RARE ANTIQUE ORIGINAL 100 YEAR OLD PROOF PRINT MAXFIELD PARRISH ERRANT PAN

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RARE ANTIQUE ORIGINAL 100 YEAR OLD PROOF PRINT MAXFIELD PARRISH ERRANT PAN:
$395.00

ANTIQUE ORIGINAL 100 YEAR OLD PROOF PRINTS MAXFIELD PARRISH ERRANT PAN

\"THE ERRANT PAN\"

by Maxfield Parrish
1900

Authentic 100 year old Antique printwhich have been in my collection for the past 15 years. This is a Printers Copyor Proof which is one of three listed some with notations on fronts and pencil on backs.

The lithography on thisprint and others from the set listedis the best you will see, they are not grainey like most but crisp and rich in color.

\"ERRANT PAN\"

Nude Pan plays flue atop waterfall in forest. Over all size with borders is 11\" x 14\" with actual image being 8 3/4\" x 11\". Bottom left edge reads copyright 1910 Charles Scribner\'s & Sons. Dark rich blues, purples and greens with clean borders, initials on back. Image area does show handling marks which mostly show in bright light and at an angle and a faint printing line down right side of print, not seen easily but in light and looking for it.

CONDITION

Colors are mint as they have never been framed or in the light for any period of time. Image may have minor printing flaws as noted and handling marks. Boders show wear & tear and pencil notations/tape on front/pencil note on backs, please see photo and ask questions if needed.

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Maxfield ParrishFrom Wikipedia, the free encyclopedia Maxfield Parrish Maxfield Parrish in 1896 Birthname Frederick Parrish Born July 25, 1870
Philadelphia, Pennsylvania Died March 30, 1966(aged95)
Cornish, New Hampshire Nationality American Field Painter, illustrator

Maxfield Parrish(July 25, 1870 – March 30, 1966) was an American painter andillustratoractive in the first half of the 20th century. He is known for his distinctive saturated hues and idealized neo-classical imagery.

Contents[hide]

1Life
2Technique
3Influence
4Family
5Notes
6References
7Further reading
8External links

Life[edit]

Born inPhiladelphia, Pennsylvania, he was the son of painter and etcherStephen Parrish. He began drawing for his own amusement as a child. His given name was Frederick Parrish but he later adopted the maiden name of his paternal grandmother, Maxfield, as his middle name, and later as his professional name. His father was an engraver and landscape artist, and young Parrish\'s parents encouraged his talent. He attendedHaverford College, thePennsylvania Academy of the Fine Arts, andDrexel Institute of Art, Science & Industry. He entered into an artistic career that lasted for more than half a century, and which helped shape the Golden Age of illustration and the future of Americanvisual arts.

The Dinky Bird, by Maxfield Parrish, an illustration fromPoems of ChildhoodbyEugene Field, 1904. This work exemplifies Parrish\'s characteristic use of androgynous figures.

He lived in Philadelphia until age 28, at which time he purchased land opposite the valley from his parents\' home in New Hampshire, where over a number of years he designed and built his own home and eventual studio, The Oaks. He spent the rest of his life there with his wife, Lydia, who died in 1953, and his mistress and model, Sue Lewin, who survived his death in 1966 at age 95.

Launched by acommissionto illustrateL. Frank Baum\'sMother Goose in Prosein 1897, his repertoire included many prestigious projects, among which wereEugene Field\'sPoems of Childhoodin 1904 (8 color plates;see illustration) and such traditional works asArabian Nightsin 1909 (12 color plates). Books illustrated by Parrish, in addition to those that include reproductions of Parrish\'s work—includingA Wonder Book and Tanglewood Talesin 1910 (10 color plates),The Golden Treasury of Songs and Lyricsin 1911 ( 8 color plates) andThe Knave of Heartsin 1925 (with 23 color images)—are highly sought-after collectors\' items.

The Lantern Bearers, 1908, oil on canvas on board, created for Collier\'s magazine, the painting shows Parrish\'s use of glazes and saturated color in an evocative night scene,Crystal Bridges Museum of American Art

He had numerous commissions from popular magazines in the 1910s and 1920s, includingHearst\'s,Colliers, andLife. He was also a favorite of advertisers, includingWanamaker\'s,Edison-Mazda Lamps, Fisk Tires,Colgateand Oneida Cutlery. In the 1920s, Parrish turned away from illustration and concentrated on painting for its own sake.Androgynousnudes infantasticalsettings were a recurring theme. He continued in this vein for several years, living comfortably off the royalties brought in by the production ofpostersandcalendarsfeaturing his works. An early favorite model was Kitty Owen in the 1920s. Later another favorite, Susan Lewin, posed for many works, and was employed in the Parrish household for many years. Parrish posed for many images that featured male—and occasionally female—figures (seePotpourri, 1905).

