Items Similar to "AUTUMN PATH" TEXAS HILL COUNTRY RARE G. DAY SIGNATURE
Want more images or videos?
Request additional images or videos from the seller
1 of 8
Robert W. Wood"AUTUMN PATH" TEXAS HILL COUNTRY RARE G. DAY SIGNATURECirca 1940
Circa 1940
About the Item
Robert Wood (G. Day)
(1889 -1979)
San Antonio Artist
Size: 12 x 16
Frame: 16 x 20
Medium: Oil
"Autumn Path"
Biography
Robert Wood (G. Day) (1889 -1979)
A painter of realistic landscapes reflecting a vanishing wilderness in America, Robert Wood (not to be confused with Robert E. Wood) is reportedly one of the most mass-produced artists in the United States. His painting became so popular he was unable to meet all of the demands, and many of his works were reproduced in lithographs and mass distributed as prints, place mats, and wall murals by companies including Sears, Roebuck. He was born in Sandgate, Kent on the south coast of England near Dover, the son of W.L. Wood, a famous home and church painter who recognized and supported his son's talent. In fact, he forced his son to paint by keeping him inside to paint rather than playing with his friends. At age 12, Wood entered the South Kensington School of Art. As a youth, he came to the United States in 1910, having served in the Royal Army, and he never returned to England. He traveled extensively all over the United States, especially in the West, often in freight cars, and also painted in Mexico and Canada. His itinerant existence took him to Illinois where he worked as a farmhand, to Pensacola, Florida where he married, briefly in Ohio, Seattle, Washington, and Portland, Oregon. In 1912, he was in Los Angeles, and In the late 1920s and early 1930s, in San Antonio, Texas, where he lived and in 1928 exhibited in the "Texas Wildflower Competition." From San Antonio, he gained a national reputation for his strong colored, dramatic paintings. Some of that prestige has been credited to his association with Jose Arpa, prominent Texas artist. Wood also gave art lessons, and one of his students was Porfirio Salinas. During this period, Wood sometimes signed his paintings G. Day or Trebor, which is Robert spelled backwards. In 1941 he went to California and painted numerous desert and mountain landscapes and coastal scenes. He lived in Carmel for seven years, and then moved to Woodstock, New York, but he soon returned to California, settling first in Laguna Beach, then San Diego, and finally in the High Sierras, where he and his wife built a home and studio near Bishop and lived until his death in 1979. Robert Wood was born March 4, 1889 in Sandgate, England, a small town on the Kentish coast not far from the white cliffs of Dover. His father, W. J. Wood was a successful painter who recognized Robert's unusual talent. At the age of twelve, his father enrolled Wood in art school in the small town of Folkestone. He then attended the South Kensington School of Art. While attending art school, Wood won four first awards and three second awards, one each year, a record. In 1910 after service in the Royal Army, nineteen-year-old Wood and his friend, Claude Waters, immigrated to America. Initially, he settled in Illinois and worked as a hired hand on a farm belonging to Water's uncle. He would then strike out on his own, living the life of an itinerant painter. Wood traveled as a hobo, hopping freight trains and selling or bartering small paintings to support him along the way. When times were hard, he worked at whatever job was available. In this manner, he saw most of the United States and fell in love with rural America. By 1912, Wood visited Los Angeles for the first time, arriving on the day of the Titanic tragedy. Later that year, he had met, courted and married young Eyssel Del Wagoner in Florida. The couple moved to Ohio where a daughter, Florence, was born. During World War I, the family moved to Seattle where a son, John Robert Wood, was born in 1919. In the early 1920's, the young Wood family was almost constantly on the move. They stayed for short periods in Kansas, Missouri, California and for a longer time in Portland, Oregon, where Wood's friend Claude Waters had settled. Wood's seemingly endless wanderings disrupted his family life and delayed his development as a painter. However, through his travels he developed an appreciation for the American landscape that would inspire him for the rest of his career. Although aware of the current movement away from traditional realism in American art, he elected to travel that solitary path and remain true to his own vision of America's grandeur and beauty poetically translated through his landscape and seascape paintings. In 1923, the Wood family discovered the beautiful city of San Antonio, Texas and it was there that he and his family would finally settle. He studied briefly at the San Antonio Art School with Spanish colorist Jose Arpa y Perea (1860-1952), who had arrived in San Antonio that same year. In the latter part of the 1920’s, Jose Arpa’s influence quickly became evident. Wood after several years of experimentation was becoming a fine easel painter, capable of great subtlety with a new mature original style. Like Texas painters Robert Onderdonk (1853-1917) and his son Julian Onderdonk (1882-1922), Robert Wood concentrated on the distinctive Texas landscape with its Red Oak trees and wildflowers that covered the hill country landscape. He