"Egypt" Lot no. 4809
By Maxfield Parrish (1870-1966)
Circa 1920
28" x 18"
Oil on Board
Initialed
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Maxfield Parrish’s Egypt, commissioned for the 1922 calendar and likely painted in 1920 or 1921, formed part of his series chronicling humanity’s evolving mastery of light, following Prometheus (1920) and Primitive Man (1921). This work, alongside Lampsellers of Bagdad (1923), depicts the early use of oil lamps. Venetian Lamplighters (1923) concluded this historical sequence.
Parrish’s Egypt is a study in exploring the effects of different light sources, juxtaposing the warm glow of hanging oil lamps with the soft luminescence of moonlight. He meticulously depicts the interplay of light and shadow, evident in the luminous skin of the three figures, the reflective gold adornments, and the ethereal glow of the harp strings. The harp’s inclusion introduces a sonic dimension, evoking gentle music and enhancing the scene’s tranquility. The crisp reflection of the figure in the still water further emphasizes this serene calm of the dream-like garden, as Cleopatra, adorned in a semi-sheer robe and gold jewelry, gazes at the luminescent night sky, painted in Parrish’s typical blue. Notably, Parrish avoids the overtly sensual portrayals of Cleopatra common in Western art of the period, instead presenting her with a dignified air, wearing the protective vulture headdress associated with the goddess Nekhbet. Susan Lewin modeled for this image, one of six Mazda calendars for which she posed.
The calendar’s design is rich in detail, featuring an intricate border of scarabs, into which Parrish subtly incorporated his initials. The scarabs’ jade green wings contribute to a jeweled cloisonné effect. This depiction of Cleopatra revisits a subject Parrish had previously explored on a gift box for Crane’s Chocolates in 1917, a commission he welcomed, describing Cleopatra as a “lady of history of undoubted charm.” (As quoted in Coy Ludwig, Maxfield Parrish, (New York: Watson-Guptill, 1973, p. 134)
The 1922 release of this calendar proved prescient, coinciding with Howard Carter and Lord Carnarvon’s discovery of Tutankhamun’s tomb that November. This event ignited a 20th-century wave of Egyptomania, captivating the public’s fascination with Ancient Egypt and permeating Western culture.
PROVENANCE
The artist.
The Cooper Union for the Advancement of Science and Art, New York, by 1974.
La Galeria, San Mateo, California.
Sotheby’s, New York, 25 October 1979, lot 164.
LITERATURE
C. Ludwig, Maxfield Parrish, New York, 1973, pp. 126, 214, no. 658.
P. W. Skeeters, Maxfield Parrish: The Early Years 1893-1930, 1973, p. 73, illustrated.
A. Gilbert, Maxfield Parrish: The Masterworks, Berkeley, California, 1992, pp. 96, 97, 103, 104, 113,189, fig. 5.6, illustrated.
J. Menges, ed., Worlds of Enchantment: The Art of Maxfield Parrish, Mineola, New York, 2010, p.xi, pl. 65, illustrated.
EXHIBITION
Chadds Ford, Pennsylvania, Brandywine River Museum, Maxfield Parrish: Master of Make Believe, June-September 2, 1974, p. 25, no. 24.
Southampton, New York, Parrish Art Museum, The Dream World of Maxfield Parrish, June 8- July 20, 1975.
San Mateo, California, La Galeria, Maxfield Parrish, no. 5, 1977.
See all original artwork by Maxfield Parrish
ABOUT THE ARTIST
To behold the work of American illustrator Maxfield Parrish (1870–1966) is to enter into a fantasy world of ethereal beauty. Whether a book illustration, magazine cover, painting or mural commission, his flawlessly rendered subjects and fairy-tale settings are infused with a sense of mythical beauty unmatched by any artist in his wake
A Unique Approach
The magic and sublime spirit of Parrish’s work is the result of his unique approach to painting. He began with a white base which served to illuminate the image from the first layer up through to the last. Repeated layering of varnish on the surface of the pigment heightened the vibrancy of his colors, yielding shades like the famous "Parrish blue," a rich cobalt that is now indelibly associated with the artist. This singular technique allowed Parrish to convey textures and patterns with the intense detail and saturation of color that became trademarks of his best works.
This May, a museum-quality collection of 11 works by Maxfield Parrish pay tribute to the superior talent and unique vision of this seminal artist. A leading highlight of the collection is Sing a Song of Six Pence, measuring over 13 feet long and painted as a mural for the hotel bar of the Sherman House in Chicago, Illinois. Parrish began his career painting a mural of Old King Cole for the University of Pennsylvania in 1894, and was immediately recognized for his ability to render exquisite detail on a monumental scale. He often projected photographic images and then painted directly on the surface of his murals, which may account for the veracity of the features displayed in this work.