Parrish, Maxfield Frederick (1870-1966) Assets (312 in total)

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The Reluctant Dragon, 1902 (litho)
The Reluctant Dragon, 1902 (litho)

AIG433518: The Reluctant Dragon, 1902 (litho), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Villa Scassi, Genoa, 1903 (oil on paper)
Villa Scassi, Genoa, 1903 (oil on paper)

AIG433533: Villa Scassi, Genoa, 1903 (oil on paper), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Villa D'Este, Tivoli, c.1904 (colour litho)
Villa D'Este, Tivoli, c.1904 (colour litho)

AIG433535: Villa D'Este, Tivoli, c.1904 (colour litho), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Wond'rous Wise Man, 1897 (pen & ink on paper)
Wond'rous Wise Man, 1897 (pen & ink on paper)

AIG433549: Wond'rous Wise Man, 1897 (pen & ink on paper), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Little Jack Horner, 1897 (pen & ink on paper)
Little Jack Horner, 1897 (pen & ink on paper)

AIG433550: Little Jack Horner, 1897 (pen & ink on paper), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Thy Rocks and Rills, The Old Mill, 1942 (oil on masonite)
Thy Rocks and Rills, The Old Mill, 1942 (oil on masonite)

AIG433561: Thy Rocks and Rills, The Old Mill, 1942 (oil on masonite), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Afterglow, A New Day, 1947 (oil on panel)
Afterglow, A New Day, 1947 (oil on panel)

AIG433563: Afterglow, A New Day, 1947 (oil on panel), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Church at Norwich, Vermont, 1950 (oil on panel)
Church at Norwich, Vermont, 1950 (oil on panel)

AIG433568: Church at Norwich, Vermont, 1950 (oil on panel), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Prometheus, 1919 (colour litho)
Prometheus, 1919 (colour litho)

AIG433573: Prometheus, 1919 (colour litho), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Contentment, 1927 (oil on panel)
Contentment, 1927 (oil on panel)

AIG433576: Contentment, 1927 (oil on panel), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Moonlight, 1932 (colour litho)
Moonlight, 1932 (colour litho)

AIG433584: Moonlight, 1932 (colour litho), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Atlas Landscape, 1907-10 (oil on panel)
Atlas Landscape, 1907-10 (oil on panel)

AIG433589: Atlas Landscape, 1907-10 (oil on panel), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Study for Irenee du Pont Mural, 1932 (w/c & pencil on paper)
Study for Irenee du Pont Mural, 1932 (w/c & pencil on paper)

AIG433723: Study for Irenee du Pont Mural, 1932 (w/c & pencil on paper), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Egypt, 1922 (colour litho)
Egypt, 1922 (colour litho)

AIG150605: Egypt, 1922 (colour litho), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Air Castles, 1904 (oil on board)
Air Castles, 1904 (oil on board)

AIG150616: Air Castles, 1904 (oil on board), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Atlas (colour litho)
Atlas (colour litho)

AIG150931: Atlas (colour litho), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Sugar Hill: Late Afternoon, 1930 (oil on board)
Sugar Hill: Late Afternoon, 1930 (oil on board)

CH96175: Sugar Hill: Late Afternoon, 1930 (oil on board), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Villa Cicogna at Bisuschio, the Lower Terrace, 1904 (oil on paper)
Villa Cicogna at Bisuschio, the Lower Terrace, 1904 (oil on paper)

CH92921: Villa Cicogna at Bisuschio, the Lower Terrace, 1904 (oil on paper), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

The Rocks and Rills, 1942 (oil on canvas)
The Rocks and Rills, 1942 (oil on canvas)

CH823306: The Rocks and Rills, 1942 (oil on canvas), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Her Window, 1922 (oil on panel)
Her Window, 1922 (oil on panel)

CH822962: Her Window, 1922 (oil on panel), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Autumn Brook, 1948 (oil on board)
Autumn Brook, 1948 (oil on board)

CH1767338: Autumn Brook, 1948 (oil on board), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Acoma Pueblo by Maxfield Parrish, 1907 (screen print)
Acoma Pueblo by Maxfield Parrish, 1907 (screen print)

GRC3035835: Acoma Pueblo by Maxfield Parrish, 1907 (screen print), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Prince Agib by Maxfield Parrish, 1909 (screen print)
Prince Agib by Maxfield Parrish, 1909 (screen print)

