pectation from the artist. In his painting diary he referred to his Honorable Mention prize at the Jordan Marsh show as "miserable" and made NO mention whatsoever of his First Prize for Best Still Life at the annual Ogunquit, Maine, exhib-ition. Oqunquit and Jordan Marsh are two of maybe just a handful of the most esteemed events in New England attracting the best of the best artist regionally and nationally. To receive any prize from either is a high and esteemed honor.

We have added new in-formation concerning the 1932 Boston Art Club ex-hibition. An article by art critic Alice Lawton offers new context to the im-portance of Woodward's 2nd prize.

The other double prize winning painting doesn't offer much in new inform-ation but deserves a fresh look.

A quick search of the buyer of this prize winning painting unearth yet another prominent owner whose name and occupation Woodward incorrectly cited in his painting diary. We made the correction and added new material to the page.

It has never been known what painting won 2nd Prize and the 1937 Albany Institute of History & Art event. Our research has revealed it was this painting. Not only that, Woodward was the only non-Hudson Valley artist invited to the show which was also exclusively held for artist who qualified for the The WPA Federal Art Project. We know Woodward qualified, however, to this day we do not know what he did with the grant, if anything.

We had the great pleas-ure to visit the So. Ver-mont Art Center (SVAC) in Manchester, VT. They are in possession of an early Woodward painting and the SVAC's Exhibi-tions Manager Alison Crites extended us the courtesy of pulling it out of storage for us to see and photograph. We learned some puzzling things that has left us in a bind as to what to do about it which is a good problem to have.

Thank you so much to Ms. Crites, the SVAC, and its accommodating and friendly staff!

We found an old color image of what we assum-ed to be The Village in Spring (1). Only after a lot of work did we realize: It was NOT. Moreover, it can't be April in North Hadley (2) either because that painting is the origi-nal painting cut down to be renamed The Village in Spring! The chalk drawing, The Village in Spring, (3) was believed to be mislabeled in an article, which we now believe was actually referring to the image we found. Leaving its name to be- April in the Village (4) once believed to be the mixed up name of the chalk and not a real painting. Phew...

When we began to update and make new discoveries regarding this work of art we also reached out to its owner who we had not had contact with in nearly 16 years. It was a shot in the dark. We weren't sure any of our information would still be good. We posted our changes and promoted them only to receive new images a few days later. Thank you so much!

This painting recently appeared on an art website. No name was given for it. It was refer-red to generically as "Winter Landscape." Yet, we had a corresponding sepia print labeled, Winter Peace. Unfortunately, there are 3 paintings by that same name. One is definitely not this painting leaving two others. However, this one does not match RSW's diary comment. Go to the page for more!

In the process of correcting two broken links on the New Silo artwork page we needed to check other related pages, which included reviewing an essay written by this website's founder, Dr. Mark Purinton in 2006. It has held up well over time. We did not have anything to add to it. The page just needed a reform-atting with some of the new tools we use throughout the website. I (Brian) informed Larch what I was doing and he (Larch) tells me he just came across new material his father wrote to add to the Silo page!

We love these sort of coincidences. We have had quite a few lately. They always leave us feeling like we are on the right path. Doc's new information is quite in-formative, educational, and entertaining. What's best about these changes is that they were inspired by visitors to the website who helped him with additional facts, for which we are most grateful.

We have known about this pastel painting for some time but we had NO idea what it could possibly entail. More than that, we believed the name was wrong. Did you know that there was once a wharf at the end of North Boston's Long Wharf? Or that it was called the "T" Wharf? We didn't. Also, we were under the impression it was made the year Woodward stayed in Bos-ton for a month- nope try again. Enjoy this read.

We are digging deep into the mountains of folders and files collected since the start of the website. The objective is multifaceted, however, one of the primary objectives is to find images once thought lost forever. This is one of those photos. More over, this is one of Woodward's favorite subjects and this piece the prize of the 3 we know and probably the couple of others we suspect exist.

We erred here... the sepia print we believed was an unnamed artwork was in fact the sepia print for After Rain.

Despite our embarrass-ment (we swear we look over everything we could think of) we want to thank the friend who caught the mistake and notified us. Thank you!

This sepia print of a painting was mislabeled a long time ago as the sepia for a painting named Aged Roofs. We recently found a better scan of the print and realized it was NOT Aged Roofs but an entirely different and unknown painting. Aged Roofs is a spring painting whereas this is a late summer scene. The better pic allowed us to see the sky was very different. It is the only "unnamed" paint-ing of the Halifax House we have.

It surprises us sometimes what we lose track of, such as a much better picture of a painting than what is currently on the website. This is one of those times... we recently came across an image of this painting from a few years ago that far exceeded the old, low resolution, image we had on its page. In updating the page we realized some other things missed when we last updated it over a year ago. Primarily, what makes it special in both time and space.

This new image of the 40" x 50" oil painting comes to us from the Southern Vermont Art Center in Manchester, VT. The painting was gifted to them by a close friend of the artist. It is a wintry and dramatic scene of the Keach Farm from a distance precar-iously hanging along the side of the hill. What is great about it is that it shows the entirety of the farm and we created a graphic linking the buildings to various paintings.

As part of our update of the artwork pages, we are adding whatever context we can find connected to the artwork. For this painting we have discovered clue suggest-ing that this painting may be more important than realized. First RSW gives us his most detailed diary entry describing the piece, there is no evid-ence it exhibits, and then he sells it to a VIP just months after his Heath Studio burns...

This 20" x 40" painting has the distinction of being one of Woodward's rarest 1937 to 1945 ex-periments. The artist was toying with assembling paintings using combin-ations of other paintings. He made a series of wide panoramic paintings which had become the fashion of the time to hang on the mantle over the fireplace. This paint-ing is one of only five and his most ambitious that has a link to another that did not work at all.

This artwork page has been updated and we learn from Woodward's diary comments that it is similar to Out of the Past. Only this version was sent to his friend Harold Grieve on the West Coast to sell. This was something the artist did when he had a subject worthy painting and the original was bought by a highly regarding VIP.


See also: Out of the Past for the VIP.

The advantage to going back and lending a criti-cal eye to each and every artwork page is just how much a fresh look can reveal. This pastel is a great example. Not only were we able to connect it to another, better known pastel and the same farm but the two paintings appear the same year, exhibit to-gether at the same show, and follow a similar traj-ectory across the country to land in the same state through different owners!

This chalk drawing comes to us from its own-er with a story that it was a wedding gift, given in 1915. There is no reason to doubt the story. For one thing, Woodward loved personalizing his gifts. For another, al-though oil paintings dom-inate our attention, the pastel paintings were there from the beginning in 1918 and getting more praise.

A trip to Stockbridge to visit their public library, and have some lunch at the country store of the Rockwell mural of Main St. fetched us a new picture of this painting. It also revealed some other things that clears up some confusion and confirmed other things.

This is the OLDEST (1921-'22) known painting of the Beech Tree on Burnt Hill in Heath, MA... by years. Read the story!

If it has not become ob-vious yet, it soon will. We are making a concerted effort, in part as tribute to Paul Harvey's, "... and now you know The REST of the Story," feature of his radio program to look at the backstory of certain paintings for greater context.

This painting is at the crux of an issue that plagues Woodward's lasting legacy in misunderstanding concealing his true interest.

This was updated a couple of months ago as part of our efforts to bring together and link exhibitions with their articles. This is one of those paintings that because we do not have the greatest of pictures, it gets neglected. If you do not know this, Woodward did not like neglect and so we gave this page some love. We connect it to another, better image we have of the same barns from a different angle along with the praise it got in a newspaper clipping.

With no image of this painting, it is one of the overlooked but its name is important, or rather we say opalescence is important to Woodward. But that is another story for another time. What is of import on this page is its role in drawing our attention to Woodward's handling of the situation AFTER his Hiram home and studio fire. On this page is the article where he addresses the rumors and misinformation being published in defense of his reputation.

Since the beginning of the website, this painting's name was listed as "Grey NE" due to contradicting inform-ation. The evidence was looking us right in the face but it was from a traditionally inaccurate source. It took us a while to comb through all of the information we have and found enough evidence to change the name and we share the story with you.

  We have long suspected that the names of both these paintings are related to the Golden Ratio more than the season of autumn (though still related). But the Golden Ratio (based on the Fibbiaci Sequence showing the natural proportions of distribution found in nature). Proportion is important to composition and you will find the aspect called the Golden Spiral in a large number of beautiful art work. Woodward is no exception to this, only with these two paintings the spiral is notably intentional, thus the name.

