Recent Website Updates

OUR CURRENT PROJECT MISSION:
We are looking to add greater depth of insight that fleshes out more context than we have ever had about Woodward's career as well as his personal values and principles. The stories just begin to tell themselves. And something like that results from processing the information one has available, turning it into empirical (measurable) data. Once it has been compiled, it then needs to be interpreted and analyzed and you start to see patterns and connections that are not always obvious despite being right under your nose for years.


More daunting will be the Scrapbook portion of the website. As of right now, the information under the Redgate Studio, the Hiram Woodward Place, and the Heath Pasture House are all woefully out-of-date. It is a top priority for us to update these pages, especially the Hiram Place, for which there is so much never-before-known information to add.


In addition to the studio pages, we have been assembling as many as 15 new Scrapbook pages and just as many in the queue for a much needed update. We suggest you go to our new Miss Mabel page to see what we mean. There are also important people in Woodward's life we have neglected to give their due. We are now distinguishing some of these individuals as "patrons", "benefactors", and sponsors. One page in particular will reveal just how critical one woman was to Woodward having any career at all.

UPDATE: September 01, 2025
I can hardly remember how it started. I was working on the artwork page for Old Heights to locate the article that mentioned the painting. While I was there, in Woodward's scrapbooks, I gathered all the articles related to the "Art Week" exhibit held at Jordan Marsh. Since I was doing that, I might as well grab the Myles Standish clippings from the same period. The following two weeks would be a blur... In fact, I I never finished the Old Heights page, and the clip-pings I captured are still untouched in the file as I type this.

What happened was that as I was processing the articles, I noticed a remark about The Little Farmhouse, calling it a "wintery scene." That can't be, I said to myself, and I began investigating. I found ANOTHER comment on the scene as, "a rural snow scene," and now I have to figure out how we had mistaken the painting to be the original name of the painting we know as Portrait of a Shadow.

Sorting out that mess forced me into a deep dive into the first six months of the year 1931, when Woodward had his first show in New York City at the Grand Central Art Galleries in January, two separate shows at the Myles Standish Gallery in February, another in March coinciding with two paintings hanging at Boston's "Art Week" celebration, and another Myles show in June. In between those months, forty-four paintings (23 oils, 21 chalks) hung at Smith College's Tryon Gallery from April through May. Initially, it seemed as if Woodward had over 100 paintings in circulation. I had to create worksheets to sort it all out-- what hung where and when, etc. That is when I discovered Portrait of a Shadow hung in NYC, two months before The Little Farmhouse appears in Boston.

I have the totals. In the first six months of 1931, Woodward had eighty-nine paintings in circulation, forty-nine oils and forty pastels. Sixty-four of the paintings exhibited just once at the eight major events (36-oils, 28- pastels), suggesting that Woodward had a plan of what hung where. The best part of all this work was the discovery of White Clouds ⮟ (below) and September Evening, to the left ⮞

BCM

As part of our invest-igation into The Little Farmhouse and Portrait of a Shadow conflict we were able to identify, from newspaper descriptions, this previously unnamed painting in our collection as September Evening.

This discovery and many others came as result of this endeavor into the confounding four exhibit-ions held at the Standish Gallery from February to June in 1931. We have broke down all of the paintings in circulation at this time and what hung where and what over-lapped. This detour took us more than a whole week to sort out and makes up much of our August updates.

See graph below ⮟

The line graph above needs some explanation. The numbers are how many exhibit spots his paintings filled throughout the year, and NOT the total number of paintings. For example, as we explain above, Woodward had 89 total paintings circulating in the first six months of 1931 and those paintings filled 137 opens spots on walls in the numerous shows he was committed to and for the whole year he topped more than 250 spots in all.

You can see that Woodward was preparing for 1931 long before it arrived. He filled less than 25 spots at exhibits the year before, and below his average in 1929 filling 66 spots. It was Woodward's success in 1930, Boston's year-long Tercentennial (300th) birthday celebration where he took two top honors at two separate events, including one of only four gold medals awarded at the Tercentennial exhibit held in Horti-cultural Hall. That success translated into his first shows in New York City, New Haven, CT, Northampton, MA, and Syracuse, NY. 1931 is far-and-away the biggest year of his career when it come to exhibiting.

