Maxfield Parrish: Master of Make-Believe; essay by Alma Gilbert

Maxfield Parrish: Master of Make-Believe

by Alma M. Gilbert

Notes

Introduction

1. Ludwig, Coy, Maxfield Parrish, p.11.

2. "How Maxfield Parrish Fulfilled a Warranty," Seth W. Mattingly, Feb. 10, 1982, Valley News, Lebanon NH.

3. Ibid, Ludwig, p.12.

4. Letter from Parrish to his friend Elsie Deming, September 3, 1893, Alma Gilbert Archives.

5. That easel was lost during the fire that destroyed the Parrish house on February 24, 1979.

6. Carter, Alice, The Red Rose Girls, pp.4l-4.

Early Works

7. Sylvia Yount, Maxfield Parrish, p.47.

8. Carrington, James B., "The Work of Maxfield Parrish," The Book Buyer, 16:220-4, April 1898.

9. Ibid, Sylvia Yount, p.47.

10. "The Women of the Cornish Colony," Gilbert, Alma. Exhibit Catalogue Cornish Colony Museum, Cornish, NH, 2003.

11. Letter from Saint-Gaudens to Maxfield Parrish, December 5, 1901, Special Collections, Dartmouth College, Hanover, NH.

12. Letter from Maxfield Parrish to Saint-Gaudens, December 21, 1901, Special Collections, Dartmouth College, Hanover, NH.

13. Ludwig, Coy, Maxfield Parrish, p.78.

14. Gilbert, Alma, The Make-Believe World of Maxfield Parrish and Sue Lewin.

15. Letter from Parrish to Augustus Saint-Gaudens, July 28, 1906, Special Collections, Dartmouth College, Hanover, NH.

16. Letter from Augustus Saint-Gaudens to Parrish dated July 1906, Special Collections, Dartmouth College, Hanover, NH.

17. Letter from Parrish to Saint-Gaudens dated October 21, 1906, Special Collections, Dartmouth College, Hanover, NH.

18. Saint Gaudens and the Gilded Era, Louise Tharp, pp.348-50.

19. Letter from John La Farge to Scribner, Jan. 10, 1910, Special Collections, Dartmouth College, Hanover, NH.

20. Letter from Parrish to La Farge, April 1, 1910, Special Collections, Dartmouth College, Hanover, NH.

Parrish and Photography

21. The J. Paul Getty Museum Handbook of the Collections, 1997, published by Christopher Hudson, Los Angeles, CA, p.291.

22. Ibid, p.295.

23. Gilbert, Alma, Parrish and Photography, p.8.

24. Maxfield Parrish Jr., "Maxfield Parrish and Photography," Maxfield Parrish, Ludwig, Coy, p.199.

25. Maxfield Parrish, Yount, Sylvia, 1999, p.106.

26. Gilbert, Alma, The Two Worlds of Anne Parrish, pp.27-33.

27. Maxfield Parrish letter to J. H. Chapin., January 31, 1899, collection of the author.

28. Gilbert, Alma, Parrish and Photography, 1998, pp.10-14.

29. A. E. Reinthal in a letter to Parrish dated July 7, 1923, Special Collections, Dartmouth College, Hanover, NH.

30. Ludwig, Coy, Maxfield Parrish, p.215 and 217.

The Models

31. "Maxfield Parrish Will Discard 'Girl-on-the-Rock' Idea in Art," Associated Press, April 27, 1931.

32. Gilbert, Alma, Parrish and Photography, p.26.

33. In 1936 he credited his grown daughter, Jean Parrish, for the concept and split the royalties with her. This was his last magazine cover.

34. In a letter to his son Max Jr., circa 1944, Parrish wrote, "Pidge [nickname for Jean's only daughter Ann] is giving her mother fits! It serves her right! Do you remember what a little barracuda Jean used to be when she was little?"

35. Parrish was one of the first members of the Cornish Colony, along with his friend and next-door neighbor Winston Churchill, to own and drive a car. His license number was NH 13.

36. Kathleen Read in a letter to the author dated 1990 quoted in Maxfield Parrish: The Masterworks, p.185.

37. Gilbert, Alma, Make-Believe World of Maxfield Parrish and Sue Lewin, p.23.

38. Letter from Ellen Axon Wilson to her husband, President Wilson, July 23, 1913, Footprints of the Past, "Ellen Axon Wilson," p.430.

39. Ellen Wilson in a letter to her husband dated August 13, The Priceless Gifts: The Love Letters of Woodrow Wilson and Ellen Axon Wilson, p.294.

The Murals

40. Dr. Joyce Hill Stoner, University of Delaware, in a letter to the author dated November 2002.

41. Maxfield Parrish, "An Open Letter" to Mr. Streeter, editor of Table Topics, May 4, 1946.

42. Bok, Edward, The Americanization of Edward Bok, pp.258-9.

43. Ibid.

44. Gilbert, Alma, Maxfield Parrish: The Masterworks, "Gertrude Whitney Murals," p.147.

45. Gilbert, Alma and Tankard, Judith, A Place of Beauty, pp.108-115.

46. Parrish to Edward Bok, July 27, 1911, Special Collections, Dartmouth College, Hanover, NH.

47. Parrish to Gertrude Whitney, letter dated April 8, 1914, Special Collections, Dartmouth College, Hanover, NH.

48. Letter from Elizabeth Brayer to Marjorie Searl discussing the possible identities of the models for Interlude, February 28, 2002, author's archives, courtesy of Marjorie Searl.

49. "How Maxfield Parrish Fulfilled a Warranty," Seth W. Mattingly, February 10, 1982. Valley News, Lebanon, NH, p.2.

50. Letter from Irenée du Pont to Maxfield Parrish, March 24, Special Collections, Dartmouth College, Hanover, NH.

51. Coy Ludwig, Parrish biographer, gives the wrong measurements for the study in his book, shortening the real width by a full ten inches. He lists an erroneous measure of thirty-two inches for its width.

52. Ibid, Mattingly article, p.3.

53. Ibid, Mattingly article, p.17.

Color Lithography

54. Murray, Peter and Linda, A Dictionary of Art and Artists: Engraving and Lithography, Frederick Praeger Publishers, NY, 1965, pp.69-71.

55. Ludwig, Coy, Maxfield Parrish, p.209.

56. Parrish to Clarence Crane, July 11, 1918, letter from the archives of the Special Collections, Dartmouth College, Hanover, NH.

57. Parrish to Mrs. Whitney, April 8, 1914, Special Collections, Dartmouth College, Hanover, NH.

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