  We were inspired to illustrate the spiral found in these paintings when a woman visiting the 2022 Memorial Hall Museum exhibit with her daughter. Standing in front The Golden Slope, took her hand and traced the air in front of the painting revealing the spiral to her child. What surprised us was this same woman, with her daughter in tow, did the same thing with at least five paintings also on display. Today, we have identified as many as 60 others. Expect a Scrapbook page soon!

Another one of those painting stories that has an odd journey... from being bought by the new owner of the Halifax (VT) House, to being returned to Woodward, it's exhibition record, being part of the October 1946 issue of American Artist, to selling again at the Founder's Show of the Grand Central Art Gallery in New York City.

We are making an effort to offer some greater context to Woodward's early work. One of those facets is his interest in making Illuminations. It is an art form with a long history and tradition tied to the undercurrect of Woodward's faith and aspirations. It is important not to underestimate how powerful its draw is to him. It is primordial in its origin.

This painting's story is almost comically tragic. It is a personal favorite of RSW's. Its buyer dies just days before its comple-tion. It exhibits at a show with another painting of a familiar subject by a fri-end of Woodward's that gets more attention as well as RSW's ire. It is the first incident of RSW's defense of his brand from being co-opted by others.

In the first of what will be 3 parts, we introduce to you the evolution of Woodward's well-known and highly recogizable Window Pictures Paintings. Part I is primarily a build up, revealing the first "window" drawing we know of and how the letter that accompanies it holds many of the traits and values RSW will incorporate into his Window Picture Paintings nearly twenty years later. But that is not all! We will share with you who we believe is their inspiration and how she literally and later figuratively appears in the original paintings perhaps as a tribute to her if only unconsciously so. We will also connect RSW's early commercial work and intimate Redgate paintings as the being precursor to the art form.

When we heard that the Deerfield Academy was going to level the "little brown house" on Albany Street we took another look at this page and introduce the artist romantic tendencies.

We've added new clippings and some editorial commentary.

This is an important scene for Woodward only we are not entirely sure why. We suspect it holds an underlying poetic irony, a tragic one. Its story has prompted us to begin an essay exploring its mysteries but for now... enjoy our page update featuring Jeanette Matthews beautiful reviews.

In this story, we call Woodward out on being misleading. He claims "it never sold" but the truth is that he never found the right home for what maybe one of the most celebrated and beloved paintings in his entire oeuvre. Read the story of this award-winning painting and see if you agree...

Woodward made a num-ber of small errors in his Painting Diary. He didn't start the diary until the early 1940s and so a lot of it was from memory. In regard to this painting, however, he may have made his most egregious mistake. It was the wrong painting entirely! More surprising is who OWNS this painting.

It all adds up... the size matches, where it exhibited matches, and the good fortune of discovering a photograph from the 1928 exhibit where this painting is hung next to a known 40" x 50" painting is all we needed to prove this painting is the one on the cover of Country Life Magazine.

We have received a few newly discovered paint-ings through their owners who graciously send us their pictures. This signed but unnamed painting is an early 1920s oil on canvas. It is very unique in that it shows a slop-ing field being hayed and you can just make out the work horses and cart use to do it.

In our greatest indulg-ence yet, we explore what this painting could possibly be since we have no image of it. Furthermore, we also speculate on the sym-bolism that may be ap-pealing to Woodward that holds great meaning to the artist. It is part of our effort to explore a more intimate look inside his interest.

Our work in processing all of the news clippings and articles in Woodward's scrapbook is producing opportunities to reveal some things about paintings for which we have no images. This is a great example, and we offer two insights of import to its name and month.

More on our effort to get all the article in RSW's scrapbooks to the web-site, here we paid special attention to this chalk drawing. Jeanette Matt-hews of the Springfield Republican is a great art reviewer and one of our favorites. Note what she says about this painting...

We are making every effort to update many of the Scrapbook pages originated by Dr. Purinton. Here we add some new perspectives on Miss Mabel touting her as one of Woodward's best customers despite her limited resources. Something RSW's greatly appreciated.

We had the great plea-sure to be invited to take new pictures of this un-named and unsigned painting. There is a ques-tion as to if it is a finished piece. There are missing details RSW would have normally filled in. It was sold after his death by his family.

You may have already seen this painting of Woodward's Hiram Woodward Place barn and yard just after a snow storm because it appear-ed as the featured art-work for the month of February in this year's Buckland Historical Society's calendar.

If you want to know how special a painting was to Woodward- look at where he exhibited it. In one of the best examples of a painting being over-looked, this is it. This page best illustrates how important our work to fully vet and add all the in-formation we have on where a painting hung.

For years there has been confusion over this and its sibling Beginning to Snow. We know there were two paintings but which one appeared in the 1946 October issue of American Artist Magazine? It was this painting mislabeled as the other. See next entry for more...

We have had a picture of this painting for some time now but it was also used as the image for its sibling, Snow in the Air. That is now corrected. Also, the information on the page was either confusing or incomplete and so it has been updated and amended.

This lovely chalk drawing recently came up for auction. It was previously unknown to us but appears to be a fairly early pastel from RSW's career. The piece includes a hard border around its edge and is framed to feature this border something RSW stopped doing after late 1920s.

We know we just recently offered a new picture of this window painting (see 10-13-2021) but we always make every effort to get the best possible image we can. The original image had a distracting glare on its right side. This new image is much better, with less glare.

This had been a long time coming but we now have a new picture of this wonderful painting once owned by RSW patron-saint Mrs. Ada Small Moore. The painting itself is a "compostion painting" which to RSW means he assembled the painting from multiple others. Uncommon for the artist.

It has been a very long wait but a color image of this painting has finally come our way and we could not be more grateful. December Window is of the little east window in the Southwick Studio featuring the tiny bible, red oil lamp, crystal bird, blue bottle and a small geranium with the backdrop of a snow covered scene outside.

The image we have had of this beautiful painting taken from a 1938 issue of YANKEE Magazine was scanned about 18 years ago and no longer fitting for today's hi-res viewing platforms. Unfortunately, we had lost the magazine issue until recently. A new image is now available along with the story how YANKEE's misuse of this image delayed a feature article on RSW for two years.

Yet another painting (this a chalk drawing) featuring Mount Equinox in Manchester, VT has been located demonstrating how much RSW appreciated its majestic form. This chalk is from the perspective of Equinox Pond at the foot of the mountain. The page feature a topographical map approximating RSW's location along with a link to a picture of how it appears today.

This newly discovered chalk drawing of Mount Equinox from an area south of the mountain looking north features another popular element of RSW's work - from the perspective of a roadside looking over a mowing fence.

We added new pictures of a few of the items that appear in this still life. Its buyer was a friend of Woodward's, Dr. B. Thruber Guild. Guild was a local Shelburne Falls doctor for a time and we have added some information regarding him and his relationship to Woodward.

We have a new color picture of this epic 1928 40" x 50" painting. Up unitl recently we only had a sepia print. One of the first in a series of others of 40 x 50 paintings RSW made between 1928 and 1933 after taking a hiatus of 5 years not making any.

NEW PIC

We recently came across an old 8 x 10 photo of the house portrayed in this painting. In the pictue the house appears to be in serious neglect, the white paint nearly gone and missing window panes.. perhaps a decade or more after Woodward painted it.

What a surprise when we received this, much coveted, new color picture of A Hill Road. If you remember, we sought out this location two years ado and found the old sugar house still standing! To now have an updated image is a real treat.

NEW PIC

There has been so much confusion about this beautiful painting of Mount Aeolus in Dorset, VT. It is unnamed and unsigned. Left behind at RSW's Southwick home after his death and has fallen through the cracks. No more, it was named by Dr. Purinton prior to his passing in March of 2020.

NEW PICS

When we initially launched this page, the focus was primarily on the property's history and the studio. There was not much in the way of "how it was and how it still is" material. We have changed that adding a gallery of old pictures with new for a virtual tour around the grounds.

Unfortunately lost in the shuffle. New pictures of this painting that exhibited at the 2013 exhibition at the PVMA in Deerfield, MA never made it to the website. We have now remedied this oversight and have also adjusted its parent-painting New England Origins and its sibling High on the Hill.

