Lot 67
  • 67

Maxfield Parrish

250,000 - 350,000 USD
375,000 USD
bidding is closed


  • Maxfield Parrish
  • Hot Springs: Yavapai Co. Arizona
  • signed M.P. (lower left) and inscribed Article III "Irrigation" Irrigating canal in the Salt River Valley (lower left beneath the frame); also signed Maxfield Parrish, titled Hot Springs: Yavapai Co./Arizona, dated March of 1902 and numbered no. 319 (on the reverse)
  • oil and pencil on paper


Private collection, Santa Fe, New Mexico
American Illustrators Gallery, New York
Acquired by the present owner from the above


Newport, Rhode Island, Maxfield Parrish: The Retrospective, May 2012-September 2014
Roslyn Harbor, New York, Nassau County Museum of Art, Maxfield Parrish: Paintings and Prints from the National Museum of American Illustration, November 2015-February 2016


Ray Stannard Baker, "The Great Southwest," The Century Magazine, July 1902, p. 363, illustrated as an engraving 
Coy Ludwig, Maxfield Parrish, New York, 1973, p. 207
Laurence S. Cutler and Judy Goffman Cutler, Maxfield Parrish: A Retrospective, San Francisco, California, 1995, p. 56, illustrated
Laurence S. Cutler and Judy Goffman Cutler, Maxfield Parrish and the American Imagists, Edison, New Jersey, 2004, p. 116, illustrated

Catalogue Note

In the fall of 1901 Maxfield Parrish traveled to Castle Creek, Hot Springs, Arizona to illustrate The Century Magazine series "The Great Southwest." Coy Ludwig recorded the artist's reaction to the local landscape: "The spectacle of nature's scenery and the dramatic early morning and late afternoon effects of the sun in the southwestern region made a great impression in Parrish. He was fascinated by the light and shadows created by the sunlight as it played across the various planes and jagged edges of the gorges and canyons and by the feeling of spaciousness in the unencumbered vistas. Now making fewer black-and-white drawings and using color more extensively in his work, he was strongly affected by nature's great show of color, for which the Southwest is noted. The natural chiaroscuro of Arizona's rugged canyon and the qualities of space and distance so carefully studied by the artist for 'The Great Southwest' paintings left forever their impression on this approach to landscape painting" (Maxfield Parrish, New York, 1973, p. 65).