{"title":"Tomoko Parry (1932 - )","description":"\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0698\/6072\/0801\/files\/Hero_Banner_Tomoko_Parry_Compressed.png?v=1784505374\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003eTomoko Parry is an American artist known for richly layered artwork that transform subjects into immersive, atmospheric compositions. Her work has been exhibited by the Springfield Museum of Art and is represented in its permanent collection.\u003c\/p\u003e","products":[{"product_id":"cigar-tree-3-tomoko-parry-c-2001","title":"Cigar Tree #3 - Tomoko Parry, c. 1997","description":"\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"b4b4e1d1-7f85-478b-ad26-490320b8c976\" data-testid=\"conversation-turn-6\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"ba5e0f6d-53ed-43ac-8dd3-bccf9fc79f84\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"rte-table-wrapper\"\u003e\n\u003ctable width=\"100%\" style=\"width: 98.087%;\" height=\"1543\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong data-start=\"0\" data-end=\"53\"\u003eArtwork Description\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCigar Tree #3\u003c\/strong\u003e\u003cbr data-start=\"53\" data-end=\"56\"\u003e\u003cem data-start=\"56\" data-end=\"88\"\u003eTomoko Parry, c. 1997\u003c\/em\u003e\u003c\/p\u003e\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"b4b4e1d1-7f85-478b-ad26-490320b8c976\" data-testid=\"conversation-turn-6\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"ba5e0f6d-53ed-43ac-8dd3-bccf9fc79f84\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"7dbb9ce6-002d-4a76-84f7-6af88d3e62f9\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cp data-start=\"1724\" data-end=\"2400\" class=\"PDq2pG_selectionAnchorContainer\"\u003eIn \u003cstrong\u003e\u003cem data-start=\"1727\" data-end=\"1742\"\u003eCigar Tree #3\u003c\/em\u003e\u003c\/strong\u003e, Tomoko Parry uses close botanical observation as the foundation for a composition that hovers between representation and abstraction. The identifiable leaves, stems, and pendulous seedpods belong to the visual vocabulary of the catalpa, a tree distinguished by its large, heart-shaped foliage and long, narrow fruit capsules. These hanging pods can reach approximately fourteen inches in length and are responsible for the tree’s familiar “cigar tree” name. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e Yet Parry is less concerned with presenting a scientifically isolated specimen than with conveying the sensory density of encountering the plant at close range.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"2402\" data-end=\"2965\"\u003eThe composition is constructed as an all-over field. No trunk, horizon, pot, or surrounding landscape provides conventional spatial orientation. Instead, leaves and pods enter from every edge, creating the impression that the observed plant continues indefinitely beyond the boundaries of the paper. This cropping removes the reassuring distance associated with traditional botanical illustration. The viewer is placed inside the foliage, where overlapping forms obscure one another and depth must be inferred through tonal changes rather than linear perspective.\u003c\/p\u003e\n\u003cp data-start=\"2967\" data-end=\"3484\"\u003eParry’s graphite technique is especially effective in establishing this compressed space. Dark passages are built through repeated layers of shading, producing a soft, almost smoky atmosphere. Against these shadowed areas, the lighter pods become prominent vertical and diagonal accents. Some appear almost white, while others dissolve gradually into the surrounding leaves. The resulting contrast gives the pods a sculptural presence: they seem to hang in front of the paper rather than merely rest upon its surface.\u003c\/p\u003e\n\u003cp data-start=\"3486\" data-end=\"4024\"\u003eThe drawing’s rhythm depends heavily upon repetition. Long pods descend throughout the image like elongated figures. Their curved contours interrupt the broader masses of the leaves and lead the eye downward through the composition. At the right, several pale pods gather into a concentrated cluster, creating the strongest point of visual intensity. This group is balanced by the more diffuse stems and darker vegetation on the left, preventing the composition from becoming static or centrally symmetrical.\u003c\/p\u003e\n\u003cp data-start=\"4026\" data-end=\"4497\"\u003eParry also uses tonal ambiguity to complicate the relationship between positive and negative space. Leaves that initially appear solid begin to merge with the shaded background, while narrow highlights suggest stems that may belong either to the foreground or to deeper layers of foliage. The work therefore rewards sustained viewing: what first appears to be a straightforward plant study gradually becomes a network of interlocking silhouettes, textures, and movements.\u003c\/p\u003e\n\u003cp data-start=\"4499\" data-end=\"5218\"\u003eThe numbered title indicates that the subject was approached serially rather than as an isolated image. This is consistent with Parry’s documented botanical practice. The Springfield Museum of Art presented an exhibition titled \u003cem data-start=\"4727\" data-end=\"4751\"\u003eTomoko Parry: Drawings\u003c\/em\u003e in 2001, and the museum’s permanent collection includes \u003ca href=\"https:\/\/www.springfieldart.net\/wp-content\/uploads\/SMoA-PermanentCollection11.12.pdf\" rel=\"noopener\" target=\"_blank\"\u003e\u003cem data-start=\"4808\" data-end=\"4823\"\u003e\u003cstrong\u003eTiger Lily #3\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e, a graphite drawing dated circa 2001. Together, these records suggest that numbered investigations of particular plants formed a meaningful part of her work during this period. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e Serial observation allows an artist to move beyond simple identification, returning to the same organism to explore changes in viewpoint, density, growth, and emotional character.\u003c\/p\u003e\n\u003cp data-start=\"5220\" data-end=\"5684\"\u003eAlthough grounded in naturalism, \u003cem data-start=\"5253\" data-end=\"5268\"\u003eCigar Tree #3\u003c\/em\u003e belongs as much to the history of modern drawing as to botanical illustration. Scientific illustration traditionally separates a plant from its environment so its structure may be clearly understood. Parry reverses that logic. She multiplies and overlaps forms until clarity gives way to immersion. The catalpa is recognizable, but its foliage becomes a psychological landscape—lush, shadowed, and slightly uncanny.\u003c\/p\u003e\n\u003cp data-start=\"5686\" data-end=\"6110\"\u003eThe generous white mat surrounding the drawing provides an important counterbalance. Its open, unmarked surface contains the visual abundance of the graphite image, while the slim silver frame complements the cool tonal range without competing with it. This contrast between the controlled presentation and the densely inhabited drawing heightens the sensation that the vegetation is pressing outward against its boundaries.\u003c\/p\u003e\n\u003cp data-start=\"6112\" data-end=\"6588\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u003cstrong\u003e\u003cem data-start=\"6124\" data-end=\"6139\"\u003eCigar Tree #3\u003c\/em\u003e\u003c\/strong\u003e demonstrates how an ostensibly modest subject can support a complex meditation on growth, repetition, and perception. Parry does not dramatize the tree through color or theatrical gesture. Instead, she relies on accumulation, tonal patience, and close attention. The result is both botanical portrait and enveloping environment—a work in which ordinary leaves and seedpods acquire monumentality through the intensity with which they have been seen.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n-\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eJonathan Flike\u003c\/strong\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"23\" data-end=\"590\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eTomoko Parry\u003c\/strong\u003e\u003c\/span\u003e is a Japanese-born painter and draftsperson whose mature career developed within the active arts communities of Ohio’s Miami Valley. Born in Japan in 1938, Parry immigrated to the United States in 1971 and later settled in Fairborn, Ohio. From at least 1995 through 2009, she maintained a documented exhibition practice encompassing graphite drawing, watercolor, pastel, painting, and other works on paper. Although she worked across several media, Parry considered herself primarily a pencil artist, becoming particularly recognized for technically exacting drawings of plants, gardens, domestic surroundings, and overlooked urban spaces. \u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"724\" data-end=\"1359\"\u003eParry began sustained formal art study around 1991–1992, after raising her daughter and managing the responsibilities of family life. A watercolor course at the Springfield Museum of Art initiated a period of intensive artistic development. She continued her training through the museum, Sinclair Community College in Dayton, Clark State Community College in Springfield, and numerous independent workshops. Rather than representing a casual late-life interest, this education became the foundation for nearly two decades of exhibitions, awards, critical coverage, and sustained studio production.\u003c\/p\u003e\n\u003cp data-start=\"1361\" data-end=\"1920\"\u003eBy the mid-1990s, Parry was exhibiting regularly in competitive juried shows accumulating over 60 awards. She received second-place honors in the Western Ohio Watercolor Society’s 1995 annual exhibition at the Springfield Museum of Art. The museum’s subsequent society exhibitions included her \u003cem data-start=\"1627\" data-end=\"1647\"\u003eUrban Sunflower #2\u003c\/em\u003e in 1996, \u003cem data-start=\"1657\" data-end=\"1672\"\u003eCigar Tree #3\u003c\/em\u003e in 1997, and \u003cem data-start=\"1686\" data-end=\"1703\"\u003eSun Dance No. 5\u003c\/em\u003e in 1998. These appearances demonstrate an evolving, serial examination of botanical forms across watercolor and drawing rather than isolated participation in regional art events.