developed a reputation for his scenes of Blue Bluebonnets, the state flower. In the spring, the Texas prairie is covered with wildflowers, especially in the hill country surrounding San Antonio and Austin. Wood incorporated native stone barns and rough wood farm houses that added authenticity and romance to his compositions. In 1925, Wood was divorced from his wife. In 1932, he moved to the famous scenic loop on San Antonio's outskirts. While still living in Texas, he took extensive western sketching trips that brought him to California. It is evident that his 1930’s California and Texas works started to show his awareness of the then popular California Plein-Air movement. These more mature works are distinguished by a fine sense of detail reminiscent of late-19th-century American landscape painters laced with the colorful influence of American and French impressionism. With paintings being shipped to dealers across the continent, Wood’s reputation with collectors was growing nationally. It should be noted that from 1924 and 1940 Robert Wood also signed his paintings G. Day (Good Day) and Trebor (Robert backwards). He only used these signatures during these years (1924- 1940) and there is conflicting information as to why. In 1941 after seventeen years in Texas, Robert Wood and his second wife Tula, who he had met in San Antonio, moved to the coastal town of Laguna Beach, California. Laguna had been an artist colony since early in the century and it was the birthplace for California Plein-Air School, which was still active. While in Laguna, he developed a following for both his landscapes and marine paintings. Wood's paintings of the California coast remained a significant part of his oeuvre. Living in Laguna for seven years, Robert Wood became an active member of the Laguna Art Association and an exhibitor at the annual Laguna Festival of the Arts. After the War in 1948, the Woods moved east and bought a home in Woodstock, New York, which he had visited in the 1930’s. It was a popular artist colony located in the Catskills Mountains. He purchased a studio hidden deep in the Wood Stock forest where Maples and Elms, as well as a quiet brook surrounded his small rustic studio. He found inspiration from the bold autumn colors of the forest, the Catskill Mountains covered in pillows of snow and the blossoming fruit trees of spring. During this period, he made sketching trips to New Hampshire, Vermont and along the Maine coast. Although included in his eastern subjects, these Vermont, New Hampshire and Maine subjects are rare when compared to the hundreds of paintings done while in Woodstock. The public was captivated with Roberts Wood’s seasonal Woodstock paintings. He began working with an inexpensive print publishing house (possibly Donald Art Publishing Co.) to reproduce several of his paintings. The reproductions were an immediate success. October Morn, which was his most successful print, sold more than one million copies in less than two years. These inexpensive paper reproductions made Robert Wood one of America's most famous landscape painters. After a few years in New York, Robert and Tula moved back to Laguna Beach. 1952 and 1953 were tumultuous years for Robert Wood. He and Tula became increasingly estranged and they were divorced in 1952. The following year, Wood was hit by a car on Pacific Coast Highway and nearly died. His friend and amateur artist Caryl Price helped him around the house during his recovery and the two were soon married. He had instructed Caryl in painting and he would take her on sketching trips all throughout the west. During the 1950's, a combination of the popularity of Robert Wood's paintings and his print royalties eventually made him a comfortable living. It was during this period that Grand Tetons became a favorite subject. Although Robert Wood painted extensively in the Colorado Rockies in the 1930s and 1940s, he did not paint the Tetons until the late 1950s. By the early 1960s, the Tetons and the California coast made up a significant percentage of his artistic production. Wood would continue to paint his popular Texas landscapes but his style had changed. Works from this period are more broadly painted with a more chromatic palette, which was considerably different than those from the 1930s and 1940s. In the 1960's, Robert Wood found great success and his paintings brought higher prices, some selling in excess of five thousand dollars. At the age of eighty, the American Express Company commissioned him to paint a series of six works to be reproduced as limited edition serigraphs for their Cardholders. Each print depicted one of the National Parks, subjects that were well known to Wood. Around 1964, Robert and Caryl Wood moved to San Diego. They had purchased a wonderful Victorian house that Caryl wanted to restore. After several years in San Diego, they finally moved back to Bishop and the Sierras. Wood remained active and he continued to paint until just prior to his death in the spring of 1979, just weeks before his 90th birthday. Although Robert Wood shunned publicity and was modest about his accomplishments, he had millions of admirers who mourn his passing. There are thousands of artists in this country who learned a great deal by studying his work, his reproductions and through the art instruction books he authored for Walter Foster publishing.