GRC3035749: Prince Agib by Maxfield Parrish, 1909 (screen print), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

And when the boat came to me I found in it a man of brass, with a tablet of lead on his breast, engraven with names and talismans, from 'The Arabian Nights, their best known tales', edited by Kate Douglas Wiggin and Nora A. Smith, 1909 (colour litho)
And when the boat came to me I found in it a man of brass, with a tablet of lead on his breast, engraven with names and talismans, from 'The Arabian Nights, their best known tales', edited by Kate Douglas Wiggin and Nora A. Smith, 1909 (colour litho)

STC3506772: And when the boat came to me I found in it a man of brass, with a tablet of lead on his breast, engraven with names and talismans, from 'The Arabian Nights, their best known tales', edited by Kate Douglas Wiggin and Nora A. Smith, 1909 (colour litho), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Old King Cole, 1895 (oil on canvas)
Old King Cole, 1895 (oil on canvas)

CH985167: Old King Cole, 1895 (oil on canvas), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Deep Valley, 1946 (oil on masonite)
Deep Valley, 1946 (oil on masonite)

CH985038: Deep Valley, 1946 (oil on masonite), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Mask and Pierrot, 1908 (oil on paper laid down on panel)
Mask and Pierrot, 1908 (oil on paper laid down on panel)

CH985115: Mask and Pierrot, 1908 (oil on paper laid down on panel), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

The spot where she left me was encompassed on all sides by mountains that seemed to reach above the clouds, and so steep that there was no possibility of getting out of the valley, an illustration from 'The Arabian Nights, their best known tales', edited by Kate Douglas Wiggin and Nora A. Smith, 1909 (colour litho)
The spot where she left me was encompassed on all sides by mountains that seemed to reach above the clouds, and so steep that there was no possibility of getting out of the valley, an illustration from 'The Arabian Nights, their best known tales', edited by Kate Douglas Wiggin and Nora A. Smith, 1909 (colour litho)

STC321097: The spot where she left me was encompassed on all sides by mountains that seemed to reach above the clouds, and so steep that there was no possibility of getting out of the valley, an illustration from 'The Arabian Nights, their best known tales', edited by Kate Douglas Wiggin and Nora A. Smith, 1909 (colour litho), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Having finished his repast, he returned to his porch, where he lay and fell asleep, snoring louder than thunder, an illustration from 'The Arabian Nights, their best known tales', edited by Kate Douglas Wiggin and Nora A. Smith, 1909 (colour litho)
Having finished his repast, he returned to his porch, where he lay and fell asleep, snoring louder than thunder, an illustration from 'The Arabian Nights, their best known tales', edited by Kate Douglas Wiggin and Nora A. Smith, 1909 (colour litho)

STC321098: Having finished his repast, he returned to his porch, where he lay and fell asleep, snoring louder than thunder, an illustration from 'The Arabian Nights, their best known tales', edited by Kate Douglas Wiggin and Nora A. Smith, 1909 (colour litho), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

The Prospector, 1909 (oil on paper)
The Prospector, 1909 (oil on paper)

AIG433597: The Prospector, 1909 (oil on paper), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Parading Soldiers, 1912 (oil and collage)
Parading Soldiers, 1912 (oil and collage)

AIG433599: Parading Soldiers, 1912 (oil and collage), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Morning, 1922 (oil on panel)
Morning, 1922 (oil on panel)

AIG433609: Morning, 1922 (oil on panel), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

A Dark Futurist, 1923 (oil on panel)
A Dark Futurist, 1923 (oil on panel)

AIG433610: A Dark Futurist, 1923 (oil on panel), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Bill Sachs: The Flying Dutchman, 1902 (oil on canvas mounted on paper & board)
Bill Sachs: The Flying Dutchman, 1902 (oil on canvas mounted on paper & board)

AIG433618: Bill Sachs: The Flying Dutchman, 1902 (oil on canvas mounted on paper & board), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Letter to Austin Purves, c.1904 (pencil on paper)
Letter to Austin Purves, c.1904 (pencil on paper)

AIG433640: Letter to Austin Purves, c.1904 (pencil on paper), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images

Spotted Horse and Soldier cutout, c.1910 (collage mounted on board)
Spotted Horse and Soldier cutout, c.1910 (collage mounted on board)

AIG433647: Spotted Horse and Soldier cutout, c.1910 (collage mounted on board), Parrish, Maxfield Frederick (1870-1966) / Bridgeman Images


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