\u003c\/p\u003e\n\u003cp data-start=\"1922\" data-end=\"2714\"\u003eHer work earned repeated recognition during the late 1990s and early 2000s. Parry received an Honorable Mention in the Seventh Annual Works on Paper exhibition at Rosewood Arts Centre in 1997 and the Second Jurors’ Award in Dayton’s \u003cem data-start=\"2155\" data-end=\"2171\"\u003eArt About Town\u003c\/em\u003e competition that same year. In 1998, she received Best of Show at the Middletown Fine Arts Center. The following year brought an Honorable Mention for the pencil drawing \u003cem data-start=\"2342\" data-end=\"2358\"\u003eSundance No. 4\u003c\/em\u003e, second place in the Dayton Society of Painters and Sculptors’ drawing and mixed-media category, and second place in the Cincinnati Art Club’s national juried exhibition \u003cem data-start=\"2529\" data-end=\"2545\"\u003eView Point ’99\u003c\/em\u003e. In 2000, she was again recognized by the Fairborn Art Association and Rosewood Arts Centre.\u003c\/p\u003e\n\u003cp data-start=\"2716\" data-end=\"3442\"\u003eParry’s exhibition history included solo, two-person, and institutional presentations. In 2001, the Springfield Museum of Art presented \u003cem data-start=\"2852\" data-end=\"2876\"\u003eTomoko Parry: Drawings\u003c\/em\u003e alongside ceramics and drawings by \u003ca href=\"https:\/\/daytondsa.org\/hageman\" rel=\"noopener\" target=\"_blank\"\u003eGeorge Hageman\u003c\/a\u003e. That same year, Town and Country Fine Art Gallery mounted \u003cem data-start=\"2986\" data-end=\"3003\"\u003eFrom the Garden\u003c\/em\u003e, a solo exhibition of her pencil drawings. Later presentations included \u003cem data-start=\"3076\" data-end=\"3102\"\u003eDrawings and Watercolors\u003c\/em\u003e at the Downtown YMCA in Dayton in 2003, a two-person exhibition of watercolor paintings and pencil drawings with \u003ca href=\"https:\/\/www.sharonmdundeeart.com\/about\" rel=\"noopener\" target=\"_blank\"\u003eSharon Cleveland\u003c\/a\u003e in 2007, and the \u003cem data-start=\"3250\" data-end=\"3264\"\u003eTri-Art Trio\u003c\/em\u003e exhibition at the Dayton Convention Center in 2009, where Parry and her fellow exhibitors were presented as award-winning regional artists.\u003c\/p\u003e\n\u003cp data-start=\"3444\" data-end=\"4077\"\u003eHer work also attracted sustained critical attention. Regional critics praised the precision and intimacy of her drawings, describing her botanical works as finely detailed and singling out an Oregon back-alley drawing for its extraordinary meticulousness. A 2003 review similarly emphasized her ability to find visual significance in an easily overlooked section of an urban river walk. In 2001, Parry was selected for the \u003cem data-start=\"3868\" data-end=\"3927\"\u003eMaster Pastel Artists of the World—United States Showcase\u003c\/em\u003e in \u003cem data-start=\"3931\" data-end=\"3960\"\u003ePastel Artist International\u003c\/em\u003e, extending recognition of her practice beyond the regional exhibition circuit.\u003c\/p\u003e\n\u003cp data-start=\"4079\" data-end=\"4621\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eParry’s art is distinguished by disciplined observation, patient accumulation, and an ability to make familiar subjects feel immersive and psychologically resonant. Her botanical drawings move beyond conventional plant studies: leaves, stems, pods, and blossoms overlap until they become enveloping visual environments. The surviving record reveals not an occasional or marginal artist, but a committed professional whose work was repeatedly exhibited, awarded, reviewed, and recognized across institutional, juried, and independent settings.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eUnderrepresented Artist Information\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"36\" data-end=\"707\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eTomoko Parry’s\u003c\/strong\u003e\u003c\/span\u003e career also reflects a pattern familiar in the histories of many talented women artists: sustained creative ability existing alongside gendered expectations that redirected public attention toward domestic, supportive, or adjacent professional roles. Before settling into family life, Parry worked as a Japanese translator for San Francisco art galleries, placing her within the professional art world well before her own museum-recognized drawing practice emerged. By 1994, she and her husband had co-founded La Mariposa Gallery, further demonstrating that art was not a peripheral interest but a continuous part of her intellectual and professional life.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"709\" data-end=\"1465\"\u003eParry later described herself as a “domestic engineer,” a phrase that acknowledges the labor, skill, and organizational responsibility involved in homemaking while also revealing how her own artistic career became less publicly visible. Available records increasingly foreground her work supporting her husband’s writing and speaking career, as well as the Japanese consulting company associated with her name. These pursuits should not be treated as insignificant, nor should the partnership be framed as adversarial. Yet the imbalance in the surviving record is notable: his public career continued to accumulate documentation, while hers appears to have remained largely in stasis outside occasional exhibitions, newspaper coverage, and museum holdings.\u003c\/p\u003e\n\u003cp data-start=\"1467\" data-end=\"2099\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eParry’s story therefore speaks to a broader historical problem. Women artists have often been encouraged—or expected—to translate their creativity into family support, cultural mediation, teaching, administration, or other socially sanctioned forms of labor. The result is not necessarily an absence of artistic production, but an absence of sustained recognition. Recovering Parry’s work allows her to be understood not simply through her domestic or consulting roles, but as an artist whose disciplined drawings, watercolors, and mixed media pieces demonstrate considerable technical command, visual intelligence, and a long-standing commitment to the arts.\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eCustom Shipping Notice\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eInformation\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eStyle: Modern\u003c\/li\u003e\n\u003cli\u003eSubject: Botanical\u003c\/li\u003e\n\u003cli\u003eYear: 1997\u003c\/li\u003e\n\u003cli\u003eSight: 22.0 x 16 in (55.88 x 40.64 cm)\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003eFrame: 32.25 x 26.25 in\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Graphite\u003c\/li\u003e\n\u003cli\u003eMaterial: Paper\u003c\/li\u003e\n\u003cli\u003eSignature: Signed\u003c\/li\u003e\n\u003cli\u003eCirculation status: One of a kind\u003c\/li\u003e\n\u003cli\u003eFrame Status: Framed\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong data-end=\"119\" data-start=\"78\"\u003eVintage Condition Disclaimer\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-end=\"122\" data-start=\"119\"\u003e\u003c\/strong\u003ePlease note that this item is vintage and shows wear consistent with age, use, and history. Signs of wear may include, but are not limited to, minor surface marks, patina, fading, or imperfections typical of older items. All items are sold\u003cstrong\u003e as-is\u003c\/strong\u003e, which is standard with vintage and pre-owned goods and cannot be returned on the basis of condition. Measurements are approximate. We do our best to describe items accurately; however, condition assessments are subjective. If you would like additional details, images, or clarification before purchasing, please contact us through the contact form.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eSpecial Condition Notes\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eProvenance*\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1997 - 2026\u003c\/strong\u003e: Tomoko Parry\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026\u003c\/strong\u003e: Secondary Market\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026 - Present\u003c\/strong\u003e: Visard Gallery\u003c\/p\u003e\n\u003ch6\u003e\u003cem\u003e*Provenance and attribution details are based on our best research and are offered in good faith but are not guaranteed. Please contact us through the contact form with any questions prior to purchase.\u003c\/em\u003e\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAcademic Resources\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/0lbew0tmg03lpuwm5iui5\/AMN6dLORSWM1RJvN2c9jRFE?rlkey=rjgkc31x8ysxbsu09iaxakl1r\u0026amp;st=1g7v73q5\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry Research\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca style=\"color: rgb(80, 197, 215);\" href=\"https:\/\/www.dropbox.com\/scl\/fo\/azy0g1jiiuwoqobunfvnr\/AGNcmO5EW9EmfgkXAAtYTGg?rlkey=4fny60lhndc49gpfh98y8e84j\u0026amp;st=45vm26dt\u0026amp;dl=0\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.springfieldart.net\/?exhibition=tomoko-parry-drawings-george-hageman-ceramics\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry_Springfield Museum of Art\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.youtube.com\/watch?v=nChlNeP3TP0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry_YouTube\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Visard Gallery","offers":[{"title":"Default Title","offer_id":46719898812577,"sku":"ART202","price":1295.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0698\/6072\/0801\/files\/ART202_TomokoParry_CigarTree3_Full.png?v=1784492816"},{"product_id":"potted-wild-roses-tomoko-parry-c-1990s","title":"Potted Wild Roses  - Tomoko Parry, c. 1990s","description":"\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"rte-table-wrapper\"\u003e\n\u003ctable width=\"100%\" style=\"width: 98.087%;\" height=\"1543\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eArtwork Description\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePotted Wild Roses*\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eTomoko Parry, c. 1990s\u003c\/em\u003e\u003c\/p\u003e\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cp data-start=\"1851\" data-end=\"2430\" class=\"PDq2pG_selectionAnchorContainer\"\u003eTomoko Parry’s \u003cstrong\u003e\u003cem data-start=\"1866\" data-end=\"1885\"\u003ePotted Wild Roses\u003c\/em\u003e\u003c\/strong\u003e transforms the familiar materials of home gardening into a richly orchestrated still life. The composition is anchored by a row of terracotta containers filled with flowering plants, yet Parry avoids the static symmetry often associated with traditional floral painting. Pots overlap, stems extend irregularly, tools cut across the foreground, and blossoms appear at different heights and stages of opening. This uneven arrangement gives the image the vitality of an actively used workspace rather than a display created solely for observation.