- Creator:Robert W. Wood (1889 - 1979, American)
- Creation Year:Circa 1940
- Dimensions:Height: 16 in (40.64 cm)Width: 20 in (50.8 cm)Depth: 3 in (7.62 cm)
- More Editions & Sizes:Size: 12 x 16Price: $5,040
- Medium:
- Movement & Style:
- Period:
- Framing:Frame IncludedFraming Options Available
- Condition:Please visit my storefront for more vintage and mid-century artwork.
- Gallery Location:San Antonio, TX
- Reference Number:1stDibs: LU769312675112
About the Seller
5.0
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
Established in 1974
1stDibs seller since 2017
80 sales on 1stDibs
Typical response time: 1 hour
- ShippingRetrieving quote...Ships From: San Antonio, TX
- Return PolicyThis item cannot be returned.
More From This SellerView All
- "San Fernando Cathedral Moonlight" San Antonio Texas LandmarkBy Randy PeytonLocated in San Antonio, TXRandy Peyton (1958 - present) San Antonio Artist Image Size: 16 x 12 Frame Size: 19 x 15 Medium: Oil on Canvas " San Fernando Cathedral Moonlight" Biogra...Category
Early 2000s Impressionist Landscape Paintings
MaterialsOil
- "Road Through The Woods " 1909By Julian OnderdonkLocated in San Antonio, TXJulian Onderdonk (1882 - 1922) San Antonio Artist Image Size: 9 x 12 Frame Size: 17.5 x 20.5 Medium: Oil Dated 1909 "Road Through The Woods" Julian Onderdonk (1882 - 1922) Known as the "Bluebonnet Painter", Robert Julian Onderdonk was a Texan who spent his summer's in New York City and the remainder of the year in San Antonio. He earned his title from the many wildflower paintings he did of the flowering fields near his hometown. He was the son and art student of artist Robert Jenkins Onderdonk and the brother of Eleanor Onderdonk, also a prominent Texas painter, sculptor, and art administrator. In 1901, when he was nineteen, he went to New York and enrolled at the Art Students League and became a student of Kenyon Cox, Robert Henri, and Frank DuMond. He also studied with William Merritt Chase at Chase's summer school at Shinnecock on Long Island and the New York School of Art, and Chase had a continuing influence on his work. Ever in need of money to support his love of painting, Onderdonk took a temporary position in 1906 with the Dallas State Fair Association to put on an art exhibit, and three years later he took a job with them that lasted until until his premature death in 1922 at age forty. Onderdonk married in 1902, and when he returned to Texas in 1909, the New York art critics had become aware of him. Onderdonk would maintain a foothold in the art world there because his employment by the Dallas State Fair Association required him to return on a yearly basis to New York City. Even though the artist had never been a member, the National Academy of Design in New York City took the rather extraordinary step, upon his death, of exhibiting Onderdonk's last painting, "Dawn in the Hills". A fund-raising campaign in San Antonio purchased the painting for the city's art museum. Robert Julian Onderdonk was a member of the Allied Artists of America, Salmagundi Club and San Antonio Art League. His paintings are in the Dallas Museum of Fine Arts, Fort Worth Art Association, Museum of Fine Arts of Houston, San Antonio Museum Association and Stark Museum of Art, Orange, Texas "A Texas Painter Worked Under the Radar in New York," By Eve M. Kahn, March 6, 2014, The New York Times Onderdonk, a San Antonio native who died of an intestinal ailment in 1922, at 40, is best known for painting swaths of Texas bluebonnets. Those canvases can bring more than $500,000 each, while his New York scenes usually end up in the five-figure range. Onderdonk’s parents were painters in San Antonio, and in 