This large (36 x 42), stunning view from above the Hoosac Tunnel, in Winter, looking slightly northeast over the zig-zag of the Deerfield River with the peaks of Boughton Mountain (west) and Mount Snow (east) in the distance must be a sight to see in person. Unfortunately, we only have this sepia from which we made a better scan. We have also added graphics!

From a roadside somewhere in the northeast corner of Bennington County, VT Woodward drew this lovely chalk drawing of Mount Peru. We suspect he was most likely in Dorset (VT) facing east.

This beautiful Spring in bloom painting of the Halifax (VT) House has given us a challenge over the years. We keep discovering new, "better" images than the previous version. Still, we have yet to be completely satisfied with the quality. Here is another small, incremental step closer...

Another challenging artwork for us (Aged Roofs the other)... we seem to continue to find better pictures than the previous version but yet they still fall short of the quality we would prefer.

  In December of 1944, an exhbition of Woodward paintings, arranged by F. Earl Williams at the home of Mr. & Mrs. Roger Smith, was held in Gardner, MA. For a privately held exhibit, it was quite impressive, featuring a number of Woodward's most popular and widely exhibited pieces going back as far as 1935.
  The website has recently discovered photographs taken by Williams of the paintings hanging in the home. Of the 14 paintings exhibited, we have pictures of 11 of them in their grouping seen in the next row below.

  These two unique window paintings hang together on a wall in the Smith home. April Sun is a rare painting of the south windows in the Southwick Studio. Frost on the Window is an equally rare painting of the north-side window of the Heath Pasture Studio.

  If not for Williams taking an early KodaChrome Color photo of Portrait of a Shadow we would not have a color image of it.
  From a Mountain Farm is a is a painting that for years it has been shown on the website with its sky incorrectly cropped. The full image has now been located and has replaced the incorrect one.

  Winter Song is one of the prize paintings of this show. It hung at the Golden Gate International Exposition in 1939, curated by RSW friend Harold Grieve. It is one of two paintings at this show that hung at an international show.
The Big Chimney is a widely exhibited painting featured in a number of prestigous shows nationally.

  The Road Home and Mountain Meadow, both chalk drawing also hold the rare distinction of being just a handful of "composite" paintings made by RSW from 1938 to '45.
  Winter Afternoon is a favorite of RSW's. It is a painting of the Nilman House in Buckland (MA) once owned by RSW's grandfather.

  These two paintings hung solo on their respective walls. The Little Red Barn is similar in stature to that of The Big Chimney. It was widely exhibited nationally for many years.
  Tranquility is a treasure. One of just a handful of Redgate paintings RSW re-painted in his Southwick years.

New color images of this wonderful autumn beech tree painting. What is really special about this painting is it is the only known "true foliage" artwork of the beech with it's leaves still attached. It's color illusttrates beautifully why the pasture was named "Burnt Hill."

Discovered in a series of F. Earl Williiams' photographs from inside the Southwick Studio. Displayed by the north window is this previously unknown painting. Our capture of this unidnetified painting is terrible but good enough to connect it to its painting should we ever locate it. View the photo we grabbed our pic from!

We always work to keep updating and getting the best images available and this chalk drawing is the latest. We have had color pics of this piece for some time, however, the resolutions today are much superior. It is the least we can do for you and one of our favorite chalks.

Discovered in a series io F. Earl Williiams' photographs from the 1944 private exhibition at the Gardner (MA) home of Roger Smith is this newly identified chalk drawing that is closely related to the composite painting New England in October.

Discovered in a series of F. Earl Williiams' photographs from the 1944 private exhibition at the Gardner (MA) home of Roger Smith is this painting previously mistaken for the 25 x 30 From a Mountain Farm. It is not. It is actually a 27 x 30 painting of the same scene but with a greater sky.

Also, discovered in a series of F. Earl Williiams' photographs, is a black and white picture of this painting. It was then that we realized our color image, taken from a color slide was reversed. It really was a 50/50 coin toss and we lost. The pics have all been corrected.

We have recently located a handwritten note in Woodward's personal collection of items that makes mention of this bookplate among others. It was not until now that we have been researching Woodward's patron-saint, Minnie Eliot, that we can possiibly identify the sender of the note addressed "Beverly Farms."

Discovered in a series of F. Earl Williiams' photographs from inside the Southwick Studio. Displayed by the north window is the famous painting, once owned by Robert Frost, When Sap Runs and on the floor leaning against the radiator is Apple Tree Window.

We have new high resolution pictures of this vibrant autumn painting. Along with the new images are pictures of the handwritten notes by F. Earl Williams attached to the back stretcher describing its location and some other facts regarding Woodward for the painting's owner.

This early1920s painting of the Keach's Farm is reminiscent of Woodward's gold metal winning 1930 New England Drama of the Toy Farm. We have a number of pictures of this artwork but each is lacking, that is, until we found one taken from the 1970 Deerfield Academy retrospective.

Not only did we finally find a picture of Mrs. Everett, we learned so much more about her, her family and philanthropic efforts, including the collection of art she gave to the Cleveland Museum of Fine Art named after a daughter she lost at a young age, Dorothy Burnham Everett. The real prize is that her home in Pasadena still stands and is in use to this day!

This bookplate by Woodward for patent lawyer, power utility pioneer and close associate of Nikola Tesla, Leonard E. Curtis, has always been an outlier. In no simple or reasonable way could we connect a dot from RSW to Curtis. That is until now... take a look and be surprise at just how close the link between Curtis and Woodward truly is.

Found in the basement of the Southwick home many years ago, it was misplaced and forgotten until now. Check out this unfinished 20" x 17" oil Woodward painted as a gift to someone but never finished. What special about it is the path of the tire tracks left by his car.

Perhaps one of Woodward's finest paintings. A prize winner from the 1941 Corcoran Exhibition. It has so much to it, a majestic tree, a home, on a street in historic Deerfield, with a young couple walking arm and arm. Our previous pictures, taken nearly 15 years ago, have now been updated with new high resolution images.

This quintessential Redgate dark woods painting, once part of the G.W.V. Smith Collection of the Springfield (MA) Museum, recently came up for auction online (Dec. 10, 2020). With that we finally have new color pictures of this beautiful piece and its back stretcher.

A collector of bookplates contacted us after having come across this book plate in possession of an art dealer in Europe. To our amazement, Woodward did make his friend Helen Ives a book plate after all. This was unknown to us, though we have the letter in which RSW proprosed a number of designs, we did not have a letter following up on the proposal.

Check out how much it resembles the Window Paintings he would make 15 to 20 years later.

In our constant effort to gather the best images of Woodward's paintings possible, we re-visited this painting 15 years after first photographing it. It is a beautiful piece and is one of the first Window Paintings painted by RSW in his then new Southwick Studio in 1937.

We include in our commentary a brief history of his Window Paintings and their evolution, as well as, many close up images of the window's arrangement.

Perhaps there is no more valued an asset to Woodward, especially in his early days, than his horses. He loved them like family. This page is a revised update to an earlier page created by the website founder Dr. Mark Purinton. In our effort to keep his vision alive, over the next year or so we will continue to update and revise his original work without losing his finger print on the site.

Special attention on this page is given to his lesser known horse Tsune (Soo - ney).

We took a trip to Manchester, VT, to get a lay of the land Woodward often traveled and painted. We went to the top of Mount Equinox, visited the Machester Country Club, stopped at Mount Aeolus and swung by the Robert Frost Museum in Shaftsbury. On a whim, late in the day, we set out to find a rock in Pawlet. How could we miss it, right? We found it but almost didn't. We took pictures of it with its autumn foliage as RSW painted it 85 years ago!

Over the past few years, anytime we are spending significant time at the Southwick Studio, we have been cataloging what we can. Many of the knick-knacks and bric-à-brac Woodward collected over the years, some of which appear in his paintings. On a particularly beautiful and sunny day we captured the Italian plate that appears in the painting and have added it to the page for you.

Our efforts to find and collect old newspaper articles related to Woodward he did not keep for himself inspired this new page. We have learned what caused the damage to a buggy we have had a picture of for years and RSW had a car much earlier than we realized and have discovered a picture that supports a story told by Boston art dealer Seth Vose.

Combining our effort with the memorializing and preserving many of Dr. Mark's original website pages and recollections... this page has been given a facelift. Addendums are separated from his words. What makes this page really special is his recollection of an incident when he was young and employed by RSW we believe may be the origin of their father/son like relationship.

While looking for something else, we came across a folder with pictures of this artwork better than what we had showing. Those pictures included close up images of the numerous features that makes this museum piece special.