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"2432\" data-end=\"3075\"\u003eThe flowers dominate the upper half of the composition through saturated pinks and repeated forms. Their bright centers and radiating petals establish a visual rhythm that moves from the large bloom at left through the clustered flowers at center and toward the smaller group at right. White blossoms recede into the pale background, functioning almost as atmospheric echoes of the more assertive pink flowers. Parry’s handling of these paler forms is particularly effective: some are clearly articulated, while others seem to dissolve into the surrounding light. This creates depth without requiring a detailed architectural setting.\u003c\/p\u003e\n\u003cp data-start=\"3077\" data-end=\"3704\"\u003eThe lower half of the work introduces a markedly different vocabulary. Terracotta pots provide warm, cylindrical masses, while gardening tools contribute dark curves, hard edges, and elongated diagonals. The large, hooked blade leaning against the left pot is especially important. Its sweeping contour continues downward from the wooden handle and directs the eye toward the smaller pot and seed packets. A second curved tool rises near the center, while the horizontal trowels and wooden handles at right stabilize the composition. Together, these objects form a network of directional lines beneath the softer floral growth.\u003c\/p\u003e\n\u003cp data-start=\"3706\" data-end=\"4281\"\u003eThis contrast between blossoms and implements gives \u003cstrong\u003e\u003cem data-start=\"3758\" data-end=\"3777\"\u003ePotted Wild Roses\u003c\/em\u003e\u003c\/strong\u003e much of its character. The flowers signify fragility, color, and seasonal beauty; the tools suggest effort, repetition, maintenance, and physical intervention. Parry does not separate beauty from the work required to sustain it. Instead, she allows gardening labor to remain visibly embedded within the finished image. The worn surfaces of the pots and tools prevent the still life from feeling idealized. They carry traces of use and imply a continuing relationship between the gardener and the plants.\u003c\/p\u003e\n\u003cp data-start=\"4283\" data-end=\"4916\"\u003eThe title introduces a subtle conceptual paradox. Wildness generally implies spontaneous or uncultivated growth, while pots represent containment, ownership, and care. Parry places these ideas in productive tension. The plants overflow their containers and spread laterally across the composition, yet they remain rooted in a thoroughly domestic environment. Their vitality has not been diminished by cultivation; rather, the structure of care has allowed their exuberance to become visible. This relationship between freedom and containment is echoed formally as leaves and blossoms press toward the boundaries of the painted field.\u003c\/p\u003e\n\u003cp data-start=\"4918\" data-end=\"5555\"\u003eParry’s watercolor technique supports this balance. Transparent washes create the cool gray background and softer white petals, while more concentrated pigment defines the vivid flowers, green foliage, and earthen pots. The greens vary from pale yellow-green new growth to deeper blue-green leaves, preventing the foliage from becoming a single undifferentiated mass. The terracotta containers are similarly modulated with orange, brown, and muted olive passages, suggesting age, moisture, soil, and irregular firing. Fine pencil or drawn contours remain visible in places, lending structural precision to the fluidity of the watercolor.\u003c\/p\u003e\n\u003cp data-start=\"5557\" data-end=\"6080\"\u003eThe small seed packets scattered in the foreground are among the composition’s most effective details. Their strong blue, yellow, and red color fields differ from the natural palette surrounding them and introduce the commercial side of gardening. These are not flowers encountered in an untouched landscape; they belong to a process involving selection, planting, planning, and seasonal expectation. The packets also pull the viewer close to the tabletop, functioning as a visual threshold into the arrangement.\u003c\/p\u003e\n\u003cp data-start=\"6082\" data-end=\"6752\"\u003eWithin Parry’s broader practice, the work belongs to her sustained engagement with plants, gardens, and the overlooked environments of daily life. Her documented mature career encompassed graphite, watercolor, pastel, painting, and works on paper, with botanical and domestic subjects recurring throughout her output. She pursued sustained art study beginning around 1991–1992 and subsequently developed an active exhibition record that included juried competitions, awards, solo presentations, and a two-person exhibition at the Springfield Museum of Art.\u003c\/p\u003e\n\u003cp data-start=\"6754\" data-end=\"7337\"\u003eThat context is important because \u003cstrong\u003e\u003cem data-start=\"6788\" data-end=\"6807\"\u003ePotted Wild Roses\u003c\/em\u003e\u003c\/strong\u003e might otherwise be dismissed as a pleasant domestic watercolor. Its compositional intelligence and technical control reveal something more substantial. Parry organizes numerous competing elements without sacrificing clarity, balances strong color against open atmospheric space, and builds meaning through the relationship between growth and work. The domestic garden becomes neither sentimental retreat nor purely decorative subject. It is shown as a site of creativity, discipline, physical labor, and recurring transformation.\u003c\/p\u003e\n\u003cp data-start=\"7339\" data-end=\"7871\"\u003eThe work also carries resonance when considered alongside Parry’s own later-life artistic development. After years devoted to raising a family and managing domestic responsibilities, she entered a sustained period of study and professional exhibition. In that light, the image’s gardening tools and cultivated blossoms can be read—without reducing them to autobiography—as symbols of patient development. The flourishing flowers are inseparable from the actions that made their growth possible.\u003c\/p\u003e\n\u003cp data-start=\"7873\" data-end=\"8297\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u003cstrong\u003e\u003cem data-start=\"7885\" data-end=\"7904\"\u003ePotted Wild Roses\u003c\/em\u003e\u003c\/strong\u003e succeeds because Parry allows beauty and labor to occupy the same space. The flowers are radiant, but the painting does not conceal the dirt, tools, containers, and preparation behind them. Through an apparently modest garden still life, she offers a thoughtful meditation on cultivation: the transformation of attention and repeated effort into something vivid, living, and briefly abundant.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n-\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eJonathan Flike\u003c\/strong\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003ch6 class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cstrong\u003e\u003cem\u003e*The title of this work was assigned by Visard Gallery.\u003c\/em\u003e\u003c\/strong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"23\" data-end=\"590\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eTomoko Parry\u003c\/strong\u003e\u003c\/span\u003e is a Japanese-born painter and draftsperson whose mature career developed within the active arts communities of Ohio’s Miami Valley. Born in Japan in 1938, Parry immigrated to the United States in 1971 and later settled in Fairborn, Ohio. From at least 1995 through 2009, she maintained a documented exhibition practice encompassing graphite drawing, watercolor, pastel, painting, and other works on paper. Although she worked across several media, Parry considered herself primarily a pencil artist, becoming particularly recognized for technically exacting drawings of plants, gardens, domestic surroundings, and overlooked urban spaces. \u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"724\" data-end=\"1359\"\u003eParry began sustained formal art study around 1991–1992, after raising her daughter and managing the responsibilities of family life. A watercolor course at the Springfield Museum of Art initiated a period of intensive artistic development. She continued her training through the museum, Sinclair Community College in Dayton, Clark State Community College in Springfield, and numerous independent workshops. Rather than representing a casual late-life interest, this education became the foundation for nearly two decades of exhibitions, awards, critical coverage, and sustained studio production.\u003c\/p\u003e\n\u003cp data-start=\"1361\" data-end=\"1920\"\u003eBy the mid-1990s, Parry was exhibiting regularly in competitive juried shows accumulating over 60 awards. She received second-place honors in the Western Ohio Watercolor Society’s 1995 annual exhibition at the Springfield Museum of Art. The museum’s subsequent society exhibitions included her \u003cem data-start=\"1627\" data-end=\"1647\"\u003eUrban Sunflower #2\u003c\/em\u003e in 1996, \u003cem data-start=\"1657\" data-end=\"1672\"\u003eCigar Tree #3\u003c\/em\u003e in 1997, and \u003cem data-start=\"1686\" data-end=\"1703\"\u003eSun Dance No. 5\u003c\/em\u003e in 1998. These appearances demonstrate an evolving, serial examination of botanical forms across watercolor and drawing rather than isolated participation in regional art events.