1901, when he was a teenager, they sent him to New York for training. Through 1909, he lived in various Manhattan apartments and Staten Island houses. He then returned to Texas, but continued to spend months at a time in New York. In 1902 he had married a Manhattan teenage neighbor, Gertrude Shipman. While she focused on raising their daughter, Adrienne, and worrying about their strained finances, “he created more than 600 works of art, often producing a painting or two a day,” Eyewitnesses recorded his prolific pace in New York, but Onderdonk works bearing those dates rarely turn up. The puzzling gap in his productivity is explained in family correspondence that the Bakers uncovered: The artist admits that he was signing pieces with pseudonyms. He mostly used Chas. Turner and Chase Turner and occasionally resorted to Elbert H. Turner and Roberto Vasquez. Julian Onderdonk was the son of the important Texas landscapist, Robert Onderdonk. He was the father's pupil at age 16. Sponsored by a Texas patron, he studied at the Art Students League in New York when he was 19, the pupil of Kenyon Cox, Frank DuMond, and Robert Henri. He also studied with William Merritt Chase on Long Island. In 1902, having lost his Texas patron because he married, he asked $18 for 12 paintings at a Fifth Avenue dealer in New York City...Category
Early 1900s Impressionist Landscape Paintings
MaterialsOil
- "Summer Splendor" Texas Hill Country Prickley Pear Cactus in Bloom WildflowersBy Eric HarrisonLocated in San Antonio, TXEric Harrison (Born 1971) Texas Hill Country Artist Image Size: 40 x 30 Frame Size: 50 x 40 Medium: Oil 2019 "Summer Splendor" Bio Eric Harrison “I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.” -Henry D. Thoreau Eric Harrison-born 1971 in San Antonio, Texas. In 1995 he married Kim Marie, and together they have two sons, Noah and Ethan. The Harrison’s reside in the hill country west of Blanco, Texas. Currently painting in a language resonant with other Texas artists such as Robert and Julian Onderdonk, Robert Wood, Porfirio Salinas, Dawson Dawson-Watson, and Robert Harrison; with an affinity toward the work of California painter William Wendt. Paul Cezanne and many of the post impressionists. Exhibitions and collections of his work include: The United States Embassy in Togo, Africa The University of Texas at San Antonio The Buckhorn Museum San Antonio Best of the Best Art Show Salado, Texas Texas Landscape Show The Nave Museum, Victoria Texas The Harrisons, “A Family of Texas Painters” Charles Morin Fine Art...Category
2010s Impressionist Landscape Paintings
MaterialsOil
- Pair Early New Mexico Landscapes with Structures Heavy Impasto Galveston ArtistBy Paul SchumannLocated in San Antonio, TXThe following two paintings are being offered as a pair. Only one is signed the other is not. Both early New Mexico Paintings with beautiful heavy i...Category
1920s Impressionist Landscape Paintings
MaterialsOil
- "On the Hopi Reservation" Rare Adobe Scene by Dawson Dawson-Watson circa 1927By Dawson Dawson-WatsonLocated in San Antonio, TXDawson Dawson-Watson "On the Hopi Reservation" Has two different old gallery labels on the verso from Santa Fe Galleries. (1864-1939) San Antonio Artis...Category
1920s Impressionist Landscape Paintings
MaterialsOil
- "Gate To The Alamo" The Cradle of Texas Liberty. San AntonioBy Randy PeytonLocated in San Antonio, TXRandy Peyton (1958 - present) San Antonio Artist Image Size: 36 x 24 Frame Size: 43.5x 30.5 Medium: Oil on Canvas "Gate to The Alamo" Biography Randy Pe...Category
Early 2000s Impressionist Landscape Paintings
MaterialsOil
You May Also Like