The owner of this painting recently reached out to us with a new picture of this painting. We could not be more appreciative at how much support we receive from so many. Many thanks and enjoy the new image.

We have discovered a picture that supports a story told by Boston art dealer Seth Vose to the 1970 Deerfield Academy's American Studies Group. There was a question as to the veracity and likelihood of the story becasue it involved a two-horse drawn buckboard wagon. We now has visible evidence RSW DID own a two-horse drawn buckboard wagon.

We have added 6 links to videos found on YouTube relating to the Mt. Lowe Alpine Railway for your enjoyment. Most of the videos are taken from the original silent film footage shot by (Henry) Ford Productions in the 1920s. It takes you on the journey up the mountain starting with Echo Canyon and the incline rail all the way to the Alpine Tavern.

We are putting together a series of "Los Angeles Extras" pages starting with this page which tells the story of the breakthrough that led to answering the greatest obstacle to putting the story together - how Woodward and his two friends arrived in Los Angeles by 8:12 a.m. from near the peak of Mt. Wilson.

The second page in the "Los Angeles Extras" pages series examines whether Woodward and his two friends used an 1800s mule trail to pass the treacherous Eaton Saddle in the darkness of night or if a tunnel named Mueller Tunnel was available at the time. All sources claim the tunnel was created in 1942 but our evidence suggest otherwise. We also introduce the basic background as to the origins of the Sierra Madre trails and the 1850s gold rush.

One of the most prominent figures that crossed paths with Woodward on that fateful day in September 1906 is the current Chief of Police Walter Auble. Auble's story is equally tragic and we felt it is worth telling. To this day Chief Auble is the highest ranking police officer of the Los Angeles Police Department to be killed in the line of duty.

We recently discovered and old photograph of Winter Horizon hanging on the wall of the 1946 International Art Exhibition held annually in Springville, Utah. The exhibition continues to this day.

A recent discovery! We have known for some time RSW exhibited a painting at the 1919 Buffalo Academy of Art's Albright Museum but its name has been unknown until now. Our deep dive into newspapers.com has resulted in numerous new discoveries we will be slowly rolling out over the next few months. Though we have no image of the painting, we have two articles decribing its location.

In November and December of 1928, the North Adams Transcript reports on the Woodward exhibition of chalk drawings held at the home of Anna Koch. We have known of this event for some time, however, what we learn from these two brief articles is astounding! This piece is actually the inspiration for The Tutfs Living Room.

From two articles related to the 1928 Chalk Exhibition held at the home of Anna Koch in Greenfield, we learn that artist and Woodward friend Dorothy Day Tufts' husband Harold commissioned RSW to draw a similar piece to that of The Friendly Fireplace resulting in this much loved chalk drawing. We also learn there is also another commission.

In what will be the first of many... this unnamed chalk drawing is related to The Friendly Fireplace, The Tutfs Living Room and the 1928 Chalk Exhibition held at the home of Anna Koch in Greenfield. We now have a pretty long list of works of art made by RSW but with no name or picture we kept them to ourselves. We will now begin to make some space for these lost and forgotten pieces.

As a result of the discovery of the North Adams Transcript reports on the Woodward exhibition of chalk drawings held at the home of Anna Koch, we now have the names of several buyers who bought chalks from the exhibit. This piece being on of them. We also learn several previously unknown chalks whose pages will be coming soon.

After sitting idle for years on our projects list due to certain discrepancies, we have recently stumbled on the missing piece of the puzzle that has prohibited us from ever publishing the story of Woodward's 1906 Labor Day accident that left him paralyzed. It is quite a ride as you will see. Once it all fell into place and knew where to look... we ended up more than we bargained for! So much so that not all the material could fit on one page and so we are now working on an "EXTRAS" page. Keep checking back...

After the transcription of Woodward's 1932 personal diary we now have an account of RSW's first meeting with Frost at Amherst College's Jones Library. A majority of this webpage, now includes an Editorial Commentary that explores the relationship between the great men written by Website Curator Brian Charles Miller.

This is the third or fouth time this page has been revised or amended in just a couple of years. The reason is so silly, it is embarassing. However, after multiple discussions between Woodward authorities, Janet Gerry and Brian Miller, we believe there is now a consensus as to the nature of this mysterious card made prior to 1908.

There are a number of new things coming this month. Besides the complete story of RSW's accident in 1906, there are new pages being developed exploring the end of Still Life paintings by RSW and the origins of Woodward's Window Paintings... an examination of the naming style for his paintings... a deeper look at RSW's interest in Illuminations and we continue to grind away at the new Sketchbook Gallery!

New England Farm

Quiet Diginity 1

Quiet Diginity 2

The Road to Church

A Sea of Hills

Spring

Sugar House Shed

Tree on a Slope

Two Friends

Valley Peace

Yellow Farmhouse

Forgotten House in Ink

In a letter to friend Helen Ives Schermerhorn sometime between 1910 and '16 RSW offers Helen a number of ideas for her own 'book plate.' The letter is both touching and revealing, in that, Woodward shares his impression of Helen. He also includes his own thoughts on what his plate would ideally be. A bookplate is a popular trend of the time. It is nothing more than a vanity card/label to be attached to the inside cover of one's very own book collection.

This never before seen ink drawing appears to be of a similar house he made in an ink wash painting from his junior year of high school in 1903, Unnamed: Forgotten House. The drawing's date is unknown and was found with a series of prints in a cabinet of his Southwick Studio. There are, however, two possible links to his friend Helen... (1) is a five triangle motif only on items meant for Helen and (2) a wind swept tree similar to a dooble made for her.

We have a image of this much loved painting from above the Hoosac Tunnel area off the Mohawk Trail made the summer of 1932. In addition to adding the new image, we have made new topographic illustrations of the area to show the vantage point from where we believe he painted the piece.

We have made new topographic illustrations of the area to show the vantage point from where we believe he painted this painting in 1931. We have linked it together with The Mountain Shoulder showing a top and bottom perspective of the Hoosac Tunnel area.

We have also received from its owner an image a of previously unknown oil painting. It is unsigned and unnamed but closely resembles the chalk drawing Vermont Drama. The most significant difference is the sky. It is possible this painting is linked to others painted in the area of Whitingham, VT in 1932. We have made graphics illustrating the locations we believe he made each painting.

In light of the recent discovery of Unnamed: Drama of Vermont we have made graphics illustrating the locations we believe he made each painting painted in the area of Whitingham, VT in 1932. We cannot say for certain if this chalk was made before the oil or if either were made in 1932 but we can say it is most likely both were made around the same time period.

Given a number of new items concerning a five triangle motif Woodward used almost exclusively in his corespondence with his friend Helen... we have re-thought the origin of this homemade card and made an addendum revision to the page. Find out who we think the card was made for...

The tireless work on the new Sketchbook Gallery continues. We are getting close to finishing and still committed a slow roll out of the "never before seen" drawings and sketches. We continue with the last 5 "drawings" and continuing to the first 17 new sketches. If the difference is not obvious, let us qualify it for you. Drawings are near complete and detailed sketches that could, on their own, qualify as art. "Sketches" are simply what it means a generalized composition missing certain detail.

Drawings

Peltier Farm; Chalk

Rolling Pastures

Shaded Farm

Simple Hills

Strength of New England

Sketches

Back of the House

Below the Orchard

Big Chimney #2

Big Chimney #3

Blue Hills

The Book Corner

Sketches continued...

Bookcase and Table

Boston Window

Clouds Over Hills

Distant Hills

Dooryard Elm #5

Down a Hill Road

Edge of a Pasture

Farmhouse Road

Guarded House

Home Road

Modest Hill

Nestled Farm

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 has always been unknown until now. There are 3 entries in 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 were 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.

For the longest time there was a great deal of confusion regarding how many "Oyster House" paintings there are. We believe we have finally straigthened out the problem after comparing our exhibition list to RSW's dairy comments and newspaper articles we have sorted much of it out and an impending Scapbook page is coming... (continued in the next entry)

... The Boston theme gallery now reflects what we believe are the actually paintings painted from his stay in 1930 for the celebration of Boston's 300th birthday. Given the revisions to Boston Romance: The Oyster House and In Old Boston, Oil, we have also revised the original chalk drawing RSW made. He never names the drawing in his diary but we have settled on The Oyster House, Chalk for the time being.