\u003c\/p\u003e\n\u003cp data-start=\"1922\" data-end=\"2714\"\u003eHer work earned repeated recognition during the late 1990s and early 2000s. Parry received an Honorable Mention in the Seventh Annual Works on Paper exhibition at Rosewood Arts Centre in 1997 and the Second Jurors’ Award in Dayton’s \u003cem data-start=\"2155\" data-end=\"2171\"\u003eArt About Town\u003c\/em\u003e competition that same year. In 1998, she received Best of Show at the Middletown Fine Arts Center. The following year brought an Honorable Mention for the pencil drawing \u003cem data-start=\"2342\" data-end=\"2358\"\u003eSundance No. 4\u003c\/em\u003e, second place in the Dayton Society of Painters and Sculptors’ drawing and mixed-media category, and second place in the Cincinnati Art Club’s national juried exhibition \u003cem data-start=\"2529\" data-end=\"2545\"\u003eView Point ’99\u003c\/em\u003e. In 2000, she was again recognized by the Fairborn Art Association and Rosewood Arts Centre.\u003c\/p\u003e\n\u003cp data-start=\"2716\" data-end=\"3442\"\u003eParry’s exhibition history included solo, two-person, and institutional presentations. In 2001, the Springfield Museum of Art presented \u003cem data-start=\"2852\" data-end=\"2876\"\u003eTomoko Parry: Drawings\u003c\/em\u003e alongside ceramics and drawings by \u003ca href=\"https:\/\/daytondsa.org\/hageman\" rel=\"noopener\" target=\"_blank\"\u003eGeorge Hageman\u003c\/a\u003e. That same year, Town and Country Fine Art Gallery mounted \u003cem data-start=\"2986\" data-end=\"3003\"\u003eFrom the Garden\u003c\/em\u003e, a solo exhibition of her pencil drawings. Later presentations included \u003cem data-start=\"3076\" data-end=\"3102\"\u003eDrawings and Watercolors\u003c\/em\u003e at the Downtown YMCA in Dayton in 2003, a two-person exhibition of watercolor paintings and pencil drawings with \u003ca href=\"https:\/\/www.sharonmdundeeart.com\/about\" rel=\"noopener\" target=\"_blank\"\u003eSharon Cleveland\u003c\/a\u003e in 2007, and the \u003cem data-start=\"3250\" data-end=\"3264\"\u003eTri-Art Trio\u003c\/em\u003e exhibition at the Dayton Convention Center in 2009, where Parry and her fellow exhibitors were presented as award-winning regional artists.\u003c\/p\u003e\n\u003cp data-start=\"3444\" data-end=\"4077\"\u003eHer work also attracted sustained critical attention. Regional critics praised the precision and intimacy of her drawings, describing her botanical works as finely detailed and singling out an Oregon back-alley drawing for its extraordinary meticulousness. A 2003 review similarly emphasized her ability to find visual significance in an easily overlooked section of an urban river walk. In 2001, Parry was selected for the \u003cem data-start=\"3868\" data-end=\"3927\"\u003eMaster Pastel Artists of the World—United States Showcase\u003c\/em\u003e in \u003cem data-start=\"3931\" data-end=\"3960\"\u003ePastel Artist International\u003c\/em\u003e, extending recognition of her practice beyond the regional exhibition circuit.\u003c\/p\u003e\n\u003cp data-start=\"4079\" data-end=\"4621\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eParry’s art is distinguished by disciplined observation, patient accumulation, and an ability to make familiar subjects feel immersive and psychologically resonant. Her botanical drawings move beyond conventional plant studies: leaves, stems, pods, and blossoms overlap until they become enveloping visual environments. The surviving record reveals not an occasional or marginal artist, but a committed professional whose work was repeatedly exhibited, awarded, reviewed, and recognized across institutional, juried, and independent settings.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eUnderrepresented Artist Information\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"36\" data-end=\"707\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eTomoko Parry’s\u003c\/strong\u003e\u003c\/span\u003e career also reflects a pattern familiar in the histories of many talented women artists: sustained creative ability existing alongside gendered expectations that redirected public attention toward domestic, supportive, or adjacent professional roles. Before settling into family life, Parry worked as a Japanese translator for San Francisco art galleries, placing her within the professional art world well before her own museum-recognized drawing practice emerged. By 1994, she and her husband had co-founded La Mariposa Gallery, further demonstrating that art was not a peripheral interest but a continuous part of her intellectual and professional life.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"709\" data-end=\"1465\"\u003eParry later described herself as a “domestic engineer,” a phrase that acknowledges the labor, skill, and organizational responsibility involved in homemaking while also revealing how her own artistic career became less publicly visible. Available records increasingly foreground her work supporting her husband’s writing and speaking career, as well as the Japanese consulting company associated with her name. These pursuits should not be treated as insignificant, nor should the partnership be framed as adversarial. Yet the imbalance in the surviving record is notable: his public career continued to accumulate documentation, while hers appears to have remained largely in stasis outside occasional exhibitions, newspaper coverage, and museum holdings.\u003c\/p\u003e\n\u003cp data-start=\"1467\" data-end=\"2099\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eParry’s story therefore speaks to a broader historical problem. Women artists have often been encouraged—or expected—to translate their creativity into family support, cultural mediation, teaching, administration, or other socially sanctioned forms of labor. The result is not necessarily an absence of artistic production, but an absence of sustained recognition. Recovering Parry’s work allows her to be understood not simply through her domestic or consulting roles, but as an artist whose disciplined drawings, watercolors, and mixed media pieces demonstrate considerable technical command, visual intelligence, and a long-standing commitment to the arts.\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eCustom Shipping Notice\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eInformation\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eStyle: Modern\u003c\/li\u003e\n\u003cli\u003eSubject: Figure \u003c\/li\u003e\n\u003cli\u003eYear: 1990s\u003c\/li\u003e\n\u003cli\u003eSight: 20.0 x 13.75 in (50.8 x 34.79 cm)\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003eMatting: 26 x 20 in\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Watercolor\u003c\/li\u003e\n\u003cli\u003eMaterial: Paper\u003c\/li\u003e\n\u003cli\u003eSignature: Signed\u003c\/li\u003e\n\u003cli\u003eCirculation status: One of a kind\u003c\/li\u003e\n\u003cli\u003eFrame Status: Unframed\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eVintage Condition Disclaimer\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003ePlease note that this item is vintage and shows wear consistent with age, use, and history. Signs of wear may include, but are not limited to, minor surface marks, patina, fading, or imperfections typical of older items. All items are sold\u003cstrong\u003e as-is\u003c\/strong\u003e, which is standard with vintage and pre-owned goods and cannot be returned on the basis of condition. Measurements are approximate. We do our best to describe items accurately; however, condition assessments are subjective. If you would like additional details, images, or clarification before purchasing, please contact us through the contact form.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eSpecial Condition Notes\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eProvenance*\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1990s - 2026:\u003c\/strong\u003e Tomoko Parry\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026:\u003c\/strong\u003e Secondary Market\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026 - Present\u003c\/strong\u003e: Visard Gallery\u003c\/p\u003e\n\u003ch6\u003e\u003cem\u003e*Provenance and attribution details are based on our best research and are offered in good faith but are not guaranteed. Please contact us through the contact form with any questions prior to purchase.\u003c\/em\u003e\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAcademic Resources\u003c\/strong\u003e\u003c\/span\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.nga.gov\/artworks\/177610-nature-obverse\" target=\"_blank\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.nga.gov\/artworks\/177610-nature-obverse\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/0lbew0tmg03lpuwm5iui5\/AMN6dLORSWM1RJvN2c9jRFE?rlkey=rjgkc31x8ysxbsu09iaxakl1r\u0026amp;st=1g7v73q5\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry Research\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca style=\"color: rgb(80, 197, 215);\" href=\"https:\/\/www.dropbox.com\/scl\/fo\/azy0g1jiiuwoqobunfvnr\/AGNcmO5EW9EmfgkXAAtYTGg?rlkey=4fny60lhndc49gpfh98y8e84j\u0026amp;st=45vm26dt\u0026amp;dl=0\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.springfieldart.net\/?exhibition=tomoko-parry-drawings-george-hageman-ceramics\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry_Springfield Museum of Art\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.youtube.com\/watch?v=nChlNeP3TP0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry_YouTube\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Visard Gallery","offers":[{"title":"Default Title","offer_id":46720630194337,"sku":"ART203","price":895.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0698\/6072\/0801\/files\/ART203_TomokoParry_PottedWildRoses_Full.png?v=1784507335"},{"product_id":"morning-light-19-tomoko-parry-c-1990s","title":"Morning Light #19 - Tomoko Parry, c. 1990s","description":"\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"b4b4e1d1-7f85-478b-ad26-490320b8c976\" data-testid=\"conversation-turn-6\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"ba5e0f6d-53ed-43ac-8dd3-bccf9fc79f84\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"rte-table-wrapper\"\u003e\n\u003ctable width=\"100%\" style=\"width: 98.087%;\" height=\"1543\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong data-start=\"0\" data-end=\"53\"\u003eArtwork Description\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMorning Light #19\u003c\/strong\u003e\u003cbr data-start=\"53\" data-end=\"56\"\u003e\u003cem data-start=\"56\" data-end=\"88\"\u003eTomoko Parry, c. 1990s\u003c\/em\u003e\u003c\/p\u003e\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"b4b4e1d1-7f85-478b-ad26-490320b8c976\" data-testid=\"conversation-turn-6\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"ba5e0f6d-53ed-43ac-8dd3-bccf9fc79f84\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"7dbb9ce6-002d-4a76-84f7-6af88d3e62f9\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cp data-start=\"1881\" data-end=\"2379\"\u003eIn \u003cstrong\u003e\u003cem data-start=\"1884\" data-end=\"1903\"\u003eMorning Light #19\u003c\/em\u003e\u003c\/strong\u003e, Tomoko Parry approaches a familiar outdoor setting through an elevated, sharply angled perspective. The viewer appears to be looking down from a balcony, terrace, stairway, or upper-level window onto a sequence of café or resort tables arranged beneath bright umbrellas. This point of view removes the stable horizon usually associated with landscape painting and instead organizes the composition through diagonals, overlapping planes, and compressed spatial relationships.