We have previously talked about our new method of photographing paintings, especially hard to capture paintings like the pastels. Here is a new picture of this outstanding painting.

Our new method of taking pictures of paintings helps cut down glare and gives a truer depiction of the colors Woodward used. Check out the reds, blues, and purples of this beauty!

Our other major discov-ery in our investigation of the 1931 Myles Standish exhibit produced the identification of this paint-ing. It started with a recognizable pattern in a terrible picture and led to confirmation via news-paper descriptions. MORE ⮟

This is the new name of a previously unnamed painting. We are always happy to have a name for a painting. This canvas was critical in helping us determine the above painting's subject.

From the earliest days of the website, it was believed that the name above was the original name of Portrait of a Shadow. The confusion originated when a picture of, Portrait of a Shadow, was incorrectly caption in the Boston Globe. How-ever, RSW himself made matters worse with a story he told two critics... MORE ⮟

This is RSW's "most loved" canvas. It was important to him in many ways. We tell its whole story...

The following are highlights of our recently audited pages:

Confusion over this painting, its name and its year has been cleared up with the discovery of a clipping.

We add ANOTHER painting to the seven others made of the Keach's Little Red Barn interior!

we recently learned this highly honored painting has another feather. It was in the top ten most popular canvases of the 1930 "Boston Art Week" celebration exhibit.

As we refine of photo taking techniques and skills, we cannot resist the opportunity to get new pictures when given the opportunity. Window picture paintings are especially hard because of the dark areas around the windows tend to reflect light when there is too much. It is a delicate balance to make sure we get as accurate an image as possible.

This award winning canvas is certainly deserving of our best and we captured it beautifully. Enjoy!

A one of a kind pastel for Woodward, we have never captured it in a way that was satisfactory until now. The new image is as true to what you see when standing in front of it as we have ever gotten... the reds, greens, and yellows all holding there our place without dis-coloring each other.

Woodward's chalk drawings are the hardest of all to take pictures of because they are under glass and the glass panes are often in varying conditions making each a unique challenge.

Neither this painting or the one below are new pictures as it were. They both are old pictures newly rediscovered originals that we were able to apply our new editing techniques to get the best out of them. The image for this canvas is a huge improvement on the previous.

Again, this is an old-new picture we found misplaced in the wrong folder. The original image being more than 20 years old was small and not great in the first placed was made better by us than what we had. We also found a very similar picture of the mountain in the artwork to match up the two.

Brian has been working on updating this original 2011 Painting Story essay on Woodward's Winter Evening Stream (WES) paintings by Dr. Mark for months. Need-less to say, it got quite out of hand. We have so much more information about these paintings than was available when Doc originally wrote it. There is now far more Brian than Doc, but it couldn't be helped... Doc was on to something really profound. He simply did not have all the information necessary to put it all together. In this essay you will learn how these 14 known canvas-es are critical mediations at transitional times in the artist life.

Our audit of the website's artwork pages continues. We are up to An October Pasture in the OPQR Gallery. Below, we select-ed a few outstanding pages worth another look...

A totally new page reflecting our realization there are 3 paintings by the single name "October."

A rear view of Wood-ward's much loved maple in Mrs. Griswold's pasture for the pasture itself.

A lot of confusion surrounding this painting's name has been sorted out and confirmed to be the 1923 canvas.

Not only did we get a new image, though still from a newspaper, it lead to dis-covering that this painting was also honored for a "prize in painting" at the 1929, Stockbridge Art Association's annual event. Digging deeper we realize this canvas needs to be placed among RSW's most editorial pieces. It hung at every major exhibit he had after 1930 and was bought by a serious collector, and Amherst alum.

Since we were straight-ening out New England Winter, we also updated its buyer, Mr. Pratt's profile page, adding new information and pictures.

