Issued as a color reproduction by House of Art, 1923.

General Electric Mazda Lamp Calendar, 1919 with the following inscription:

And even the Spirit of the Night,
Lured from her far and dusky halls,
Follows the gleam that falls
Across her throne,
And comes to wonder and admire
How man has conquered light and fire
And made their radiance his own.

Parrish made extensive use of photography in his work. However, it appears he only executed two painted photographs: Lute Players, a derivative of Interlude is one of them. The original project involved painting a large mural for a vertically-oriented entrance of the Eastman Theater in Rochester, New York. Parrish named this mural Interlude.

The only problem with a mural, is that it’s hard to make a print of it: it being attached to a wall and all. A painted photograph proved a viable solution. House of Art produced the picture in two formats: vertical under the name Interlude, and horizontal bearing the name Lute Players.

Two facts support the assertion that Parrish never painted an original oil of Lute Players and that the painted photograph is a derivative of the mural Parrish named Interlude:

1. Coy Ludwig, renown for his work cataloging Parrish’s work, assigned the same catalog number (L.680) to Interlude, the original mural, and Lute Players, the painted photograph.
2. When the Julia Auction House of Maine auctioned the painted photo of Interlude/Lute Players in November 2004, they identified it as a photo that had been painted over by Parrish for the purpose of making prints using information written on Parrish’s distinctive stationery.

In case you were wondering, the other painted photograph executed by Parrish is the picture of Villa Caprarola.

Parrish made extensive use of photography in his work. However, it appears he only executed two painted photographs: a derivative of Interlude, which appears here, is one of them. The original project involved painting a large mural for a vertically-oriented entrance of the Eastman Theater in Rochester, New York. Parrish named this mural Interlude.

The only problem with a mural, is that it’s hard to make a print of it: it being attached to a wall and all. A painted photograph proved a viable solution. House of Art produced the picture in two formats: vertical under the name Interlude, and horizontal bearing the name Lute Players.

Two facts support the assertion that Parrish never painted an original oil of Lute Players and that the painted photograph is a derivative of the mural Parrish named Interlude:

1. Coy Ludwig, renown for his work cataloging Parrish’s work, assigned the same catalog number (L.680) to Interlude, the original mural, and Lute Players, the painted photograph.
2. When the Julia Auction House of Maine auctioned the painted photo of Interlude/Lute Players in November 2004, they identified it as a photo that had been painted over by Parrish for the purpose of making prints using information written on Parrish’s distinctive stationery.

In case you were wondering, the other painted photograph executed by Parrish is the picture of Villa Caprarola.

Decoration for 1918 gift boxes of Crane’s Chocolates; issued as a reproduction by House of Art, 1918

Decoration for 1917 gift boxes of Crane’s Chocolates.

Advertisement for Djer-Kiss Cosmetics which appeared in Ladies’ Home Journal, April 1918.

Initial title: Cinderella. Originally painted for Hearst’s Magazine, instead used as a cover for Harper’s Bazaar, March 1914. Later retitled Enchantment for the 1926 General Electric Mazda Lamp Calendar.

Pan sits on a rock alongside a small waterfall playing his flute.

Frontispiece for Scribner’s Magazine; “The Errant Pan” by George T. Marsh, August 1910

Originally painted for Collier’s, April 23, 1910; illustration for A Wonder Book and Tanglewood Tales (facing page 288) by Nathaniel Hawthorne, pub. 1910.