Violet Parkhurst 1921 2008 Horses Running Origin Painting

Violet Parkhurst (1921–2008) is best known for dramatic seascapes—moonlit surf, glowing horizons, and high-contrast waves that feel cinematic. Yet collectors occasionally encounter horse imagery attributed to Parkhurst, often described as “Horses Running” and sometimes labeled as an “origin painting” (usually intended to mean “original painting”). Because Parkhurst’s primary market is crowded with prints and later reproductions, it’s smart to inspect subject, medium, and markings before assigning value.

This guide explains what “Horses Running” might be in the Parkhurst market, how to separate originals from reproductions, what to look for in signatures and edition marks, and how appraisers approach value for this artist’s work.

Who Was Violet Parkhurst? Mediums, Subjects, and Market Position

• Career snapshot: American painter active through the mid-to-late 20th century, Parkhurst developed a strong following for seascapes. Her imagery circulated widely via galleries and publishers, and her work appears in both private collections and the decorative market.
• Typical mediums: Original works are most often oil or acrylic on canvas or board. Parkhurst’s seascapes commonly show visible brushwork or palette-knife passages, especially in wave crests and reflections. She also embraced prints: offset lithographs, serigraphs on paper or canvas, and later giclée editions, frequently hand-signed and sometimes hand-embellished.
• Market character: The Parkhurst market is robust at the decorative-to-collectible level. There are many prints, some with large edition sizes. Original paintings are less common and therefore more valuable. Subject matter, size, condition, and documentation drive price.

Did Parkhurst Paint Horses? Understanding “Horses Running”

While seascapes dominate Parkhurst’s oeuvre, horse scenes attributed to her do appear in the marketplace. These take a few forms:

• Original off-theme work: Some artists occasionally stray from their signature subject. A Parkhurst original depicting horses is possible but comparatively uncommon.
• Licensed or publisher-led imagery: Parkhurst’s name appears on a range of later prints. A “Horses Running” image may be a publisher-issued print after an original composition, or it may be a reproduction of unknown origin linked to Parkhurst for market appeal.
• Title variations: Listings often use descriptive titles like “Running Horses,” “Wild Horses,” or “Horses Running on the Beach.” Because title conventions are inconsistent, always verify the work against the art object itself—signature, medium, and any back labels—not the listing title.

Bottom line: A Parkhurst “Horses Running” could be (a) a true original painting by Parkhurst, (b) a limited edition print hand-signed by Parkhurst, (c) an open-edition reproduction with a printed signature, or (d) a misattribution. Your job is to determine which.

Originals vs. Reproductions: How to Tell What You Have

Start with medium and surface:

• Originals (oil or acrylic on canvas/board)

  • Texture: Look for built-up paint, ridge lines from brush or knife, and variation in gloss. Run a raking light across the surface; texture should break the light.
  • Edges: On canvas, check the turnover edges and stretcher for paint wrapping around. Drips, changes of mind (pentimenti), or underdrawing lines are strong tells.
  • UV light: Original paint usually shows varied fluorescence; restorations may pop. Uniform fluorescence suggests a printed surface.

• Prints and reproductions

  • Offset lithograph: Under magnification, you’ll see a dot or rosette pattern. The surface is generally flat.
  • Giclée/inkjet: Under magnification, you’ll see fine, non-rosette dot patterns. On canvas, the weave is visible, but the imagery sits flat unless hand-embellished.
  • Serigraph: Layered, slightly raised ink in some areas; often richer color blocks than offset prints.
  • Printed signature: If the “signature” pixels or dots match the image layer, it’s mechanically reproduced. A hand signature in pencil (usually in the lower margin) or in paint (on canvas) sits on top of the image.

Listen with your fingers—carefully. A uniformly flat, slick surface on “canvas” may be a printed canvas mounted to a stretcher. Conversely, raised highlights that flake or are perfectly uniform might be screen-applied “textured” varnish used for décor reproductions.

Check the back:

• Original painting: Stretcher bars, keys, canvas tacking staples or nails; sometimes handwritten notations, old framing labels, or gallery tags.
• Paper prints: Titled, numbered, and signed in pencil below the image. Publishers’ blind stamps or embossed seals may appear.
• Canvas prints: Look for publisher labels, edition info, and authenticity stickers. Many giclées carry barcodes or SKU labels.

Edition data:

• Limited editions are typically marked with an edition fraction (e.g., 123/950), sometimes with AP (Artist’s Proof), PP (Printer’s Proof), or HC (Hors Commerce). Edition sizes for Parkhurst prints can be large—often several hundred to over a thousand—affecting scarcity and value.
• Hand-embellished giclées may have added paint highlights; these are still prints, though they often command a premium over unembellished editions.

Signature, Inscriptions, and Publisher Marks

Signatures vary by medium and date:

• Painted signature: Usually “Parkhurst” or “V. Parkhurst” in the lower right or left on originals. Expect integration with the composition—paint of similar age and craquelure.
• Pencil signature: Common on paper prints, placed in the lower margin alongside the edition number and sometimes a title.
• Printed signature: Part of the image layer, not an autograph; does not add the same value as a hand signature.