You learn something new everyday... We have always wondered why RSW would vary his spelling of the word grey/gray. For a time we thought his use of "gray" was a reference to color and that "grey" was more a mood. Well the discovery of this chalk drawing might change that theory or at the least put a kink in it.

Auctioned by the Thomaston Place Auction Galleries, Thomaston, ME, on November 11, 2018. We learned that not only did we have the name wrong but the name we had this painting listed under is believed to be a previously unknown chalk drawing with a slightly varied name, Gray Heights!

On November 11, 2018, the painting Grey Heights was auctioned by the Thomaston Place Auction Galleries, Thomaston, ME, and sold for a hammer price of $8,500. Visit our Auction Page for more...

This previously unknonw chalk was brought to our attention by its current owner. It is of a solitary farm from a distant field with a backdrop of rolling hills and a big sky above. A closer look, which we provide, shows a woman leading a couple horse while laundry hangs to dry on the clothes line. A truly unique piece!

This is embarassing to admit but for the longest time we took this bookplate to be for a Mr. Meredyth and a Mrs. Whitehouse when in reality this is the bookplate for prominant Chicago architect Francis Meredyth Whitehouse and his wife Mary Armour. The bookplate was for their Manchester by the Sea (MA) estate Crowhurst. We include new information and pictures!

This wonderful unsigned and unnamed 36 x 42 painting, we believe, depicts a farmer leading his oxen pulling a buckboard carraige to collect sap late in the season, sometime around early spring. From its brush style, we believe it was painted sometime after 1935. It features a wide spreading maple, on a knoll, with 3 red buckets attached.

In what appears to be painted in his early impressionistic impasto style, this piece illustrates an almost playful mirroring of clouds above with an orchard of apple trees in bloom below. It is interesting to consider if this really occurred and it inspired RSW to capture it or did he take some dramatic license and intentionally painted the clouds in a matching pattern?

For a number of years now we have been trying to gather any information we can regarding the identity of Mrs. Herring. We have learned that more often than not, woman from prominant families often assumed their husband's name but kept thier own sans today's custom of using a hyphen. Eugenia Beetle is of the whaling industry's New Bedford Beetles. Visit the page for more...!

In a rarity for chalk drawings we have had a high quality black and white picture of this piece for many years. Now we finally have a color picture sent to us by its current owner. It is of the unfinished silo, with the make-shift scaffolding that looks to be fragile at best, RSW painted several times from varying angles.

After many years in California having once been owned by close friend, actress Beluah Bondi and her estate, this beautiful autumn painting has come home to New England! Recently cleaned and restored at the Williamstown (MA) Art Conservation Center and on exhibit until Oct. 31st at the PVMA... we may have the pictures but they do not compare to seeing it in person. GO SEE IT!

Also recently cleaned and restored is this early composite painting of Clark Brook frozen in winter heading towards the Deerfiled River. Besides it being a rare composite painting, it also shows the subtle feature of a setting moon in the west. Also on exhibit until Oct. 31st at the PVMA... we may have the pictures but they do not compare to seeing it in person. GO SEE IT!

Added to the complete works list is this previously unknonw painting cited by Mrs. Helen Patch in her letters to the Deerfield Academy's American Studies Group in June of 1970. We do not know if she got the name correct because there is already a 1921 painting by the same name but we will keep it in the catalogue until we learn otherwise.

Previously unknown to us this painting comes to us from its current owner. It is one of those quintessential New England scenes that fits into multiple catagories... roadside, tree, autumn, rock walls and ledge, a fence, a wood pile, with just a glimpse into a distant field and hills beyond. A classic New England landscape, thus the name ascribed to it by us.

While revising the image for Down an August Road it was determined that this painting could not have been the painting later cut down and renamed Early Autumn. THEY ARE DIFFERENT SEASONS! Upon further review, examining diary comments and exhbition records we not only determined that the "cut-down" painting is In Early Autumn but that there were two previously unknown chalk drawings:
Early Autumn, Chalk and
The Road Home
related to The Home Road

This painting came up for auction and sold this July. We first learned of this painting 20 years ago when it went up for auction in New Hampshire but have never seen it in person until now. The only painting in RSW's catalog of its size, at nearly hundred years old it is in excellent condition!

This wonderful tribute to RSW holds many interesting facts and tidbits, however, what is most impressive are the 6 paintings featured. Five of the paintings are the ONLY good quality images we have! What's more is to this day we do not know their whereabouts. It is remarkable for one article to contain so much value.

From the article in October, 1946, American Artist Magazine we captured 5 new images of the paintings featured.Tthe paintings are the ONLY good quality images we have! What's more is to this day we do not know their whereabouts...

Finally, there is also a fully transcribed page dedicated to the article
CLICK HERE

In an oversight, we missed the inclusion of this wonderful unfinished chalk drawing found with 11 others in an old shipping crate in an attic. This drawing, mostly in preliminary sketch form, lays out the entire West Hawley (MA) farm including the barn featured in both:

We have also added a graphic to these pages illustrating the area.

Our full scan of this article features the interior design of famous couple George Burns & Gracie Allen's home after close RSW friend Harold Grieve completed the work. Also featured in the article, hanging over the fireplace is RSW's Dooryard Elm which was purchased by the couple.

Reason #2 why we do this... A man watches a movie on TMC, notices the producer's name and believes he knows relatives of said producer, goes to Google to look the producer up, and FINDS us! He writes us to tell us what he knows and may have solved a missing link regarding the provenance of a painting. It makes it ALL worthwhile!

Located for sale on eBay, this unsigned painting is attributed to RSW. Attached to the back in RSW's handwriting is the location, Westlake Park and date, 1910. Read our research into the park and the possibility this was painted the year he left LA for Boston...

This previously unknown, signed and dated painting came to us by its current owner contacting us. It is one of RSW's earliest paintings as a professional, and he signed it "R Woodward 1918." We couldn't be more pleased to welcome it home!

In one of our MORE remarkable discoveries, we recently have learned of RSW friend Helen Patch who when asked by the Deerfield Academy's 1969-70 American Studies Group to offer any recollections of Woodward. She related some gems as well as provided insightful assessments of the artist.

Asked by the Deerfield Academy's 1969-70 American Studies Group to offer any recollections of Woodward. Mr. Vose, RSW's Boston art broker gave two wonderful stories he heard from RSW. One is hysterically funny and classic RSW, the other shows how private the artist was as well...

A black-and-white of the original sepia taken by Ashworth was found at the Buckland Historical Society and far better than anything the website had, and so we made a copy to add to the website.

On a visit by good friend F. Earl Williams in 1945, Williams brought along with him Kodachrome color film, which at the time was less than a decade old and took color pictures of his visit. Included in those pictures is a picture of this painting along side the subject of the painting, the east window.

New information found on this painting's buyer, Dr. Amey Chappell a prominent physician, and recipient of the 1967 Elizabeth Blackwell Medal given by the American Medical Women's Association, its highest honor, qualifies her as though not "famous, famous" famous enough for us to recognize her!

It started as a simple email inquiry from the historical society and led to the discovery of the location of where this chalk drawing was drawn, just off the Four Corners of Buckland where Ashfield, Hawley and Buckland all intersect. See our new graphics illustrating its perspective.

Added to the Woodward catalog is this painting named in the "The Helen Patch Letters" by Mrs. Patch. The painting was also loaned to the Deerfield Academy's 1970 Hilson Gallery exhibition honoring RSW but inexplicably was left off their list.

After all these years of trying we finally have an original image of this beautiful 'sugaring' painting. Up until now we had previously used scaned images of the painting taken from print material for which it was published.

Wow, what a find! This wonderful painting of the Beech Tree in Heath is unnamed and unsigned. It is of the the tree in baring its fall foliage colors. It is in great condition.

The image of this painting was discovered in a collection of KodaChome slides taken by RSW friend and amatuer photographer, Mr. F. Earl Williams himself and given to the Smithsonian Institute under his name as part of RSW's collection.

We have had a pretty good picture of this painting for some time now but we always look to get the best possible picture of a painting and we succeeded with the lastest pic of this painting.

Window Paintings are always difficult to photograph. Often the brown color of the wood paneling around the windows produces a glare that is hard to avoid, but we magange to in this new pic of this gorgeous painting.

The image of this painting was discovered in a collection of KodaChome slides taken by RSW friend and amatuer photographer, Mr. F. Earl Williams. We could not match it to any known paintings and it appears unsigned as well.

