The artist; Milton Rusling Wood, commissioned from the above, 1919; Rusling Wood Jr., by descent from above; Private collection, Texas, by descent from the above 1986.

Maxfield Parrish (American, 1870-1966) There Was an Old Woman Who Lived in a Shoe, Fisk Tire advertisement, 1919 Oil on paper laid on board 24 x 52-1/2 inches (61.0 x 133.3 cm) PROVENANCE: The artist; Milton Rusling Wood, commissioned from the above, 1919; Rusling Wood Jr., by descent from above; Private collection, Texas, by descent from the above 1986. LITERATURE: C. Ludwig, Maxfield Parrish, New York, 1973, p. 111, no. 80, illustrated. Maxfield Parrish, renowned as one of the foremost illustrators of the 20th century, seamlessly bridged the realms of fine art and commercial advertising, a rare feat that distinguished him from many of his contemporaries. His oeuvre is marked by a distinctive blend of fantasy and realism, which he brought to iconic campaigns such as the Fisk Tire series. Parrish's unparalleled mastery of color and light, coupled with his ability to evoke dreamlike landscapes, transformed advertising into an art form. Scholar Coy Ludwig emphasizes that Parrish "elevated the commonplace to the extraordinary, making commercial art as compelling as his personal creations." (Maxfield Parrish, New York, 1973, p. 112). His collaboration with the Fisk Tire Company produced a series of visually stunning works that redefined brand identity in the fiercely competitive automotive industry. One of the most artistically dazzling examples of this partnership is There Was an Old Woman Who Lived in a Shoe, a masterful composition that fuses Parrish's artistic brilliance with innovative marketing strategy. Born in Philadelphia in 1870, Parrish grew up in a creative environment under the influence of his father, Stephen Parrish, a noted landscape painter and engraver. His early exposure to art, coupled with formal training at the Pennsylvania Academy of the Fine Arts and Drexel Institute, shaped his unique style, which became known for its vibrant hues, ethereal landscapes, and glossy jewel-like surfaces—a result of the artist's extraordinary glazing technique. Parrish's work gained widespread popularity in the early 20th century, and he was recognized with numerous awards, including a medal at the 1915 Panama-Pacific International Exposition. In the 1910s, Parrish's genius in combining aesthetic beauty with practical application made him a sought-after artist in advertising. His collaboration with celebrated advertising executive Rusling Wood was pivotal in this phase of his career. Wood, who also counted among his clients N.C. Wyeth and Jessie Willcox Smith, had strict orders to only contact Parrish if "interesting" opportunities presented themselves; by interesting, Parrish meant "something extremely simple...that [could] be made with a punch to it, something the public will recognize wherever they see it." (as quoted in C. Ludwig, Maxfield Parrish, p. 106) The Fisk Tire series emerged as one of Parrish and Wood's most successful collaborations, with Parrish's luminous palette and fantastical narrative transforming tires into objects of desire. Four paintings from this seminal series were published, serving to aesthetically engineer a distinct brand identity for Fisk during a period of intense competition in the automotive industry. Perhaps more masterful in its illusive composition than any of the printed works is this fifth, never-published image. There Was an Old Woman Who Lived in a Shoe breathes new life into the old nursery rhyme by imbuing it with Parrish's particular strain of dreamy visual delirium. Here, the artist leverages the prose as a marketing tool by substituting the namesake shoe for a Fisk tire. In those days, tires were called shoes, and this clever linguistic twist was Wood's brainchild. Upon approaching Parrish with the concept, the two deemed this opportunity to be "interesting," and the iconic series ensued. The nursery rhyme itself explores the universal themes of motherhood and resourcefulness, describing an old woman with so many children that she does not know what to do with them. The imagery of the shoe serves as a metaphor for the complexities of nurturing and raising children, highlighting both the joys and challenges of family life. The oversized tire, an enchanting architectural marvel, serves as both a quirky abode and a captivating focal point, intricately detailed to evoke a sense of both comfort and absurdity. The dwelling brims with a lively throng of children sipping steaming soups, their exuberance palpable as they engage in playful antics, embodying the chaotic joy of familial life. Parrish's deft manipulation of color imbues the scene with a radiant glow that dances upon the figures while the backdrop—an idyllic, fantastical landscape rendered in soft pastels—further elevates the sense of escapism. The interplay of light and color not only enhances the enchanting quality of the composition but also invites viewers to reflect on the deeper themes of nurturing and the boundless spirit of childhood. Moreover, Fisk Tires' most famous marketing trademark, Burr Giffen's 1907 ‘sleepy boy,' also known as the boy ‘too tired to re-tire,' is visible yawning in an upper window of the home. Perhaps most striking is the central, seated figure who stares from the surreal sphere of the canvas at the observer. Through this evocative tableau, Parrish transcends mere illustration, creating a visual poem that resonates with both the innocence of youth and the complexities of parental devotion. The provenance of There Was an Old Woman Who Lived in a Shoe is as distinctive as the painting itself. Commissioned by the present owner's grandfather, the piece has been treasured as a family heirloom, passed down through generations before being gifted to the current owner in 1986. This rare and remarkable work exemplifies Parrish's unmatched ability to merge artistic beauty with commercial purpose, elevating it beyond mere advertisement. As Coy Ludwig notes, Parrish possessed "an extraordinary talent for uniting art and commerce, transforming even the simplest of concepts into visual poetry." (Maxfield Parrish, p. 128) The painting's blend of fantastical imagery with clever marketing demonstrates Parrish's brilliance in turning an ordinary product into something magical, leaving a lasting legacy that continues to inspire both collectors and artists alike. HID12401132022 © 2024 Heritage Auctions | All Rights Reserved

Condition report available upon request. Framed Dimensions 29.5 X 58 Inches