This painting, recently exhibited at the Memorial Hall Museum in Deerfield (MA) has never had a good image. For years these early dusk-time, dark wooded interiors, have perplexed us. RSW used a varnish to pre-serve them and it darken-ed over time placing a seemingly impenetrable barrier over them.

Using a powerful light with a polarized filter, along with a camera fitted with a polarized lens, we managed to reduce the glare and capture the true beauty of this emotionally convincing scene.

This page has been updated, including updating the picture we already had using new editing methods for color correction and balancing. Along with these updates, we also updated the 2007 scrapbook story researc-hed and written by Janet Gerry. More on this below ⮟

As hard as it may be to believe, this painting caused its share of trouble for RSW in the most amusing way... he couldn't wait to get rid of it! New layout and pic-tures added caption by Brian.

All three of the artwork pages above have been updated, not only with new information or updated old info...
⮟ My Winter Shelf, forever confused with its sibling The Window: A Still Life and Winter Scene, is designed for it to stand on its own...
⮟ My Grandmother's Lamp, was missing an incredible distinction. It was sent to New York City for the 1932, National Academy of Design's annual show.
⮞ Near the Sky holds a couple of mysteries we do our best to sort out. Visit the page to learn more.

The Accolades & Awards gallery needed to be up-dated after the discovery that New England Winter received an honor from Stockbridge in 1929. That now makes 20 canvases to get recognition at prestigious shows and events. Three of those painting were honored twice!

We missed a couple of paintings where apples, particularly where the tree themselves appear. These additions to this gallery has pushed it up one slot, past Stunning Skies, for fifth place in the most frequent items list.

To go along with this month's "Featured Artwork" above, "The Road to Church," this new image of the same subject in the wonderful colors of fall just came to us from its owner. we also learned more about another painting just outside the view of this canvas and so we also updated...

... which shows a sugar house to the right of the scene that Woodward painted facing the opposite direction, thus giving us a look at where he positioned himself to make three canvases of the village center.

It is still not a great picture because it is captured from an old newspaper clipping but it is better than nothing. Also, we have updated the information on the page to include other paintings it is related to and their differences.

One of the more surpris-ing facts discovered was that it was made much earlier than previously known. This earlier date makes the canvas Wood-ward's first, true, Still Life painting. It does have a window in it but the window is not the main feature of the canvas. RSW only made eleven still lifes in his career and he only made them bet-ween 1926 and 1931.

We updated this recol-lection written by Dr. Mark more than a decade ago.It is a first had ac-count of his experience and knowledge of how this painting got its name. A name Woodward did not really like very much but because he allowed owners to name their paintings if they did not already have name, he honored it. It even has its own painting diary entry.

Brian then adds his own commentary on the name, giving his theory as to why Woodward did not necessarily like it. Yet still, ultimately he finds a remote connection that gives the name some meaningful relevance to how Woodward felt about his Heath Pasture.

This is a wonderful story about the work that went into finding out the loca-tion of this house Wood-ward painted at least three times in and around 1930. It was not easy because, in truth, the house was not owned by Mr. Franklin... he rented it. Woodward obviously did not know that or if he did, because Mr. Franklin was living in it - it was his home.

The page has been refor-matted and all of the pictures have been up-dated. We have even added some new ones!

Many thanks to Randy Frazier with the help of Norma Thibodeau to get to the bottom of this mystery many years ago.

In one of our more em-barrassing gaffs, this page has been updated with the correct and substantiated information.

Years ago we received an email from someone be-lieving to know the missing gap in proven-ance for this painting. While this person did not lie to us or intend to mis-lead us, nor was the information wrong. The information was merely an incredible coincidence of one thing having no connection to the other.

We now have the correct information as to how the Dwyer sisters came to jointly own the painting, Contentment, and it is un-impeachable

A project three months in the making and a month too later. The shear amount of new inform-ation alone surprised even us. In 2011, Dr. Mark published an essay on the subject of Wood-ward's Winter Evening Stream paintings (WES for short). Fourteen years later we had new images of many of the paintings, as well as a better grasp on the years they were made.