\u003c\/p\u003e\n\u003cp data-start=\"2381\" data-end=\"3026\"\u003eThe dominant umbrella occupies much of the center and right side of the image. Its canopy is divided into broad triangular sections, each articulated through variations of red, coral, vermilion, and orange. Parry’s tonal shifts give the umbrella volume without relying upon heavy outlines. The upper planes appear illuminated, while deeper reds gather along folds and lower edges. Although clearly recognizable as an umbrella, the form also resembles an enlarged flower, shell, or fan. This botanical association is especially appropriate within Parry’s wider practice, in which natural forms and serial examinations of plants frequently appear.\u003c\/p\u003e\n\u003cp data-start=\"3028\" data-end=\"3528\"\u003eA second umbrella is partially visible near the upper edge, while additional tables and chairs recede toward the top left. Rather than presenting these objects through conventional perspective, Parry allows them to overlap and flatten against the surface. Tabletops become warm rectangles; chair seats and backs are reduced to smaller blocks; legs and supporting poles appear as narrow vertical or diagonal strokes. The setting therefore moves continually between legible observation and abstraction.\u003c\/p\u003e\n\u003cp data-start=\"3530\" data-end=\"4007\"\u003eThe painting’s strongest structural feature is the division between intense light and elongated shadow. The left side is flooded with pale yellow and nearly untouched white, creating the impression of sunlight so strong that it temporarily erases material detail. Across this brightness, lavender and muted violet shadows stretch diagonally from the furniture. Their length suggests early morning, when the sun remains low and objects cast pronounced shadows across the ground.\u003c\/p\u003e\n\u003cp data-start=\"4009\" data-end=\"4429\"\u003eThese shadows perform more than a descriptive function. They connect the separate tables and chairs, establishing a visual rhythm that leads the eye from the lower center toward the upper left. Their cool color also balances the warmth of the umbrellas and surrounding ochres. Without the violet passages, the image might become overwhelmingly hot; instead, the temperature shifts continually between sunlight and shade.\u003c\/p\u003e\n\u003cp data-start=\"4431\" data-end=\"5083\"\u003eParry’s use of watercolor is central to this atmospheric effect. Transparent washes allow color to accumulate gradually, particularly in the soft blue-gray area at upper right and the purple shadows along the left edge. The pigments appear to bloom and granulate in places, preserving the fluid character of the medium rather than disguising it beneath excessive control. Elsewhere, more concentrated color defines the umbrella and the golden strip at right. This alternation between dissolved and sharply stated passages mirrors the experience of looking into bright sunlight, where some forms become vividly saturated while others disappear in glare.\u003c\/p\u003e\n\u003cp data-start=\"5085\" data-end=\"5482\"\u003eThe composition is noticeably unpopulated. Chairs and tables imply social activity, yet no guests, workers, or passersby appear. This absence is not unsettling so much as anticipatory. The umbrellas are open, the furniture is arranged, and the space seems prepared for the coming day. Parry captures the interval before occupation: a resort terrace or café transformed into a temporary still life.\u003c\/p\u003e\n\u003cp data-start=\"5484\" data-end=\"5969\"\u003eThe numbered title indicates that \u003cstrong\u003e\u003cem data-start=\"5518\" data-end=\"5537\"\u003eMorning Light #19\u003c\/em\u003e\u003c\/strong\u003e belongs to a sustained series. Serial practice allows an artist to return repeatedly to the same perceptual question rather than simply reproduce one location. Here, the true subject is not merely the furniture or umbrellas but the way morning illumination reorganizes them. Light flattens certain objects, exaggerates shadows, intensifies color, and briefly converts a practical environment into an arrangement of luminous shapes.\u003c\/p\u003e\n\u003cp data-start=\"5971\" data-end=\"6521\"\u003eThis serial structure also connects \u003cstrong\u003e\u003cem data-start=\"6007\" data-end=\"6026\"\u003eMorning Light #19\u003c\/em\u003e\u003c\/strong\u003e to Parry’s known habit of numbering botanical subjects. Works such as \u003cem data-start=\"6097\" data-end=\"6117\"\u003eUrban Sunflower #2\u003c\/em\u003e, \u003ca href=\"https:\/\/visardgallery.com\/products\/cigar-tree-3-tomoko-parry-c-2001?variant=46719898812577\" rel=\"noopener\" target=\"_blank\"\u003e\u003cem data-start=\"6119\" data-end=\"6134\"\u003eCigar Tree #3\u003c\/em\u003e\u003c\/a\u003e, \u003cem data-start=\"6136\" data-end=\"6153\"\u003eSun Dance No. 5\u003c\/em\u003e, and \u003cem data-start=\"6159\" data-end=\"6175\"\u003eSundance No. 4\u003c\/em\u003e suggest an artist interested in returning to motifs through multiple variations. The number nineteen implies an especially extended engagement with morning light, perhaps observed across different locations, seasons, or arrangements. Rather than treating repetition as redundancy, Parry appears to have used it as a means of deepened perception.\u003c\/p\u003e\n\u003cp data-start=\"6523\" data-end=\"7008\"\u003eAlthough Parry is particularly celebrated for meticulous pencil drawings, this watercolor reveals a different side of her practice. The careful observation remains, but the image is not dependent upon minute description. Color, transparency, cropping, and spatial compression carry much of its expressive force. The work demonstrates that her precision was not limited to linear detail; it also involved a highly developed sensitivity to tonal relationships and the structure of light.\u003c\/p\u003e\n\u003cp data-start=\"7010\" data-end=\"7562\"\u003eThe painting participates in a long tradition of artists examining modern leisure environments. Outdoor cafés, promenades, terraces, and resort spaces have frequently provided opportunities to study the meeting of architecture, sunlight, and social life. Parry’s contribution is distinguished by her elevated perspective and removal of the human figure. Leisure is represented indirectly through the objects awaiting use. This gives the scene a private, observational character, as though the artist has noticed the terrace before others have awakened.\u003c\/p\u003e\n\u003cp data-start=\"7564\" data-end=\"8022\"\u003eThe gold-toned frame complements the sunlight and warm umbrellas, while the broad white mat isolates the watercolor from its surroundings. This presentation reinforces the distinction between the image’s concentrated field of color and the open space around it. Because the painting itself is relatively intimate, viewers are encouraged to approach closely and follow the small shifts between translucent washes, sharper edges, and partially dissolved forms.\u003c\/p\u003e\n\u003cp data-start=\"8024\" data-end=\"8480\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u003cstrong\u003e\u003cem data-start=\"8036\" data-end=\"8055\"\u003eMorning Light #19\u003c\/em\u003e\u003c\/strong\u003e is a study of transformation. Parry takes a practical arrangement of umbrellas, tables, and chairs and allows light to convert it into a complex pattern of radiance and shadow. The work is inviting because of its color and subject, but its lasting interest lies in its formal intelligence: the unusual viewpoint, the controlled instability of the composition, and the balance between recognizable place and near abstraction.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n-\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eJonathan Flike\u003c\/strong\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"23\" data-end=\"590\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eTomoko Parry\u003c\/strong\u003e\u003c\/span\u003e is a Japanese-born painter and draftsperson whose mature career developed within the active arts communities of Ohio’s Miami Valley. Born in Japan in 1938, Parry immigrated to the United States in 1971 and later settled in Fairborn, Ohio. From at least 1995 through 2009, she maintained a documented exhibition practice encompassing graphite drawing, watercolor, pastel, painting, and other works on paper. Although she worked across several media, Parry considered herself primarily a pencil artist, becoming particularly recognized for technically exacting drawings of plants, gardens, domestic surroundings, and overlooked urban spaces. \u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"724\" data-end=\"1359\"\u003eParry began sustained formal art study around 1991–1992, after raising her daughter and managing the responsibilities of family life. A watercolor course at the Springfield Museum of Art initiated a period of intensive artistic development. She continued her training through the museum, Sinclair Community College in Dayton, Clark State Community College in Springfield, and numerous independent workshops. Rather than representing a casual late-life interest, this education became the foundation for nearly two decades of exhibitions, awards, critical coverage, and sustained studio production.