This has always been a difficult painting to photograph. RSW's use of light in the silk backdrop often produces an ambient glare when introduced to bright light needed to photograph... but we are getting closer to its natural look with this latest attempt.

FINALLY! We have been hoping to get some color image of this painting, a fav of RSW's, for some time. The image of this painting was discovered in a collection of KodaChome slides taken by RSW friend and amatuer photographer, Mr. F. Earl Williams.

It is so difficult to capture how striking some of RSW's work can be. Nothing can substitute seeing it in person and this painting is one of them, but we will keep trying to get the best picture we can until it comes close.

One of RSW's most unique pieces of work, drawn during his stay in Boston in 1930. Our new pictures of this drawing now includes close up pics of the people on the street and the window planters high above the scene.

A truly spectacular work by Woodward. This illumination features a woman playing the cello by an open door and heraldic device containing poetry. Both the artwork and verse done by RSW early in his career as a commercial artist.

One of two chalk drawings with the same name, this piece features a stream of autumn red running through a line of trees. It immediately reminds one of a Chinese Parade Dragon of which we believe RSW derived the name.

This is an extraordinary find! Woodward was known to have an adversion to doing portraits because he did not feel confident enough to paint them to his satisfaction. To learn that he had done a self-portrait when he was 13 years old simply shocked us.

A rare upright chalk drawing, this piece features a stunning sky above the Heath Pasture and Beech Tree in May. While May was a frequent subject of RSW's Beech Tree, this drawing is from an unusal perspective, not from the front of his studio but rather to the left of it.

A really unique painting. An early, impasti-styled and impressionistic sunset featuring a sun, with astomospheric purplish-pink skies, and as many as 9 distinct horizons! Woodward signed it but a name could not be found. This is really a rare treat given RSW preferred the skies of the north and south.

Reminicent of RSW's Beech Tree, this piece has a tall elm standing alone overlooking a valley of hills. It is unnamed, unsigned and feels incomplete or unfinished but we are glad to add it to our catalogue. Even unfinished, it is wonderfully Woodward's distinct perspective.

We recently added a new page for the original chalk drawing RSW mentions in his painting diary from which he made both In Old Boston and The Oyster House: Boston Romance. He never names the chalk in his comments.

Both of these pages have been revised as the result of the new information found in Unnamed: Across the Valley.

This painting recently came up for auction at Skinner Inc. and sold for $4,000. It is an early impressionistic piece of an ancient apple tree in bloom with hills in the distance but what is more remarkable was the sketch of what appears to be a version of Through The Hills in May

We have new hi-res images of this beautiful chalk drawing. We were also able to pinpoint a location from where we believe RSW drew it, with topographical maps.

A new signed but unnamed Quintessential Redgate painting featuring an atmospheric deep wood moonlit blue hazed brook and signed using a red "W" instead of RSW's trademark "S".

Going through a pile of loose documents, we came across a good-conditioned leaflet with an image of this painting on it and though still not great was better than the picture we have been using.

We had the opportunity to take new pictures of this terrific painting of the Connecticut River from Putney, Vermont. We revised the page to include a Google Earth screen capture of the river curve today.

It was recently discovered that a painting illustrated in an issue of McCall's Magazine (Dec. 1927) is this unnamed and unsigned painting found in 2017. The illustration was incorrectly attributed to the wife of RSW close friend and confidant Dr. Lawrence Lunt suggesting that the Lunt's may have been in possession of the painting at the time.

The Unnamed Gallery has been completely revamped. No longer will we assign numbers to them. Instead, we have given them adopted temporary names using "Unnamed" as a prefix.

In an old archive we recently found a glossy black and white picture of a never before seen painting by the name "The" Hill Road. There is no relation to another painting by the same name so that painting will now be known as "A" Hill Road.

Speaking of "A" Hill Road... when making the necessary revisions to the page noting "The" Hill Road, we realized that we can mark the spot where it was painted. Check out the Google Earth screen captures to see it has hardly changed in 70 years.

Also found along with The Hill Road picture was a better, more detailed photograph of August Horizon! What is particularly spectacular is the magnificent sky painted by Woodward. We cannot wait for the day we get hold of a color image of this painting to see what colors he used.

One of the newer features we have been adding to the artwork pages are topographical map graphics giving approximate vantage points of where RSW may have painted a particular painting. Well with Summer Valley we go a step further adding graphic AND a 1907 picture facing his location.

This page was corrected. A mix up between awards given by the Concord Art Association in 1920 and 1927 has been corrected. Wood Interior won "First Prize" in 1920 and April at Keach`s Farm won an honorable mention in 1927.

As always we do our best to provide the best image available of RSW's artwork. Though still not ideal, the latest pics of this painting is the best available and now includes a hi-res image.

As always we do our best to provide the best image available of RSW's artwork and this beautiful painting of the pasture behind the Keach Farm's twin barns is outstanding.

Reminicant of New England Drama painted some 10 years after this recently discovered painting of the whole Keach Farm seemingly hanging from a hillside. It is the only example we have of the farm in its entirety.

Another unique recently discovered painting of the Nilman House from a perspective unlike any other of the Nilman paintings. It shows the front of the house from what we believe is the shed.

The current owner of this painting recently contacted the website and provided access for us to photograph and we couldn't be more grateful and appreciative. Enjoy this wonderfully atmospheric painting painted from his sled.

In light of what we have learned about Through Winter Pines we have revised this page to correlate with the most recent discoveries.

A friend of the website and Woodward owner notified us that this painting was up for sale and sold at auction in New Jersey by Nye & Co. Auctioneers. It is a previously unknown painting, clearly signed by RSW, however, the auctioneers failed to list its name, if it has one.

As a result of the sale of Unnamed: Into the Woods, we have updated the Auction Page to reflect the sale and its date and price ($7,500)

Going through a pile of loose pages and documents we located 5 previously unknown exhibitions for which RSW displayed his work particularly in Los Angeles, CA and Charolette, NC. Those exhibitions have been added to the Exhibition Page

As we continue to sort through the provenance of RSW's paintings, his notes and papers, looking up various names and what have you... we continue to discover new owners of note. This Gallery has been updated to reflect the addition of 4 new occupants.

We have ALWAYS known that RSW painted for and sold a painting to Benny in 1939 for his brand new home in Beverly Hills. The deal was brokered through close RSW friend, former Hollywood set designer turned interior designer Harold Grieve.

Mr. Pratt bought New England Winter from an exhibition at the Deerfield Academy in June of 1932. A graduate of Amherst where he was a celebrated athlete, he went on to be part of the founding of the Amercian Boy Scouts of America among many other things...

A soap opera actress, she was best known for her role as matriarch Mary Matthews on Another World, a role she played from the series premiere in 1964 until her departure in 1975. In 1991, she donated her painting Contentment to the Springfield Museum of Fine Arts.

In a 16 year career, Hyman produced as many as 25 films working with the likes of Clark Gable, Jean Harlow, Joan Crawford, etc... and was part of bringing the original Johnny Weissmuller's Tarzan to audiences in 1932 followed by two more in 1936 and 1939.

The second page of our comprehensive look at the Southwick Place from RSW's time to today. This page focuses solely on the studio itself and features an excerpt from an article published in American Artist Magazine by Ernest W. Watson and his visit to the studio just 10 months before RSW's death.

New pictures of this wonderful painting have now been uploaded! Be sure to check out the large hi-res image, it is stunning!

We climbed a steep hill to capture this remarkable New England house and farm today from a vantage point close to the original painting.

In 1934 Woodward friend and head of the Colton Elastic Web Company Clifford Richmond sponsored a monthly radio program. Just after RSW's Hiram Woodward fire Richmond used his program to tell the tail of RSW's perseverance.

In 1970, the Deerfield Academy's American Studies Group published an illustrated catalogue featuring RSW, his life and work. In the catalogue, Deerfield student, Henry Haff, '71, wrote a compelling essay on RSW's style worthy of its own page. ENJOY!

It was recently discovered that this piece was left out of the new Purinton Hill Gallery. Furthermore, we were able to locate the approximate spot where RSW painted it and added to the page a topographic map pointing it out.

We already had pretty good pictures of this wonderful chalk but when we had the opportunity to get a better picture, we do it. This drawing is quite remarkable. It is an excellent example of RSW's unique style. It also contains the MOST number of items favored by him and is included 5 theme galleries on the website.

The Smithsonian Museum has recently revamped its entire website! And with that, they have updated the quality of their images which includes this sepia image of the painting.