- St. Augustine Skyline Sunset, Impressionist Oil PaintingLocated in Saint Augustine, FLMyers creates an atmospheric scene from the perspective of the inlet looking towards Marine Street, St. Augustine. The burning sunset sky reflects onto the historic skyline casting ...Category
21st Century and Contemporary American Impressionist Landscape Paintings
MaterialsOil
- Coastal SceneBy Sigurd Solver SchouLocated in New York, NYCoastal Scene by Sigurd Solver Schou (1875-1944) Oil on panel 10 x 13 inches unframed ( 25.4 x 33.02 cm) 14 ½ x 17 ⅛ inches framed (36.83 x 43.4975 cm)...Category
20th Century Impressionist Landscape Paintings
MaterialsOil
- Winter SceneBy Walter Launt PalmerLocated in New York, NYIn this prototypical oil painting, Walter Launt Palmer's title as "the painter of the American winter" can be vividly and brilliantly seen. As an impressionist painter that emerged at the turn of the 20th century, Palmer took great interest in the picturesque American landscape, though he particularly focused on the rendering of this landscape glistening with snow. His pictures evoke an unreplicable natural serenity, and in this oil painting "The Winter Scene...Category
Early 20th Century American Impressionist Landscape Paintings
MaterialsOil
- Mid 20thCentury Modernist: Harbour Scene in Morning Light Oil circa 1950'sLocated in Frome, SomersetA fine mid 20th Century impressionist harbour scene oil circa 1950's, Signed lower right. oil on canvas 27cmx 46.5cm Painted wood frame 45cmx 64cm Wonderfully painted probably en pl...Category
1950s Impressionist Landscape Paintings
MaterialsOil
- Impressionist View of a Vineyard and Fish Pond oil on canvas circa 1951Located in Frome, SomersetA fine Impressionist oil on canvas. Signed Lower left. oil on canvas 62cmx52cm Fine antique giltwood frame 80cmx70cm A view of the famous long established Vineyard, the Estate of Gro...Category
1950s Impressionist Landscape Paintings
MaterialsOil
- French Impressionist: Hillside Landscape with Dwellings oil circa 1860Located in Frome, SomersetA fine impressionist landscape by the 19th century French painter Loouis Boulanger (1806-1867). Oil on canvas 15"x21,3/4" 38cmx 55cm The original giltwood frame: 22"x28" , 56cmx 72cm. A fine plein air study of a stoney outcrop on the edge of a French village circa 1860. Boulanger was famous during his lifetime for his portraits of the intelligentsia of Paris society during the 19th century including Victor Hugo. He was also a great follower of the early impressionist landscape painters this being a fine example of his work. A well balanced composition and an intense study of afternoon light in a French landscape. Signed lower right. Provenance : Estate collection, Paris Good condition. Higher resolution images available on request. Viewing welcome . Worldwide shipping available. Louis Boulanger (11 March 1806, Vercelli, Piedmont - 5 March 1867, Dijon) was a French Romantic painter, lithographer and illustrator. Life He enrolled in 1821 at the École des beaux-arts where he attended the workshop of Guillaume Guillon Lethière and received a solid classical training. Next he made a présentation for the prix de Rome, in 1824, in which he finished logiste. He became the companion of Eugène Devéria...Category
1860s Impressionist Landscape Paintings
MaterialsOil
Recently Viewed
View AllMore Ways To Browse
Car Sketch
Vintage Original Signed Oil Painting
Oil Paintings Mid Century Landscapes
Paintings Of City Building
Night Light
3 X 4 Paintings
Flower Show
Design Sketch
Dutch Signs
French Vintage Oil Painting Framed
Italian Landscape Vintage
Vintage School House
Old Masters Landscape
Suggested Landscape
American Medals
Post Modern Framed Art
Venice Canvas
Oil Canvas War