In the context of "Woodman Castings," it is common for names to be abbreviated or similar names to be confused. Here is the likely identification:
The specific string “MarketA B” does not appear in any authoritative Woodman catalogue raisonné (e.g., those by Corey Keller, Philippe Sers, or the Woodman Family Foundation). It is likely: woodman casting marketa b
Francesca Woodman’s most explicitly theatrical work emerges from her final years at the Rhode Island School of Design (RISD) and her subsequent stay in Rome (1979–80). During this time, she moved away from the solitary, spectral self-portraits of her earlier House series (1976–78) and began collaborating with other female figures. Among them was Markéta, a friend and model whose full identity remains obscure—likely a fellow student or expatriate in Rome. In the context of "Woodman Castings," it is
The Casting series (sometimes referred to as Casting for a Role or Casting photographs) consists of black-and-white gelatin silver prints, often small-scale (typical of Woodman’s 8×10 inch format), in which one or two female figures perform acts of disguise, concealment, and revelation. During this time, she moved away from the
Harvesters, balers, and tillers often use the Marketa B casting as a gearbox housing or pivot bracket. The "B" revision reduces fatigue failure under cyclic loads common in crop processing.