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Maxfield ParrishEgypt, Original Edison Mazda Calendar Illustrationcirca 1920
circa 1920
$2,200,000
£1,666,977.84
€1,909,388.18
CA$3,116,052.06
A$3,400,335.44
CHF 1,783,533.44
MX$41,298,207.98
NOK 22,277,310
SEK 21,053,172.10
DKK 14,250,952.85
About the Item
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.
- Creator:Maxfield Parrish (1870-1966, American)
- Creation Year:circa 1920
- Dimensions:Height: 28 in (71.12 cm)Width: 18 in (45.72 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Fort Washington, PA
- Reference Number:Seller: 48091stDibs: LU384316786092
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