Jean Parrish 1911 - 2004

Estate of Maxfield Parrish, Plainfield,  New Hampshire 
Dorothy Cole, San Jose, California
Private Collection, Tokyo

 

San Francisco, Alma Gilbert, Inc., Fine Art Gallery, circa 1992

in generally good condition; bare areas (in background) with no pigment are somewhat soiled: surface is toned, scattered stains, spots of light foxing, a few dark spots near edges; edges are in good shape, generally--corners are slightly worn; a diagonal scratch across center--grazes figure's green shorts and silver balls on either side; a few tiny indents at center left; aside from this, work is vibrant, pigments have not lost their intensity--work makes a bold, vivid impression
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Jean Parrish, youngest child of Maxfield and Lydia Parrish, was the only offspring of the famed artist to become a well-known painter herself.  She is known for her landscapes of New Mexico, where she lived off and on for several years, starting in the late 1930s.  But for a short time earlier in the decade she experimented with illustration art, creating a few covers for Collier's magazine which, though charming, were never accepted for publication.  The present work, which she painted at her father's studio in Plainfield, New Hampshire, is one such example.
An interesting anecdote from this period in Jean's life involves her father Maxfield, a strong and loyal supporter of her career from its beginnings.  He particularly liked one of her proposed covers, which showed a gnome painting bright autumn colors on leaves.  He made a deal with Jean; he obtained permission from her to develop her concept in his own style and submit it to Collier's himself.  They would divide any proceeds exactly in half if the cover was accepted.  It was; the fee was $2,000; she received her $1,000 as promised.  Her brother Max, Jr. commented on the experience, "Jean got $1,000 and promptly took the train to New York, and came back home with a whole new set of clothes and shoes.  She found, as did dad, that comic art paid less well than other types.  And she soon went into landscape work in which she now makes a good living". (Laurence S. and Judy Goffman Cutler and the National Museum of American Illustration, Maxfield Parrish and the American Imagists, Edison, New Jersey, 2004, pp. 96, 97)