Hopper thought highly of this print. He sent it to Toronto for the International Exhibition of Graphic and Applied Arts and Photography in 1920 and in 1922 he showed it at the Whitney Studio Club and the National Academy of Design. Reviewing the Academy show for the New York Herald, critic Henry McBride included it in his short list of works “that have a touch of spirit, or some quality of charm.” Perhaps a reminiscence from Hopper’s childhood in Nyack, New York, a village on the Hudson of mostly nineteenth-century houses, this scene illustrates his interest in Victorian architecture and, even within the limitations of a black and white medium, his lifelong dedication to rendering “sunlight on the side of a house.”