Look for:

• Consistency: Compare letterforms to known exemplars you trust. Watch for shaky, unusually neat, or mismatched scripts.
• Placement: A printed signature within the image plus a hand-signed pencil autograph in the margin is a typical print configuration.
• Seals and labels: Publisher blind stamps, embossed seals, or gallery labels can be helpful. A period gallery label with address, inventory code, or original price supports authenticity and provenance.

Be cautious with Certificates of Authenticity (COAs). A COA from a recognized gallery or publisher that matches the work’s details is helpful; a generic COA without edition, size, medium, and publisher references is less useful.

Condition, Size, and Framing: What Appraisers Notice

Condition issues that matter:

• Paintings: Craquelure, lifting, overcleaning, discolored varnish, water or smoke damage, canvas slackness, and frame abrasion. Professional conservation is often warranted for significant originals.
• Prints on paper: Foxing, staining, tide lines, mat burn, light-fade, and handling creases. Many mid-century frames used acidic mats—expect paper discoloration near the window opening. UV-protective glazing and conservation mats increase longevity and buyer confidence.
• Canvas prints: Surface scuffs, edge wear, delamination of the ink layer, and varnish yellowing.

Size matters:

• Larger originals (e.g., 24 × 36 inches and up) usually command more than small cabinet pieces, assuming comparable quality and condition.
• For prints, oversized formats can attract buyers but also carry higher shipping costs, which can dampen net prices.

Framing:

• Period or high-quality framing can add appeal, but it is rarely the primary value driver for Parkhurst. For prints on paper, verify conservation matting and UV glazing. For canvases, inspect stretcher integrity and tension.

Values and the Appraiser’s Process for Parkhurst “Horses Running”

Because horse compositions are less typical for Parkhurst, valuation leans on general Parkhurst comparables plus subject-specific demand:

• Original painting (horses subject): If authenticated and of good size and quality, a plausible retail gallery range might fall in the low-to-mid four figures, with standout examples potentially higher. Private-party and auction prices are often lower than full-retail gallery asks.
• Original seascapes (for context): Commonly encountered ranges from low four figures upward, depending on scale, quality, and provenance. Top-tier results require excellent presentation, condition, and market timing.
• Limited edition prints: Open-market asking often sits in the low hundreds; hand-signed limited editions may reach mid-to-high hundreds, with embellished canvas editions sometimes higher. Realized auction prices can be notably lower than dealer listings, especially for large editions.
• Open-edition décor prints: Typically modest secondary values.

Appraisers:

• Examine medium and build quality first—original vs. print determines the value tier.
• Gather comparables from recent sales of Parkhurst works of similar medium, size, and subject. Because “Horses Running” is atypical, include a range of Parkhurst subjects to anchor the valuation, then adjust for subject demand.
• Adjust for condition, provenance strength, edition size (if applicable), and current regional demand.

Note: All values are indicative and context-dependent. Formal appraisals should adhere to a recognized standard and reflect the intended use (insurance, fair market value, estate, or donation).

Practical Checklist: Parkhurst “Horses Running”

• Verify medium: Under magnification and raking light, is it textured paint (original) or a print surface?
• Read the signature: Paint or pencil on top of the surface, or printed within the image?
• Find edition info: Edition fraction, AP/PP/HC marks, publisher seals, or back labels.
• Inspect the back: Stretcher, canvas tacking, gallery or publisher labels, handwritten notes.
• Confirm condition: Look for cracks, stains, foxing, UV fade, or restoration.
• Measure the image: Record sight size and overall size; compare to known edition specs if applicable.
• Gather documents: COA, gallery receipts, correspondence, or provenance notes.
• Photograph everything: Front, back, signature, labels, and any condition issues.
• Research comparables: Match medium, size, subject, and edition size to recent sales—not just asking prices.
• When uncertain: Consult a qualified appraiser or conservator, especially before cleaning or reframing.

Frequently Asked Questions

Q: Is “origin painting” the same as “original painting” for Parkhurst? A: In listings, “origin” is often an error for “original.” Confirm by examining medium and surface texture. If it’s truly a hand-painted work in oil or acrylic, it is an original; otherwise, it may be a print or reproduction.

Q: Did Violet Parkhurst actually paint horses, or are these all reproductions? A: Seascapes are her hallmark, but horse imagery attributed to Parkhurst exists. Some pieces are genuine originals; many are prints or reproductions. Authentication rests on medium, signature, labels, and provenance.

Q: What’s the quickest way to tell if my “Horses Running” is a print? A: Use a 10x loupe. Dots or uniform micro-patterns indicate printing. A printed signature within the image is another clue. Flat, uniform surfaces on “canvas” often signal printed canvas.

Q: How much is a Parkhurst “Horses Running” worth? A: A verified original painting can reach the low-to-mid four figures in many markets, while prints typically sit in the low-to-mid hundreds. Condition, size, edition size, and documentation can move results up or down.

Q: Will reframing increase the value? A: Quality conservation framing improves presentation and protects the work, which helps marketability. It rarely transforms value on its own, but for paper works with acidic mats, a professional re-mat and UV glazing is prudent.

By approaching “Horses Running” with a methodical eye—medium first, then signature, edition data, and provenance—you’ll avoid the pitfalls of misattribution and overpaying, and you’ll be positioned to present the work credibly to buyers, appraisers, or insurers.