"Painted 1935. Rear of Halifax house from top of mowing in back. Exhibited quite generally about the country. Acquired in the summer of 1945 by my dear friends, Mr. and Mrs. F. Earl Williams of Gardner, Mass."
"Late summer in New England. Foreground of uncut old grass, pale yellow and ochre. $450."
Years ago the sepia print above got mislabeled as Aged Roofs. In our recent audit of images,
fresh review and, update of the artwork pages exposed the error. The difference in the skies alone are enough to see they
are not the same. What usually happened was that
Dr. Mark would come across an unlabeled sepia and compare it with what he had available to him. Then later we would get
new images and confirmation of the painting name and not double check that the other documents match.
What
else does not match is the season, the apple trees in bloom above and not in the sepia. So the information on the sepia supplied
by Woodward is correct. It is a late summer painting.
This painting of which we only have the above sepia print is
probably not unnamed. The term "unnamed" refers to the number of paintings there are that are not named for
any number of reasons: they were bought direct from Woodward's studio without a name; or given as a gift by
Woodward which was quite common, or they remained in his estate, probably in his storage area, after his death
and were typically unfinished in some way but Woodward's cousin
Florence sold some of them to settle up the estate's expenses and what have you after his death.
This painting most likely has a name by reason that there is a sepia print and that Woodward actually wrote
notes on the back of it. He only did this when sending the sepias to galleries looking to exhibit his work. The
description served as the color commentary before color pictures where available.
For years, we numbered paintings we did not have names, but
then as we learned the painting's name that number would be retired. However the impersonal numbering also
made it very hard to remember what the painting was and a lot of doubles started to appear and the whole thing
became a mess.
What we decided to do was give them "unofficial" names. These names either
reflect another painting it may be related to or reminiscent of and in other instances, we tried to name it in a
way Woodward might do so, focusing on the literalness, like he often did. It make them so much more memorable.
This painting was not so easy. We could have called it, "Late Summer in Halifax