The Knave of Hearts - Maxfield Parrish
Archival giclée
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Description
A classic illustration by Maxfield Parrish for the 1925 book The Knave of Hearts, featuring his signature luminous glazing technique and theatrical composition.
Maxfield Parrish created this image as an illustration for the 1925 edition of Louise Saunders's book, The Knave of Hearts. The scene depicts the central character offering a tray of tarts to the King and Queen, a moment drawn from the nursery rhyme. Parrish employs his signature technique, which involves applying multiple layers of transparent oil glazes over a white ground. This method produces a luminous quality, particularly visible in the deep blue sky visible through the arched colonnade. The composition is structured with a strong sense of theatricality. The figures are arranged in profile, echoing the aesthetic of playing cards. The floor features a stark black and white checkerboard pattern, which provides a rigid geometric contrast to the organic forms of the foliage outside. Parrish pays close attention to the texture of the clothing, from the precise black and white checks of the Knave's tunic to the softer, draped fabrics of the royal figures. The lighting is consistent and clear, casting soft shadows that define the space without obscuring detail. Parrish was a master of the commercial art world during the early twentieth century. His work often features idealised figures and dreamlike settings. In this piece, the architectural elements frame the narrative, drawing the eye across the tray of tarts to the interaction between the characters. The palette relies on a balance of cool blues and warm, earthy tones, a hallmark of his approach to colour theory. This print captures the precision of his original panel, maintaining the clarity of his line work and the depth of his atmospheric effects. It remains a representative example of his contribution to the American illustrative tradition, where technical skill met the demands of popular literature.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
The Knave of Hearts - Maxfield Parrish
Artist Biography
Maxfield Parrish
He called himself a mechanic who paints. Beneath his studio he built a workshop filled with machines, and used them to construct model scenes, props and lighting rigs for his paintings. The process was closer to set design than to plein air. He would build a miniature landscape, light it from specific angles, photograph it, then paint from the photograph using a layering technique borrowed from the Old Masters: thin coats of transparent oil glaze over a plaster base, each layer drying before the next, so the under-colours shone through. The method eliminated visible brushstrokes and produced a luminosity that looked like stained glass.
Daybreak, painted in 1922, became the most reproduced art print of the twentieth century. It outsold Warhol's Campbell's Soup Cans and Da Vinci's Last Supper in print form. By the mid-1920s it was estimated that one in four American households had a Parrish print on the wall. The image appeared in Terrence Malick's Badlands and inspired the poster for The Princess Bride. For three models he used his own daughter Jean, Kitty Owen (granddaughter of William Jennings Bryan), and his young nanny Susan Lewin.
In 1900, tuberculosis followed by a nervous breakdown forced him to stop working. The recovery period changed his technique: it was during this convalescence that he developed the glazing method that defined the rest of his career. He lived to ninety-five, painting until the last few years.
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Museum-Quality Materials
Artist Biography
Maxfield Parrish
He called himself a mechanic who paints. Beneath his studio he built a workshop filled with machines, and used them to construct model scenes, props and lighting rigs for his paintings. The process was closer to set design than to plein air. He would build a miniature landscape, light it from specific angles, photograph it, then paint from the photograph using a layering technique borrowed from the Old Masters: thin coats of transparent oil glaze over a plaster base, each layer drying before the next, so the under-colours shone through. The method eliminated visible brushstrokes and produced a luminosity that looked like stained glass.
Daybreak, painted in 1922, became the most reproduced art print of the twentieth century. It outsold Warhol's Campbell's Soup Cans and Da Vinci's Last Supper in print form. By the mid-1920s it was estimated that one in four American households had a Parrish print on the wall. The image appeared in Terrence Malick's Badlands and inspired the poster for The Princess Bride. For three models he used his own daughter Jean, Kitty Owen (granddaughter of William Jennings Bryan), and his young nanny Susan Lewin.
In 1900, tuberculosis followed by a nervous breakdown forced him to stop working. The recovery period changed his technique: it was during this convalescence that he developed the glazing method that defined the rest of his career. He lived to ninety-five, painting until the last few years.
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