Maxfield Parrish (1870-1966)

Cardinal Archbishop Sat on His Shaded Balcony

Details

Maxfield Parrish (1870-1966)
Cardinal Archbishop Sat on His Shaded Balcony
signed with initials 'M.P.' (lower right)
oil on paper laid down on board
14½ x 9½ in. (36.8 x 24.1 cm.)
Executed in 1901.

Provenance

Vose Galleries, Boston, Massachusetts.
La Galeria, San Mateo, California.
Mary Bell, Walnut Creek, California, acquired from the above.
Private collection, by descent.
La Galeria, Plainfield, New Hampshire.
Acquired by the present owner from the above, circa 1989.

Literature

A.C. Smith, "The Turquoise Cup and the Desert," Scribner's Magazine, New York, December 1901, n.p., frontispiece illustration.
A.C. Smith, The Turquoise Cup and the Desert, New York, 1903, n.p., frontispiece illustration.
C. Ludwig, Maxfield Parrish, New York, 1973, pp. 207, 212.
P.W. Skeeters, Maxfield Parrish, Early Years, 1893-1930, New York, 1973, p. 30.
V.R. Colby, "Stephen and Maxfield Parrish in New Hampshire," The Magazine Antiques, June 1979, pp. 1290, 1293, illustrated.
M.M. Lovell, Venice: The American View, 1860-1920, exhibition catalogue, San Francisco, California, 1984, p. 73, no. 31, illustrated.
A. Gilbert, Maxfield Parrish: The Masterworks, Berkeley, California, 1992, pp. 24-25, fig. 2.3, illustrated (as The Cardinal Archbishop).
L.S. Cutler, J.G. Cutler, Maxfield Parrish: A Retrospective, San Francisco, California, 1995, p. 55, illustrated.
L.S. Cutler, J.G. Cutler, Maxfield Parrish: A Retrospective, exhibition catalogue, Tokyo, Japan, 1995, pp. 85, 163, no. 31, illustrated.
A.M. Gilbert, Parrish and Photography, Plainfield, New Hampshire, 1998, n.p., no. 40, illustrated.

Exhibited

Plainfield, New Hampshire, Maxfield Parrish Museum, Opening Exhibit, May 28-October 30, 1978.
San Francisco, California, The Fine Arts Museum of San Francisco, California Palace of the Legion of Honor, and elsewhere, Venice: The American View, 1860-1920, October 20, 1984-January 20, 1985, no. 31.
Tokyo, Japan, Isetan Museum of Art, and elsewhere, Maxfield Parrish: A Retrospective, April 20-May 16, 1995, no. 31.
Newport, Rhode Island, National Museum of American Illustration, December 2006-September 2008, on loan.

Lot Essay

According to Alma Gilbert the present work, "painted as an illustration for The Turquoise Cup by Arthur Cosslett Smith (Charles Scribner, 1903), is a wonderful example of Parrish's luminism. It is one of the few pieces for which the artist used himself as a model...Parrish used his own back porch as the setting. The Duncan Phyfe table holds his pewter service; the lion on the pedestal was crafted by Parrish in the Saint-Gaudens studio...Parrish's view of Venice in the painting is a perfect example of how he would transport a different locale to blend it effortlessly with his own surroundings." (Maxfield Parrish: The Masterworks, Berkeley, California, 1992, p. 25-26)

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