This chalk was recently located and is privately owned. We are hoping for better pictures, but for the time being we are thrilled to it return to the fold! There was a recently discovered Unfinished chalk of Haystack Mountain in Vermont but this piece is the only known completed one.

Recently located is this wonderful chalk which happens to look a lot like the road from which another Unfinished oil was done. The owner believes it is of Oxbow Road in Heath (MA) but if east or west is not known. None the less, it is terrific!

11-03-2017    FOUND: 17 Unfinished works of art in an old shipping crate , in an attic.

We added the Unfinished artwork to the bottom of Unnamed Gallery because technically, they are unnamed. It is unclear to us as to why RSW did not compete these pieces, whether it was time or dissatisfaction with the composition.

First Church of Deerfield

First Church of Deerfield, Profile

The Modest Church

Beech Tree

Tree and Stone Wall

A Country Path

South Over the Valley

Halifax House Elm

House in Halifax

The Little Window

Mount Equinox

6 of the "Unfinished" pieces were nothing more than a sketch with just a hint or touch of chalk and as such we felt it best to include those pieces in the Sketchbook. To the right are the items. If the work is related to a known piece it was named as such and the two pieces were unique and give a number.

Fulfillment

Halifax House

Little Sugar House

Under Purinton Hill

The Little Window

Mount Equinox

New images of the painting of the cottage RSW once lived early in his career.

We traveled to New Hampshire and the Franklin Public Library is get this beautiful painting picture! Cudos the the library for their wonderful collection of paintings.

We traveled to New Hampshire and the Franklin Public Library is get this beautiful painting picture! Cudos the the library for their wonderful collection of paintings.

The owner of this wonderful painting came to us to share it in person. We couldn't be MORE grateful for their generousity.

Along with the newly aquired Winter Slope this page has been updated with new images.

The Smiths may just be one of the most important people regarding Woodward's success as an artist. Famous collectors, they are known for giving their entire collection to the Springfield Library Association to start a museum. Mr. Smith would buy 4 of RSW's early paintings, the first museum to do so...

Equally important to RSW's career and legacy was Mrs. Everett who gave here entire collection of artwork to museums all across the country, including 8 Woodwards. Not much is know about her but we were able to scrounge up some stuff and learned RSW may have made a rare trip to NYC to meet her.

This was a shocking discovery. In 1925, RSW friend, Dr. Lawrence Lunt sent a fundraising letter to Mrs. Belle Townsley Smith appealing for her to contribute funds to aid RSW who at the time... still feeling the effects of his disasterous Redgate fire in 1922 was not making his bills!

In 1991, former soap actress, Virginia Dwyer Gorman, sought to give as a gift her Woodward painting Contentment to the Springfiled Museum of Fine Art along with her sister Jenny Lou.

Over the years of gathering information and reference material we have accumilated a number of letters and documents pertaining to RSW. We felt it was time to start a new gallery devoted solely to the papers.

New pictures of a yet unnamed painting of the "Little Brown House" in Deerfield with the large elm in front.

This piece was just added to our Complete Works List. It is mentioned in RSW's diary comments for Farmer's Castle and was not added to our list until now.

It was recently discovered that RSW sent Golden Barn to be exhibited at the academy's annual show and passed the jury and did hang there.

During a recent visit to the Field Public Library's (Conway, MA) exhibit of artist Lester Stevens work for Conway's 250th Anniversary celebration we saw two paintings Stevens did of the very same farm from a different perspective. Visit the page to see!

In 1970, the American Studies Group of the Deerfield Academy published what they called an Illustrated Catalogue profiling RSW and his work. It is an impressive piece of work by the young men involved.

New image of Under the Winter Moon which is part of the George Walter Vincent Smtih Collection of the Springfield Museum system.

From the archives of the Springfield Museum are letters and documents related to Under the Winter Moon. Especially interesting is Woodward's letters to J.H. Miller and G.W.V. Smith regarding the offer by Smith to purchase the painting.

Previously unknown painting discovered. This unsigned and unnamed piece is near identical and related to My Winter Shelf, however, with a couple of distinct differences.

As always, the website does all it can to provide you the best and clearest pictures of Woodward's artwork. Here is the most up-to-date and best image yet of New England Valley

Recently contacted by its current owner, who also provided the new image, this painting is related to Tangled Branches, only it is a full day time scene.

We just got our hands on these new high-resolution images of this early work of Woodward's just in time to be added to two of our new theme galleries (IN BLOOM and FENCES, GATES & DOORS) Painted in 1919 of mountain laurel blooms on a sloping hillside above the Deerfield River.

It has been a long time coming... we have revised the Theme gallery page by adding 9 new theme galleries!

BURNING AUTUMN
CHALKS & CRAYONS
FENCES, GATES & DOORS
IN BLOOM
PURINTON HILL
QUINTESSENTIAL REDGATE
ROCKS & STONE WALLS
SNOW ON THE GROUND
STUNNING SKIES

Finally we have compiled a gallery of ALL the Chalk Drawings (Crayons & Charcoals) for those fans this art form. Woodward's drawing paintings are unique, in that, work in popular pastels is rare in the art world other than well known artist Georgia O'Keefe and just a handful of others.

What is a New England artist without spectacular autumn scenes? Here we compiled all of RSW's fall foliage paintings we have images for, including anything that show the beginning of fall.

While compiling the other list... the website staff began to notice a pattern. One, there were far more fences in paintings than we anticipated. Two, a lot of fences also featured interesting barn doors and/ or openings and finally... RSW did feature 'doors' in numerous paintings.

The beauty of nature is that things 'bloom' at different times throughout the spring and fall so rather than simply compile 'spring paintings' we pulled together every painting where we cound find something blooming.

One of the most iconic hills in all of Buckland, MA was the subject in numerous of paintings by Woodward but also made its way into others as a distant backdrop.

Woodward's early success as a professional landscape painter are found in these 'atmospheric' woods and wetlands pieces painted from his first studio's back window.

What says "New England," besides fall foliage, more than stone walls and rock ledges? Here is a gallery compiled of all known paintings that contained or featured rocks and stone walls.

The premise of this gallery, rather than simply featuring the 'winter' months, was to include any work of art that has snow on the ground whether it be late fall or early spring!

Big skies are a common theme in many landscape paintings and RSW was no exception. This gallery includes paintings by Woodward that featured the sky or used the sky to frame the landscape he painted.

There was one painting Woodward featured a cemetery and it sat alone in its own gallery. We have now merged that piece with the churches and included ALL pieces that show a church, even if it's just a steeple.

We have reorganized our Scrapbook Gallery into 3 sections improving the viewer's experience in locating topics of interest. The sections are as follows- Stories & Essays, List & Archives and Tributes. Enjoy!

For the longest time, an unnamed and unsigned painting of a vibrant sunset was assumed to most likely be West Glow, until now... Signed and named, along with a label from the Salmagundi Club guarentees this new image is the real deal.

This recently located sketch of the back porch, facing east, between the Southwick house and studio and its view of the valley and hill has been now added to the Sketchbook Gallery along with an old photo taken from almost the same perspective.

This story is an attempt to show how difficult sorting out RSW's paintings of similar scenes and repeated use of similar names can cause fits for the website staff especially when Woodward stays consisted in name and content of one scene but not the other.

This page is an added bonus to those interested in the Southwick Place and classic home styles. Southwick holds true to the Gothic Revival style in the subdued and modest New England way. Built in 1850, it is one of the first Gothic Revival homes in area.

This recently discovered painting (January 2017) of the Keach Farm sugar house is similar to but different, in both size and aspect ratio, from, Steaming Sugar House.

A revised list of Woodward's artwork held by public institutions (museums, libraries & colleges). Not all of them are available to the public, however, the list does note if it is available.

This newly found painting painted from the tree in front of RSW's small studio, affectionately called The Little Shop, of the farm across the road with Purinton Hill in the distance. A really unique piece in both color and tone.

This quintessential Redgate painting has a new high resolution image.

This gorgeous painting of the 'Buckland Hills' from Burrington Hill in Heath, MA is worth a look. See the featured topographical map of Woodward's vantage point.

This page has been revised when it was discovered that Woodward may have posed for a picture in 1922 in front of the painting he may have possibly painted Rushing Brook in 1942. The photo is of poor quality but the features appear to line up.

Up until recently, it was believed that a painting Woodward posed for a picture in front of in 1922 was The Brook. However, in a handwritten note RSW specifically states that The Brook was painted in the "Clock Hollow' section of Buckland not matching the Diary Comments of Rushing Brook.