The new page is long. It is structure in three sec-tions starting with Doc's original copy, followed by its addendum written by Brian. The last part is Brian's commentary with supporting data that breaks down what makes the WES paintings so unique.

This page has been updated and pictures have been re-edited using new methods that offers a much better look at this award winning paintings.

This page has been updated as part of our artwork page audit. The bonus is that examining the picture of this painting we noticed how perfecting it appeared to fit the Golden Spiral. We laid our golden spiral over the image and it lined up in such a way it is worth sharing.

This artwork page has been added to the list of complete works. It was one of the painting names we discovered in our audit of the So. Vermont Artist Assoc. brochures. Only, this painting was also very well reviewed by critic Royal Cortizzos making it stand out from the others.

This artwork page was updated as well and is believed to be related to the pastel above. Our image is terrible but it at least shows what the pastel above resembles.

Most of our efforts this month was on the WES essay honoring Dr. Mark. However, we still managed to update the following artwork pages.

Not that we haven't given you more than enough to keep you busy for at least the rest of winter... we do encourage you to visit, if you haven't already, some of Doc's Scrapbook essay we have updated and added new information...

We have updated this page with "new" pictures. New is in quotes because the pictures are not recent. In fact, they are nearly a decade old. They got lost in the mix somehow, and put aside only to get lost track of.

Better late than never, and the pics where taken with the same camera we still use today. The timing of it is also exciting because not only do we have great pictures of this beautiful painting, but it comes just after locating a contemporary friend from the same year, In the Sugar Bush.

Speaking of over looking something... neither Larch or Brian noticed for more than 15 years that this painting had been cut down by Woodward, and significantly so, by more than 40%. We illustrate to difference and how we made the discovery, along with some other new information.

This fell right in our lap as part of our artwork page audit. This painting, which we have no image of may be either (1) its own separate painting related to another known painting by its similar name... OR, (2) it does NOT exist at all. It might be a mistake similar to what we discuss with Old New England (Oil). A reporter or type-setter at the newspaper may have heard the name wrong... Nothing definitive so again we encourage you to read the story.

We have two known crayon drawing made by Woodward and when we say crayon, we mean crayon, not pastel or chalk. We do not know what prompted him to make the drawings but they are exceptionally well done. The crayons are not signed which makes sense. They were not done for professional reasons, yet, perhaps it was simply a matter of experimentation. We do not know.

As it is with the summary above, this page was updated as part of our audit of each and every artwork page. Some updates yield, new information, or disproves information previously posted.

Updated as part of our audit of each and every artwork page.

This is one of the best examples of correcting a long made error and this painting has finally found its true name. The error was made from a news-paper clipping where this canvas was the featured artwork. However, it was captioned "Landscape" and without more inform-ation, Dr. Mark felt com-pelled to stick with that until we learn otherwise, which we have... Read the story!

This new pastel came to us recently by way of a gallery that was selling it. You've seen the pictures because we announced the sale last month. It has since been sold and no longer available. How-ever, this artwork holds a particularly special place at a special time and its story says a lot about how RSW felt about it.

Below are 4 more of 19 newly discovered painting names found in an audit of Woodward's personal collection of Southern Vermont Artists Associ-ation exhibit programs not originally included in the Deerfield Academy's 1970 catalog of Wood-ward's work.

3- Oils

1- Pastel

AND here is another over-looked , but well regarded, painting from the 1928 Los Angeles County Museum exhibit:

1- Oils

The search is over! This painting that exhibited at Woodward's homecoming when he sent seven paintings to the 7th An-nual exhibition at Bradley Polytechnic Institute in Peoria, IL, a month after winning the Hallgarten First prize at the National Academy of Design's annual show. The artist attended the school from 1901 to 1904 receiving his high school diploma from there in 1902.

In 1977, Dr. Mark receiv-ed a letter from an art dealer giving him first shot at purchasing the painting, to which Doc had passed. Forty- seven years later it reappears and we have the pictures.

Of the seven paintings to hang at Bradley, we only know the names of four and now have pictures of three. The last holdout is the oil painting, Snow Pattern.