In 1931, he declared to theAssociated Press, \"I\'m done with girls on rocks\", and opted instead to focus on landscapes. Though never as popular as his earlier works, he profited from them. He would often build models of the landscapes he wished to paint, using various lighting setups before deciding on a preferred view, which he would photograph as a basis for the painting (see for example,The Millpond). He lived inPlainfield, New Hampshire, near theCornish Art Colony, and painted until he was 91 years old. He was also an avid machinist. He often referred to himself as \"a mechanic who loved to paint.\"[citation needed]

Parrish was one of the most successful and prolific of the illustrators and painters of the Golden Age of Illustration. He was earning over $100,000 per year by 1910, at a time when a fine home could be purchased for $2,000. Norman Rockwell referred to Parrish as \"my idol.\" Parrish, although unique in his execution and never duplicated, exhibited considerable influence upon other illustrators and artists, an influence which continues through the present. His original paintings are highly sought-after when they come to market, as well as his first-edition prints, which continue to command high prices at both sale and through private sales. His exacting attention to detail preceded the Photorealist and Hyper-Realist art movements, and his abundant imagination and love of fantasy elements have also influenced artists in myriad media.

Technique[edit]

Parrish\'s art features dazzlingly luminouscolors; the colorParrish bluewas named in acknowledgement.[1]He achieved the results by means of a technique calledglazingwhere bright layers ofoilcolor separated byvarnishare applied alternately over a base rendering (Parrish usually used a blue and white monochromaticunderpainting).

He would build up the depth in his paintings by photographing, enlarging, projecting and tracing half- or full-size objects or figures. Parrish then cut out and placed the images on his canvas, covering them with thick, but clear, layers of glaze. The result is realism of elegiac vivacity. His work achieves a unique three-dimensional appearance, which does not translate well tocoffee table books.

A fantastical Parrish illustration titledCadmus Sowing the Dragon\'s Teeth, which appeared inCollier\'sin 1908 andA Wonder Book andTanglewood Tales, byNathaniel Hawthorne

The outer proportions and internal divisions of Parrish\'s compositions were carefully calculated in accordance with geometric principles such asroot rectanglesand thegolden ratio. In this Parrish was influenced byJay Hamofferge\'s theory ofDynamic Symmetry.[2]

Parrish devised many innovative techniques. A technique which Parrish used frequently involved creating a large piece of cloth with a geometric pattern in stark black-and-white (such as alternate black and white squares, or a regular pattern of black circles on a white background). A human model (often Parrish himself) would then pose for a photograph with this cloth draped naturally on his or her body in a manner which intentionally distorted the pattern. Parrish would develop a transparency of the photo, then project this onto the canvas of his current work in progress. Using blackgraphiteon the white canvas, Parrish would painstakingly trace and fill in all the black portions of the projected photo. The result was astonishing: in the finished painting, a human figure would be seen wearing a distinctive geometrically patterned cloth which draped realistically and accurately.

Influence[edit]Princess Parizade Bringing Home the Singing TreefromArabian Nights, 1906, oil on paper

Parrish\'s work defiescategorizationsince he was part of no traditional movement or school, and developed an original and individual style. However, his work has been highly influential, and the prices for his original paintings at sale have increased. His magnum opus,Daybreak, sold in 2006 for $7.6 million USD.[3]

TheElton JohnalbumCaribouhas a Parrish background.The Moody BluesalbumThe Presentuses a variation of the Parrish paintingDaybreakfor its cover. In 1984,Dali\'s Car, the British New Wave project ofPeter MurphyandMick Karn, usedDaybreakas the cover art of their only album,The Waking Hour.The Irish musicianEnyahas been inspired by the works of Parrish. The cover art of her 1995 albumThe Memory of Treesis based on his paintingThe Young King of the Black Isles.[4]A number of her music videos include Parrish imagery including Caribbean Blue. In the 1995music video\"You Are Not Alone\",Michael Jacksonand his then wifeLisa Marie Presleyappear semi-nude in emulation ofDaybreak. The Italian singer-songwriterAngelo Branduardi\'s fourth albumLa pulce d\'acquaof 1977 featured nine inlay full colour print reproduction of painterMario Convertino\'s works; one of them is clearly inspired by Parrish\'sStars.

The cover of the 1985Bloom Countycartoon collectionPenguin Dreams and Stranger Thingscomprises elements ofDaybreak,The Garden of Allah, andThe Lute Players.

The poster forThe Princess Bridewas inspired by his painting titled \"Daybreak\".

Kurt Vonnegut\'s workThe Sirens of Titanalludes to \"Maxfield Parrish light\" coming from treetops.

In 2001, Parrish was featured in a U.S. Post Office commemorative stamp series honoring American illustrators, includingRockwell Kent,Norman Rockwell,Frederic Remington, and 16 others.

TheNational Museum of American Illustrationclaims the largest body of his work in any collection, with sixty-nine works by Parrish. Some of his works are located at theHood Museum of Art(Hanover, New Hampshire, theCornish Colony Art Museum(Windsor, Vermont), and a few at theMetropolitan Museum of Artin New York. TheSan Diego Museum of Arttoured a collection of his work in 2005.

Family[edit]

His second sonMaxfield Parrish, Jr.is known for his important contribution to the development of the first self-developing camera at Dr.Edwin H. Land\'sPolaroid Corporation. He also collaborated with his cousin, inventorJohn Haven Emerson, in an important patent lawsuit involvingiron lungs.

Maxfield Parrish\'s third son, Stephen Parrish II, worked forPan Americanas a mechanic. His daughter Jean Parrish was a noted artist in her own right. She died in 2004.

*AMERICAN ILLUSTRATION ARCHIVES*

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On Jul-21-16 at 19:38:34 PDT, seller added the following information:

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