\u003c\/p\u003e\n\u003cp data-start=\"1361\" data-end=\"1920\"\u003eBy the mid-1990s, Parry was exhibiting regularly in competitive juried shows accumulating over 60 awards. She received second-place honors in the Western Ohio Watercolor Society’s 1995 annual exhibition at the Springfield Museum of Art. The museum’s subsequent society exhibitions included her \u003cem data-start=\"1627\" data-end=\"1647\"\u003eUrban Sunflower #2\u003c\/em\u003e in 1996, \u003cem data-start=\"1657\" data-end=\"1672\"\u003eCigar Tree #3\u003c\/em\u003e in 1997, and \u003cem data-start=\"1686\" data-end=\"1703\"\u003eSun Dance No. 5\u003c\/em\u003e in 1998. These appearances demonstrate an evolving, serial examination of botanical forms across watercolor and drawing rather than isolated participation in regional art events.\u003c\/p\u003e\n\u003cp data-start=\"1922\" data-end=\"2714\"\u003eHer work earned repeated recognition during the late 1990s and early 2000s. Parry received an Honorable Mention in the Seventh Annual Works on Paper exhibition at Rosewood Arts Centre in 1997 and the Second Jurors’ Award in Dayton’s \u003cem data-start=\"2155\" data-end=\"2171\"\u003eArt About Town\u003c\/em\u003e competition that same year. In 1998, she received Best of Show at the Middletown Fine Arts Center. The following year brought an Honorable Mention for the pencil drawing \u003cem data-start=\"2342\" data-end=\"2358\"\u003eSundance No. 4\u003c\/em\u003e, second place in the Dayton Society of Painters and Sculptors’ drawing and mixed-media category, and second place in the Cincinnati Art Club’s national juried exhibition \u003cem data-start=\"2529\" data-end=\"2545\"\u003eView Point ’99\u003c\/em\u003e. In 2000, she was again recognized by the Fairborn Art Association and Rosewood Arts Centre.\u003c\/p\u003e\n\u003cp data-start=\"2716\" data-end=\"3442\"\u003eParry’s exhibition history included solo, two-person, and institutional presentations. In 2001, the Springfield Museum of Art presented \u003cem data-start=\"2852\" data-end=\"2876\"\u003eTomoko Parry: Drawings\u003c\/em\u003e alongside ceramics and drawings by \u003ca href=\"https:\/\/daytondsa.org\/hageman\" rel=\"noopener\" target=\"_blank\"\u003eGeorge Hageman\u003c\/a\u003e. That same year, Town and Country Fine Art Gallery mounted \u003cem data-start=\"2986\" data-end=\"3003\"\u003eFrom the Garden\u003c\/em\u003e, a solo exhibition of her pencil drawings. Later presentations included \u003cem data-start=\"3076\" data-end=\"3102\"\u003eDrawings and Watercolors\u003c\/em\u003e at the Downtown YMCA in Dayton in 2003, a two-person exhibition of watercolor paintings and pencil drawings with \u003ca href=\"https:\/\/www.sharonmdundeeart.com\/about\" rel=\"noopener\" target=\"_blank\"\u003eSharon Cleveland\u003c\/a\u003e in 2007, and the \u003cem data-start=\"3250\" data-end=\"3264\"\u003eTri-Art Trio\u003c\/em\u003e exhibition at the Dayton Convention Center in 2009, where Parry and her fellow exhibitors were presented as award-winning regional artists.\u003c\/p\u003e\n\u003cp data-start=\"3444\" data-end=\"4077\"\u003eHer work also attracted sustained critical attention. Regional critics praised the precision and intimacy of her drawings, describing her botanical works as finely detailed and singling out an Oregon back-alley drawing for its extraordinary meticulousness. A 2003 review similarly emphasized her ability to find visual significance in an easily overlooked section of an urban river walk. In 2001, Parry was selected for the \u003cem data-start=\"3868\" data-end=\"3927\"\u003eMaster Pastel Artists of the World—United States Showcase\u003c\/em\u003e in \u003cem data-start=\"3931\" data-end=\"3960\"\u003ePastel Artist International\u003c\/em\u003e, extending recognition of her practice beyond the regional exhibition circuit.\u003c\/p\u003e\n\u003cp data-start=\"4079\" data-end=\"4621\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eParry’s art is distinguished by disciplined observation, patient accumulation, and an ability to make familiar subjects feel immersive and psychologically resonant. Her botanical drawings move beyond conventional plant studies: leaves, stems, pods, and blossoms overlap until they become enveloping visual environments. The surviving record reveals not an occasional or marginal artist, but a committed professional whose work was repeatedly exhibited, awarded, reviewed, and recognized across institutional, juried, and independent settings.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eUnderrepresented Artist Information\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"36\" data-end=\"707\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eTomoko Parry’s\u003c\/strong\u003e\u003c\/span\u003e career also reflects a pattern familiar in the histories of many talented women artists: sustained creative ability existing alongside gendered expectations that redirected public attention toward domestic, supportive, or adjacent professional roles. Before settling into family life, Parry worked as a Japanese translator for San Francisco art galleries, placing her within the professional art world well before her own museum-recognized drawing practice emerged. By 1994, she and her husband had co-founded La Mariposa Gallery, further demonstrating that art was not a peripheral interest but a continuous part of her intellectual and professional life.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"709\" data-end=\"1465\"\u003eParry later described herself as a “domestic engineer,” a phrase that acknowledges the labor, skill, and organizational responsibility involved in homemaking while also revealing how her own artistic career became less publicly visible. Available records increasingly foreground her work supporting her husband’s writing and speaking career, as well as the Japanese consulting company associated with her name. These pursuits should not be treated as insignificant, nor should the partnership be framed as adversarial. Yet the imbalance in the surviving record is notable: his public career continued to accumulate documentation, while hers appears to have remained largely in stasis outside occasional exhibitions, newspaper coverage, and museum holdings.\u003c\/p\u003e\n\u003cp data-start=\"1467\" data-end=\"2099\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eParry’s story therefore speaks to a broader historical problem. Women artists have often been encouraged—or expected—to translate their creativity into family support, cultural mediation, teaching, administration, or other socially sanctioned forms of labor. The result is not necessarily an absence of artistic production, but an absence of sustained recognition. Recovering Parry’s work allows her to be understood not simply through her domestic or consulting roles, but as an artist whose disciplined drawings, watercolors, and mixed media pieces demonstrate considerable technical command, visual intelligence, and a long-standing commitment to the arts.\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eCustom Shipping Notice\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eInformation\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eStyle: Modern\u003c\/li\u003e\n\u003cli\u003eSubject: Scene\u003c\/li\u003e\n\u003cli\u003eYear: 1990s\u003c\/li\u003e\n\u003cli\u003eSight: 14.0 x 10.0 in (35.56 x 25.4 cm)\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003eFrame: 20.25 x 16.25 in\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Watercolor\u003c\/li\u003e\n\u003cli\u003eMaterial: Paper\u003c\/li\u003e\n\u003cli\u003eSignature: Signed\u003c\/li\u003e\n\u003cli\u003eCirculation status: One of a kind\u003c\/li\u003e\n\u003cli\u003eFrame Status: Framed\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong data-end=\"119\" data-start=\"78\"\u003eVintage Condition Disclaimer\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-end=\"122\" data-start=\"119\"\u003e\u003c\/strong\u003ePlease note that this item is vintage and shows wear consistent with age, use, and history. Signs of wear may include, but are not limited to, minor surface marks, patina, fading, or imperfections typical of older items. All items are sold\u003cstrong\u003e as-is\u003c\/strong\u003e, which is standard with vintage and pre-owned goods and cannot be returned on the basis of condition. Measurements are approximate. We do our best to describe items accurately; however, condition assessments are subjective. If you would like additional details, images, or clarification before purchasing, please contact us through the contact form.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eSpecial Condition Notes\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHistorical framing and framing materials. \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eProvenance*\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1990s - 2026\u003c\/strong\u003e: Tomoko Parry\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026\u003c\/strong\u003e: Secondary Market\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026 - Present\u003c\/strong\u003e: Visard Gallery\u003c\/p\u003e\n\u003ch6\u003e\u003cem\u003e*Provenance and attribution details are based on our best research and are offered in good faith but are not guaranteed. Please contact us through the contact form with any questions prior to purchase.\u003c\/em\u003e\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAcademic Resources\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/0lbew0tmg03lpuwm5iui5\/AMN6dLORSWM1RJvN2c9jRFE?rlkey=rjgkc31x8ysxbsu09iaxakl1r\u0026amp;st=1g7v73q5\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry Research\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca style=\"color: rgb(80, 197, 215);\" href=\"https:\/\/www.dropbox.com\/scl\/fo\/azy0g1jiiuwoqobunfvnr\/AGNcmO5EW9EmfgkXAAtYTGg?rlkey=4fny60lhndc49gpfh98y8e84j\u0026amp;st=45vm26dt\u0026amp;dl=0\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.springfieldart.net\/?exhibition=tomoko-parry-drawings-george-hageman-ceramics\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry_Springfield Museum of Art\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.youtube.com\/watch?v=nChlNeP3TP0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry_YouTube\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Visard Gallery","offers":[{"title":"Default Title","offer_id":46720793772193,"sku":"ART204","price":1095.