"Painted prior to 1928. Made from Harrison Keach's sugar house, and painting from which the Weldon Hotel picture was made. Bought by Emmett H. Naylor of Springfield, Mass. and Cummington and hung in his Cummington home until his death in 1939, when the painting went into the hands of his son, Winford Caldwell Naylor (grandmother at 20 Ridgewood Place, Springfield, Mass, (Caldwells). 'A previous canvas, owned by F. E. Williams was also called "Early Sugaring" --so I have designated them as E.S. #1 and E.S. #2.'"
In essence, the diary remarks for Early Sugaring #2 (seen to the upper right) are also the de facto diary entry for this painting we have named Early Sugaring #3 because it is the same subject as Early Sugaring #2, only a different size.
For all intent and purposes, we do not know if this painting technically has a name. Woodward does not name it in
the diary and does not even bother making a separate entry for this painting leaving us with questions, like: Was it made special
for the hotel? Did the hotel commissioned painting? Was it made as a 36" x 42" to fit the specific space? How was the subject chosen?
Did the hotel select it or did Woodward make it and brought it to them? He gives us no information, not even a hint, as to what
occurred. The painting is deserving of its own diary entry.
With that being said, we also did not bury this canvas in the
Unnamed Gallery. Since Woodward says that he will number the original Early Sugaring and the Naylor
painting "ES #1 and ES #2", than this painting can be #three. Still another question we find ourselves asking is -- Did its subject
and commission to the Weldon Hotel have anything to do with When Drifts Melt Fast hanging at the Sweetheart Tea house in
Shelburne? Did the idea originate from that? We may never know. The hotel is long gone and the whereabouts of this painting, right
now, is unknown.
⮜ For years, this painting was mistaken for being what is now known as the squarish Early Surgaring #2
because of a squished image of the picture to the left. For that story, click the link below...
Despite being very similar in subject, ES #3 clearly does not match the same aspect ratio of its sibling "ES #2," which is a rectangular 24" x 36" canvas. This changes the perspective dramatically. As you can see in the illustration to the right, the proximity of the sugar houses do not even line up in relation to the sugar maples that anchors both paintings. The young trees behind the maple also do not match, nor does the left side of the maple tree itself! If we didn't know any better from Woodward's diary entry we would suspect that he RETURNED to the location and painted the Harrison Keach sugar house, years later, en plein air a second time, given the changes in the scene... especially given the addition growth of trees! ES #2 has almost no trees surrounding the sugar maple.