Fine Art Poster
From £37
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Hill Top Farm, Winter - Maxfield Parrish
Regular price
£37.00 GBP
Sale price
£37.00 GBP
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A serene winter scene depicting the artist's home in New Hampshire, rendered with luminous blue tones and precise detail.
Maxfield Parrish produced this work in 1949, capturing the quiet atmosphere of a New England winter. The composition centres on a large, gnarled tree in the foreground, which acts as a frame for the farm buildings situated on the crest of a snow-covered hill. Parrish utilised his signature glazing technique, applying thin layers of transparent oil paint to achieve a luminous quality, particularly in the sky. The transition from a deep, saturated blue at the zenith to a lighter, pale cyan near the horizon creates a sense of depth and atmospheric clarity.
The scene depicts the artist's own residence and studio in Plainfield, New Hampshire. Parrish moved to this area in 1898, and the surrounding geography became a recurring subject in his later career. The snow is rendered with subtle violet and blue shadows, reflecting the cold light of a winter evening. The farm buildings, with their warm, glowing windows, provide a contrast to the cool tones of the exterior environment. This work demonstrates the artist's technical precision and his ability to construct a scene that feels both observed and carefully staged.
Unlike his earlier, more fantastical illustrations, this piece reflects the artist's focus on the American rural environment during his later years. The lack of human figures allows the viewer to focus on the textures of the bark, the smooth expanse of snow, and the architectural forms of the farm. The painting remains a clear example of his mastery over light and colour, achieved through a methodical process of layering that gives the surface a smooth, enamel-like finish. It is a representation of the stillness found in the New England countryside during the winter months, captured with the clarity and attention to detail that defined his professional output.
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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.
Care and materials
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
Complete The Look
Hill Top Farm, Winter - Maxfield Parrish
Regular price
From £37.00 GBP
Sale price
From £37.00 GBP
Regular price
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Maxfield Parrish
Parrish's real name was Frederick. He adopted Maxfield, his grandmother's maiden name, as a professional name because it sounded better. His father, Stephen Parrish, was a landscape etcher who took the boy travelling through Europe at ten, sketching together in the manner of a Victorian gentleman educating his heir. The drawing lessons started before school did.
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.
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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Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £59
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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