Wow, when it rains it pours! This newly located painting is related to The Tranquil Hour and Evening Tranquil Hour. It is the same wintry pond with more of the trees surrounding it but in an upright/portrait version.

A beautiful painting of a small New England farm surrounded by wooded hills of late summer, early fall. It features a man plowing a field with his horses.

This recently discovered painting was found for sale on eBay and sold for $4,350. It is a signed but unnamed version similar of Winter Mist.

A Beech Tree painting from the Heath pasture. It is unique in the sense that it from a vantage point not seen in any other Beech Tree painting.

A pasture painting of two hills meeting and divided by a stone wall and featuring a large tree in late autumn from early in RSW's career.

It is still a black and white but much clearer and better resolution of Out of the Past.

This beautiful, signed, painting of birches framing an opening into the woods behind it is believed to be Woodland Edge. However, we were unable to comfirm due to a protective backer board glued to the back of the frame.

A chalk drawing of the Heath pasture sans the beech tree. It features a distant "sea of hills."

A 36 x 42, signed but unnamed version of Woodward's "Winter From the Studio" series of paintings.

A story about the difficulty in making a record of Woodward's art catalog using two winter paintings that have multilpe versions, names and cross paths with each other several times over a five year period.

New information discovered on RSW's very close childhood friend and respected artist in his own right, Joseph Cowell. Cowell is best known to us as the friend who helped RSW attend the Boston Museum of Fine Arts School in 1910.

New pictures of this painting made available by its current owner. This artwork is one of only two known "Redgate" styled paintings Woodward repainted in the mid-1940's.

Recently located this sketch of the Christ Church Limestone in Hanna City, IL just west of Peoria and drawn by Woodward while a student attending Bradley Polytechnic Institute sometime between 1902 and 1907.

Always considered "odd" by the website staff for the power lines drawn in this nature scene by Woodward for this bookplate. We have recently learned that Leonard Curtis was a pioneer in the earliest days of bringing electric power into your home. Read his story!

The Ashleigh Bookplate was made for one of the country's richest men, marketing genius, Norman Bruce Ream. Read more...

This illumination made by Woodward for his mother was made around 1906-07 when he was 21 years old. It was found in the RSW Smithsonian collection of personal photos and papers.

The website has been able to recover most all of the original images of sepias prints thought to be lost forever.

We have currently added nearly 100 new hi-res images of these recovered prints sprinkled throughout the Artwork Galleries having the greatest impact on the Window Picture Gallery with 17 new images!

We did not have an photograph for the painting Late Autumn until recently when it's current owner contacted us and sent us terrific pics.

Check out this beautiful painting of foliage in New England.

We have recently learned the name of a painting we were calling The Greening Tree, 16's real name is Apple Blossom Time

There's MORE, we have learned that there are 4 versions of the painitng all purchased by a group of sisters.

This painting was discovered when we learned of the name for the painting we were calling The Greening Tree, 16's real name. There are 4 versions of the painitng all purchased by a group of sisters and this one is sister Shirley.

Previously unknown artwork titled Spring on the Hill was recently brought to our attention by it's current owner. Check out this beautiful painting of the Beech Tree in Heath.

We are excited to add new pictures of this remarkable window paintings from Woodward's Southwick's south windows. It's unusual size (24 x36) for RSW makes this very unique piece more panaoramic.

We are thrilled to have gorgeous new pictures of one of Woodward's "favorite barn canvases." The Flying Fox was also one of 26 other pieces to be exhibited at RSW's first BIG one-man-show in Boston (1926).

Found in Omaha, NE, this unnamed watercolor could possibly have been painted by Woodward in his adolescence while attending the Bradley Institute in Peoria, IL. We explore the pros and cons...

This update is not longer vlaid due to an overhaul of the Unnamed Gallery completed in April of 2018.

Previously unavailable to get a suitable scan due to the lightness which RSW sketched them, we have added to new sketches to the sketch book. Sketch#60 is of the 'book corner' from the Little Shop studio and Sketch#61 is a none descript tree lined pasture.

With the discovery of October Gold and Winter Design recently, we also learn that they were once owned by famous stage actor Joseph Holland. He was once famously stabbed (for real) on stage by Orson Wells. Click link to learn more...

The website staff never misses an opportunity to try and improve the viewer's experience with better, more detailed pictures. This artwork and the following 5 others in the next row are all currently being exhibited at the Spaulding Rehabilitation Hospital in Boston.

The artwork October Gold was believed to have been found in 2009 when it went up for auction in Mystic, CT. We discovered we were wrong when the real owners contacted the website in 2015.

The artwork An October Gold was once believed to be October Gold despite it not matching it's reported size. It was not until the current owners of October Gold contacted us that we realized there are TWO golds.

An added treat of the October Gold discovery was that this previously unnamed piece came with the package. Once believed to be just a sketch turns out to be a unique and rare Woodward.

This article features October Gold's appearance at the "Boston Art Week" Exhibition held at Jordan Marsh in 1930, Boston, MA.

October Gold as the featured artwork of the Herald's Rotogravure Section.

The artwork Landscape is used as a feature image in the same newspaper issue as the previous article but in different paper like that often used for 'inserts.' This provided us with the best image of this piece to date.

"Prize Winners at the Academy: Art at Home and Abroad"

A summary of prize winners from the National Academy of Design's annual exhibition, 1919.

The artwork Landscape is used as a feature image in the same newspaper issue as the previous article but in different paper like that often used for 'inserts.'

"New England Scenes,"

The announcement and review of Woodward's One-Man Exhibition at the Lyman Residence.

"Painting Exhibit To Open Tonight," - Announcement of the opening of Springfield Art League's ninth special exhibition of oil paints. The article also list the show's prize winners

"Untitled Review Clipping," - A glowing critique and review of Woodward's prize winning oil landscape, When Drifts Melt Fast.

"New Paintings on Exhibit by Picture Club" - An announcement and brief summary review of the Springfield Art League's 'Circulating Picture Club' exhibit.

Woodward's One-Man Show at J.H. Miller Galleries, Springfield, MA, April 1928 is now ready for viewing!

This show exhibited 37 total pieces of work, 25 oil paintings and 12 chalks.

New hi-res picture received and added to page!

Correction and clarifications made to the artwork page relating to the original painting which exhibited three times in the 1920's.

Correction and clarifications made to the artwork page relating to the original painting which exhibited three times in the 1920's.

Correction and clarifications made to the Scrapbook story relating to the original painting which exhibited three times in the 1920's.

"Untitled Blurb" - A simple blurb announcing the awards and honors of local artist Robert Strong Woodward and his friend and colleague Gardner Symons.

"One-Man Art Show Attracts Attention to Robert Woodward"

Jeanette Matthews, a renown Springfield art critic, writes a review and critique of Woodward's "One-man Show" at J.H. Miller Galleries, in Springfield, MA. Woodward notes, in his own hand, "a good article,' written on the clipping.

New article and exhibition pages added to the "Articles List" and "Exhibition List" relating to artwork exhibited at the Littlecote Gallery's Annual Spring Exhibition in Utica, NY, March 14, 1929

New article pages added to the "Articles List"

The full video of a lecture given by Peter Trippi, Editor and Chief of Fine Art Connoisseur Magazine regarding Woodward.

New hi-res pictures taken and added to page!

Newly discovered painting located. New page added with picture.

New chalk drawing discovery recently up for auction!

For more Auction info Click Here.

There's another? Previously unknown piece comes up for auction! New page created with features the compare the two pieces of art.

For more Auction info Click Here.

New chalk drawing discovery! New page and pictures added.

Newly formatted "Exhibitions" list provides improved viewing and navigation. More improvements, such as, links to exhibit pages are to follow.

Newly created "Auctions" list provides information of all known Woodwards that have come up for auction.

Sorting and organizing all the articles and clipping regarding Woodward, the staff discovers there are two of these chalks. The 1929 chalk was exhibited at the Pynchon Galleries. See the clipping by clicking the link.

Thanks to the article in "Fine Art Connoisseur" (Feb. 2013) this painting was found hanging in the Duquesne Club of Pittburgh, PA.

An essay discussing clouds in Robert Strong Woodward paintings added to the Scrapbook.

This chalk drawing was unknown until it was discovered in a western Massachusetts home.

A discussion about Robert Strong Woodward's use of apples in his paintings.