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0698\/6072\/0801\/files\/ART204_TomokoParry_MorningLight19_Full.png?v=1784510670"},{"product_id":"hilltop-2-tomoko-parry-c-1990s-copy","title":"Hilltop #2 - Tomoko Parry, c. 1990s","description":"\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"b4b4e1d1-7f85-478b-ad26-490320b8c976\" data-testid=\"conversation-turn-6\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"ba5e0f6d-53ed-43ac-8dd3-bccf9fc79f84\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"rte-table-wrapper\"\u003e\n\u003ctable width=\"100%\" style=\"width: 98.087%;\" height=\"1543\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong data-start=\"0\" data-end=\"53\"\u003eArtwork Description\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHilltop #2\u003c\/strong\u003e\u003cbr data-start=\"53\" data-end=\"56\"\u003e\u003cem data-start=\"56\" data-end=\"88\"\u003eTomoko Parry, c. 1990s\u003c\/em\u003e\u003c\/p\u003e\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"b4b4e1d1-7f85-478b-ad26-490320b8c976\" data-testid=\"conversation-turn-6\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"ba5e0f6d-53ed-43ac-8dd3-bccf9fc79f84\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"7dbb9ce6-002d-4a76-84f7-6af88d3e62f9\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cp data-start=\"1909\" data-end=\"2453\" class=\"PDq2pG_selectionAnchorContainer\"\u003eIn \u003cstrong\u003e\u003cem data-start=\"1912\" data-end=\"1924\"\u003eHilltop #2\u003c\/em\u003e\u003c\/strong\u003e, Tomoko Parry shifts decisively away from straightforward naturalism, constructing a landscape through layered color, fragmented surfaces, and selective recognizable detail. The composition retains enough representational information to establish place. There's a horizon, distant hills, trees, and a small red building, but its primary language is abstract. Rather than illustrating a hilltop as a stable panoramic view, Parry translates elevation, distance, vegetation, and light into a vertically organized field of overlapping shapes.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"2455\" data-end=\"3135\"\u003eThe painting’s upper register provides its clearest spatial orientation. A dark blue band establishes the sky, interrupted by a lighter central passage that suggests changing weather, illumination, or an opening in the atmosphere. Below it, low violet and blue forms stretch horizontally like distant ridgelines. These cooler bands stabilize the composition and create an apparent horizon against which the small red structure becomes immediately legible. Although minor in scale, this building functions as a crucial visual anchor. Its familiar geometry reassures the viewer that the image originates in observed landscape even as the terrain below becomes increasingly abstract.\u003c\/p\u003e\n\u003cp data-start=\"3137\" data-end=\"3624\"\u003eClusters of green forms rise around the structure, suggesting trees seen at varying distances. Their softened, irregular contours avoid botanical specificity. Instead, they act as transitional shapes between the horizontal landscape at the top and the more fragmented vertical movement below. The trees appear almost suspended between atmosphere and ground, reinforcing the sense that the hilltop is being reconstructed from memory rather than described through conventional perspective.\u003c\/p\u003e\n\u003cp data-start=\"3626\" data-end=\"4155\"\u003eThe central portion of the composition is organized around a broad, luminous passage descending from the horizon. This pale yellow, cream, aqua, and orange corridor can be interpreted as a road, footpath, ravine, exposed cliff, or channel of sunlight. Its ambiguity is important. Parry supplies the directional force of a path without requiring the viewer to identify precisely what it represents. The eye is drawn upward along this central route toward the red building, creating a sensation of ascent consistent with the title.\u003c\/p\u003e\n\u003cp data-start=\"4157\" data-end=\"4593\"\u003eThis upward movement is reinforced by elongated vertical forms throughout the lower two-thirds of the painting. Coral, turquoise, ochre, blue, and green passages rise like geological strata, fields, slopes, or narrow stands of vegetation. Their irregular edges prevent them from becoming rigid bands. Instead, the forms overlap, dissolve, and interrupt one another, producing a surface that feels accumulated rather than simply painted.\u003c\/p\u003e\n\u003cp data-start=\"4595\" data-end=\"5106\"\u003eThe medium involves transparent washes combined with collaged or texturally manipulated paper. Fibrous surfaces, torn boundaries, embedded marks, and subtle changes in opacity give the work a materially complex skin. Some passages allow underlying colors to remain visible, while others are more densely built. This layering creates depth without traditional modeling. Space is not constructed by gradual recession alone; it is produced through the physical stacking and interpenetration of materials.\u003c\/p\u003e\n\u003cp data-start=\"5108\" data-end=\"5528\"\u003eParry’s use of collage-like fragmentation also complicates the relationship between landscape and map. The lower field can be read as a view across terrain, but it can equally resemble an aerial plan composed of parcels, waterways, roads, and irregular boundaries. This duality allows the viewer to occupy multiple perspectives at once: standing before a hill, looking down across it, and remembering a route through it.\u003c\/p\u003e\n\u003cp data-start=\"5530\" data-end=\"6065\"\u003eSmall rectangular fragments embedded within the composition intensify this cartographic quality. A dark square near the right-center and several pale pieces elsewhere resemble signs, labels, buildings, windows, or bits of printed material. They are too sparse and ambiguous to create a narrative, yet they introduce the suggestion of human presence. Like the small red structure on the horizon, they prevent the landscape from becoming entirely elemental. This is land that has been observed, traveled through, inhabited, or organized.\u003c\/p\u003e\n\u003cp data-start=\"6067\" data-end=\"6609\"\u003eColor carries much of the painting’s emotional and structural weight. The foreground is dominated by warm coral, apricot, rust, peach, and orange. These tones rise through the center and lower left, creating the sensation of sunlit soil, rock, or late-season vegetation. Cooler turquoise, mint, aqua, and blue passages flank and interrupt the warmer forms. The juxtaposition produces vibrancy but also establishes a visual balance: warmth suggests nearness and illumination, while cooler colors imply shade, vegetation, water, or greater distance.\u003c\/p\u003e\n\u003cp data-start=\"6611\" data-end=\"7017\"\u003eThe darkest blues are concentrated near the top rather than the bottom, reversing the conventional expectation that visual weight should ground a composition. This choice gives the sky an almost architectural presence. It caps the image and compresses the landscape below, making the pale central route appear to push upward against it. The effect is one of contained energy rather than tranquil recession.\u003c\/p\u003e\n\u003cp data-start=\"7019\" data-end=\"7511\"\u003eThe title, \u003cstrong\u003e\u003cem data-start=\"7030\" data-end=\"7042\"\u003eHilltop #2\u003c\/em\u003e\u003c\/strong\u003e, confirms that the landscape belongs to a series. Parry’s use of numbered titles throughout her practice suggests repeated engagement with subjects rather than isolated depictions. A serial approach allows the artist to test how a particular place changes through different materials, viewpoints, light conditions, or degrees of abstraction. The number therefore encourages us to understand this work as one stage in a continuing investigation of landscape perception.\u003c\/p\u003e\n\u003cp data-start=\"7513\" data-end=\"8009\"\u003eWithin Parry’s broader body of work, \u003cstrong\u003e\u003cem data-start=\"7550\" data-end=\"7562\"\u003eHilltop #2\u003c\/em\u003e\u003c\/strong\u003e reveals the range of her visual language. Her graphite drawings rely upon meticulous tonal development and densely observed detail, while her watercolors can use transparency and light to dissolve familiar environments. Here, she retains her sensitivity to place but relinquishes descriptive control in favor of layering, color, and material improvisation. The result remains carefully organized, but the organization is less immediately visible.\u003c\/p\u003e\n\u003cp data-start=\"8011\" data-end=\"8567\"\u003eThe painting also participates in a broader modernist tradition in which landscape serves as a point of departure rather than an endpoint. Its compressed space, saturated palette, and interlocking color zones recall the legacy of artists who treated natural scenery as an underlying structure for abstraction. Yet Parry’s work remains personal and tactile rather than formally doctrinaire. The torn and fibrous surfaces prevent the image from becoming a purely geometric exercise; they preserve a sense of weather, touch, erosion, and organic irregularity.\u003c\/p\u003e\n\u003cp data-start=\"8569\" data-end=\"8949\"\u003eThe broad white mat and narrow gold frame give the densely worked image necessary breathing room. Because the composition contains intense color and varied surface activity, the open margin isolates it as a concentrated visual field. The gold frame also responds subtly to the yellow and orange passages within the work, while allowing the aquas and deep blues to remain dominant.\u003c\/p\u003e\n\u003cp data-start=\"8951\" data-end=\"9357\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u003cstrong\u003e\u003cem data-start=\"8963\" data-end=\"8975\"\u003eHilltop #2\u003c\/em\u003e\u003c\/strong\u003e is compelling because it does not ask the viewer to choose between landscape and abstraction. Both readings remain active. The distant hills and red building offer orientation, while the layered terrain below resists complete identification. Parry captures the hilltop not only as a physical destination, but as an accumulation of movement, color, memory, and changing perspective.