This painting has suffered one of the greatest injust-ices of any that we can think of in Woodward's entire oeuvre! Not only was it overlook by the artist but it was inexpli-cably forgotten entirely because it was mixed up with the painting below. Yet, this painting was featured in the Boston Herald's special Roto-gravure section taking half the page. Its caption was repeatedly quoted in numerous articles about RSW that followed for years after... But that is not the worst of the cri-mes, this painting won an award at a special exhib-ition a couple of years before its imposter was even made ⮞ Winter Pool... This painting is not really an imposter. It is very real, however, it was the painting Woodward remembered perhaps because it was purchas-ed by his patron-saint, Mrs. Ada Moore. What's more is that she had given it to her sister who passed around the time RSW was writing his painting diary. This piece got an entry and "Sil-ence" did not.The issue is Pool also got all of Sil-ence's credit as being the Rotogravure painting.

Would you believe that two of these three Evening Stream paintings are related to Winter Silence and Pool? They are! Woodward claims that Evening Stream #2 and #3 are the same scene as "Winter Pool" only reversed (and again slighting Silence). We took that challenge to see if he is right and reserved the pictures we have to compare. Spoiler, they are closer than we thought but not exact. This shocked us to a certain extent because we always took the artist to paint what he sees, as he sees it.

There was also some confusion whether there was really three paintings or two. We have settled all of that and updated all of the pages telling their individual stories.

⮜ Winter Pool was also given the credit for the Evening Stream paint-ings but it was not even made until after Evening Stream #2, making Silence the inspiration..

Caught in the fray of the Winter Pool controversy this page has also been updated. Here the issue is Woodward's claim for both paintings as being the first purchased by Mrs. Ada Moore. Our findings show that it is possible she bought both at the same time. Read page for more...

This artwork page was one of the only gallery audit pages we actually got to this past month. It has been updated and new pictures have been added from a recent visit we made to the property. There is still more work to do on some of the other material. Keep posted.

This is a NEW artwork page and its name has been added to Wood-ward's oeuvre. It was discovered in an article giving it a favorable ment-ion and description. What stood out about the review was how the critic focused on the "dark Redgate" paintings more so than the other landscapes.

It took almost six weeks but we have finally fix all of the pages effected by our software crash in Dec. '24. One of the cul-prits that caused the error was sorting out the three early sugaring paintings. This painting was to be #3 because it matched a photo of it hanging in a hotel lobby (more below)

... that is until, while work-ing on another project we find the ORIGINAL pic-ture by which we based our decision and learned that at some time, over the years, the picture mistakenly got squished making the painting look square when it was in fact rectangular!


It is not a hard thing to do, especially if you do not have the aspect ratio locked in your image editor. Still, when discov-ered and we began to re-name the files AGAIN we forgot that we still had the files opened in our html editor causing the crash. How it all got mixed up is explained in the artwork pages.

While it is not a race per se, this newly discovered canvas and the inform-ation we learned has forced us to rearrange the three paintings all using this same name. In fact, it was our attempt to do this, along with the realization we mixed up something just before we were about to upload our updates that caused the loss of 70% of the work we had done, as well as delaying our upload.

Early Sugaring's #2 and #3 are still not fixed and so we have to leave them out of this update. Still, that is okay because the new #1 we knew existed from an old slide, but did not know its name deser-ves it own spotlight and crown as the orginal 1920 painting named by the artist himself, Early Sugaring.

The most significant fall-out to the editing software crash are the two other paintings by the same name as this. We had hoped to present all three together for you this mon-th but new information for #2 and #3 were lost entirely. For expediency, we moved on for now.

This pastel recently came to us from its current owner and it is related to the oil painting, The Old Yellow House in Dover, however, it is not exact. There is a family sitting on the porch,the per-spective is wider and a little further back than the oil. Unique in its own right, this painting captures the age of the home very well.

Also related to an oil canvas is this pastel looking across the Deer-field River toward Buck-land's Purinton Hill, simi-lar to the subject found in Across the Winter River.

Woodward is not simply copying subjects to produce more paintings. There is a very good reason, he prided himself on making more afford-able art look as close to the high-end work of the oil canvases.

Just when you think it can't get better.. it does. We already had a good picture of this painting but had the opportunity to see it in person and we took it! Along with new pictures. We would be no where without the gracious kindness of their owners and our appreciation is immeasurable.

We made numerous visits at the invitation of the painting owners and we could not feel more blessed. We cannot express how much more amazing the paintings are in person. We never really do them justice on the website, no matter how hard we try!

For this piece was had an old, low resolution image that has now been upgraded to Hi-Res beauty.

The two paintings cited in this this table box are related. One has a painting diary entry and the other does not, despite being painting within the same year, of the same subject... One painting exhibited where the other did not, yet still, both have distinctly different sepia prints...

... in the diary remarks the artist attributes the year to the wrong paint-ing mixing it up with the other without even ac-knowledging there are two canvases while also adding it would be his second to last painting before retiring.

Very few endings are ever as graceful as we would like and Wood-ward's was no exception and so we find it comfort-ing to know his last two paintings were his favor-ite subjects: one old school and the other new.

Below are 4 more of 19 newly discovered painting names found in an audit of Woodward's personal collection of Southern Vermont Artists Associ-ation exhibit programs not originally included in the Deerfield Academy's 1970 catalog of Wood-ward's work.

3- Oils

1- Pastel

AND here are two over-looked , but well review-ed, paintings from the 1926 Lyman-Longfellow House exhibit:

2- Oils

You are going to have to scroll to see this new picture of this much loved painting. Its extreme aspect ratio makes it one of the most rectangular paintings in the artist's oeuvre but it is also an upright painting meaning it is tall- very tall. Woodward obviously liked Elm trees. He painted them several times including it in the painting names, Wide Spreading Elm, Dooryard Elm, The Hitchcock Elm and this piece, which was painted in historic old Deerfield area, as was the Hitchcock Elm.

How grateful are we to have these elms captured for history after the Dutch Elm disease ravaged the world of these majestic and glorious trees, except for a small town in Maine, Castine, where 300 American Elms survive to this day. It sounds like it is worth a visit.

This newly discovered pastel painting was the catalyst to our audit of all of the exhibit programs we have on record. First was the surprise that Mrs. Frelinghuysen bought a Beech Tree painting when, with just a few exceptions, she mostly purchased Vermont specific subjects. So we went looking in the programs to see if this one was missed, we found 20 missing names! Moreover, this pastel was not found in any of the SVAA programs, however, we do have one missing year out of 17 and that is 1936.

Similar to Under the November Sky, this pastel was purchased by Mrs. Frelinghuysen, by far Woodward's best customer. Second place is a distant, distant second by as much as 4 times. Most of her purchases were pastels we believe, because she held the medium in high esteem. Her mother, Louisine Havemeyer, who was close friends with renown American artist, Mary Cassatt, who along with her boyfriend Edgar Dugas, did great things with pastel and were well known for them.

We have had a picture of this pastel painting for a couple of years now but the glare from the glass over the painting was so distracting we deemed it unusable. However, re-cently we have develop-ed a technique to reduce the glare in pictures of paintings. It is tedious and takes numerous cyc-les of processing but we find that in the end it is worth it... You can still make out some of the features of the room it hangs, but now you can also see the painting itself without straining to ignore the glare.

Below are 5 of 19 newly discovered painting names found in an audit of Woodward's personal collection of Southern Vermont Artists Associ-ation exhibit programs not originally included in the Deerfield Academy's 1970 catalog of Wood-ward's work.

3- Oils

2- Pastels

We will call this "Brian and Larch's Excellent Adventure!" One day in the Buckland area with time to kill, the two set out to locate and see if they could find the rem-nant of the old Keach sugar house that appear-ed to hang precariously on a steep slope on Koo-chuag (Snow) Mountain.

A hundred years after the artist painted these paint-ings we found, what we believe is its exact loca-tion and took pictures with some new inform-ation.

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.