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n-\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eJonathan Flike\u003c\/strong\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"23\" data-end=\"590\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eTomoko Parry\u003c\/strong\u003e\u003c\/span\u003e is a Japanese-born painter and draftsperson whose mature career developed within the active arts communities of Ohio’s Miami Valley. Born in Japan in 1938, Parry immigrated to the United States in 1971 and later settled in Fairborn, Ohio. From at least 1995 through 2009, she maintained a documented exhibition practice encompassing graphite drawing, watercolor, pastel, painting, and other works on paper. Although she worked across several media, Parry considered herself primarily a pencil artist, becoming particularly recognized for technically exacting drawings of plants, gardens, domestic surroundings, and overlooked urban spaces. \u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"724\" data-end=\"1359\"\u003eParry began sustained formal art study around 1991–1992, after raising her daughter and managing the responsibilities of family life. A watercolor course at the Springfield Museum of Art initiated a period of intensive artistic development. She continued her training through the museum, Sinclair Community College in Dayton, Clark State Community College in Springfield, and numerous independent workshops. Rather than representing a casual late-life interest, this education became the foundation for nearly two decades of exhibitions, awards, critical coverage, and sustained studio production.\u003c\/p\u003e\n\u003cp data-start=\"1361\" data-end=\"1920\"\u003eBy the mid-1990s, Parry was exhibiting regularly in competitive juried shows accumulating over 60 awards. She received second-place honors in the Western Ohio Watercolor Society’s 1995 annual exhibition at the Springfield Museum of Art. The museum’s subsequent society exhibitions included her \u003cem data-start=\"1627\" data-end=\"1647\"\u003eUrban Sunflower #2\u003c\/em\u003e in 1996, \u003cem data-start=\"1657\" data-end=\"1672\"\u003eCigar Tree #3\u003c\/em\u003e in 1997, and \u003cem data-start=\"1686\" data-end=\"1703\"\u003eSun Dance No. 5\u003c\/em\u003e in 1998. These appearances demonstrate an evolving, serial examination of botanical forms across watercolor and drawing rather than isolated participation in regional art events.\u003c\/p\u003e\n\u003cp data-start=\"1922\" data-end=\"2714\"\u003eHer work earned repeated recognition during the late 1990s and early 2000s. Parry received an Honorable Mention in the Seventh Annual Works on Paper exhibition at Rosewood Arts Centre in 1997 and the Second Jurors’ Award in Dayton’s \u003cem data-start=\"2155\" data-end=\"2171\"\u003eArt About Town\u003c\/em\u003e competition that same year. In 1998, she received Best of Show at the Middletown Fine Arts Center. The following year brought an Honorable Mention for the pencil drawing \u003cem data-start=\"2342\" data-end=\"2358\"\u003eSundance No. 4\u003c\/em\u003e, second place in the Dayton Society of Painters and Sculptors’ drawing and mixed-media category, and second place in the Cincinnati Art Club’s national juried exhibition \u003cem data-start=\"2529\" data-end=\"2545\"\u003eView Point ’99\u003c\/em\u003e. In 2000, she was again recognized by the Fairborn Art Association and Rosewood Arts Centre.\u003c\/p\u003e\n\u003cp data-start=\"2716\" data-end=\"3442\"\u003eParry’s exhibition history included solo, two-person, and institutional presentations. In 2001, the Springfield Museum of Art presented \u003cem data-start=\"2852\" data-end=\"2876\"\u003eTomoko Parry: Drawings\u003c\/em\u003e alongside ceramics and drawings by \u003ca href=\"https:\/\/daytondsa.org\/hageman\" rel=\"noopener\" target=\"_blank\"\u003eGeorge Hageman\u003c\/a\u003e. That same year, Town and Country Fine Art Gallery mounted \u003cem data-start=\"2986\" data-end=\"3003\"\u003eFrom the Garden\u003c\/em\u003e, a solo exhibition of her pencil drawings. Later presentations included \u003cem data-start=\"3076\" data-end=\"3102\"\u003eDrawings and Watercolors\u003c\/em\u003e at the Downtown YMCA in Dayton in 2003, a two-person exhibition of watercolor paintings and pencil drawings with \u003ca href=\"https:\/\/www.sharonmdundeeart.com\/about\" rel=\"noopener\" target=\"_blank\"\u003eSharon Cleveland\u003c\/a\u003e in 2007, and the \u003cem data-start=\"3250\" data-end=\"3264\"\u003eTri-Art Trio\u003c\/em\u003e exhibition at the Dayton Convention Center in 2009, where Parry and her fellow exhibitors were presented as award-winning regional artists.\u003c\/p\u003e\n\u003cp data-start=\"3444\" data-end=\"4077\"\u003eHer work also attracted sustained critical attention. Regional critics praised the precision and intimacy of her drawings, describing her botanical works as finely detailed and singling out an Oregon back-alley drawing for its extraordinary meticulousness. A 2003 review similarly emphasized her ability to find visual significance in an easily overlooked section of an urban river walk. In 2001, Parry was selected for the \u003cem data-start=\"3868\" data-end=\"3927\"\u003eMaster Pastel Artists of the World—United States Showcase\u003c\/em\u003e in \u003cem data-start=\"3931\" data-end=\"3960\"\u003ePastel Artist International\u003c\/em\u003e, extending recognition of her practice beyond the regional exhibition circuit.\u003c\/p\u003e\n\u003cp data-start=\"4079\" data-end=\"4621\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eParry’s art is distinguished by disciplined observation, patient accumulation, and an ability to make familiar subjects feel immersive and psychologically resonant. Her botanical drawings move beyond conventional plant studies: leaves, stems, pods, and blossoms overlap until they become enveloping visual environments. The surviving record reveals not an occasional or marginal artist, but a committed professional whose work was repeatedly exhibited, awarded, reviewed, and recognized across institutional, juried, and independent settings.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eUnderrepresented Artist Information\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"36\" data-end=\"707\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eTomoko Parry’s\u003c\/strong\u003e\u003c\/span\u003e career also reflects a pattern familiar in the histories of many talented women artists: sustained creative ability existing alongside gendered expectations that redirected public attention toward domestic, supportive, or adjacent professional roles. Before settling into family life, Parry worked as a Japanese translator for San Francisco art galleries, placing her within the professional art world well before her own museum-recognized drawing practice emerged. By 1994, she and her husband had co-founded La Mariposa Gallery, further demonstrating that art was not a peripheral interest but a continuous part of her intellectual and professional life.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"709\" data-end=\"1465\"\u003eParry later described herself as a “domestic engineer,” a phrase that acknowledges the labor, skill, and organizational responsibility involved in homemaking while also revealing how her own artistic career became less publicly visible. Available records increasingly foreground her work supporting her husband’s writing and speaking career, as well as the Japanese consulting company associated with her name. These pursuits should not be treated as insignificant, nor should the partnership be framed as adversarial. Yet the imbalance in the surviving record is notable: his public career continued to accumulate documentation, while hers appears to have remained largely in stasis outside occasional exhibitions, newspaper coverage, and museum holdings.\u003c\/p\u003e\n\u003cp data-start=\"1467\" data-end=\"2099\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eParry’s story therefore speaks to a broader historical problem. Women artists have often been encouraged—or expected—to translate their creativity into family support, cultural mediation, teaching, administration, or other socially sanctioned forms of labor. The result is not necessarily an absence of artistic production, but an absence of sustained recognition. Recovering Parry’s work allows her to be understood not simply through her domestic or consulting roles, but as an artist whose disciplined drawings, watercolors, and mixed media pieces demonstrate considerable technical command, visual intelligence, and a long-standing commitment to the arts.\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eCustom Shipping Notice\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eInformation\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eStyle: Modern\u003c\/li\u003e\n\u003cli\u003eSubject: Scene\u003c\/li\u003e\n\u003cli\u003eYear: 1990s\u003c\/li\u003e\n\u003cli\u003eSight: 10.5 x 14.5 in (26.67 x 36.83 cm)\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003eFrame: 16.25 x 20.25 in\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Mixed media\u003c\/li\u003e\n\u003cli\u003eMaterial: Paper\u003c\/li\u003e\n\u003cli\u003eSignature: Signed\u003c\/li\u003e\n\u003cli\u003eCirculation status: One of a kind\u003c\/li\u003e\n\u003cli\u003eFrame Status: Framed\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong data-end=\"119\" data-start=\"78\"\u003eVintage Condition Disclaimer\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-end=\"122\" data-start=\"119\"\u003e\u003c\/strong\u003ePlease note that this item is vintage and shows wear consistent with age, use, and history. Signs of wear may include, but are not limited to, minor surface marks, patina, fading, or imperfections typical of older items. All items are sold\u003cstrong\u003e as-is\u003c\/strong\u003e, which is standard with vintage and pre-owned goods and cannot be returned on the basis of condition. Measurements are approximate. We do our best to describe items accurately; however, condition assessments are subjective. If you would like additional details, images, or clarification before purchasing, please contact us through the contact form.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eSpecial Condition Notes\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHistorical framing and framing materials. \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eProvenance*\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1990s - 2026\u003c\/strong\u003e: Tomoko Parry\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026\u003c\/strong\u003e: Secondary Market\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026 - Present\u003c\/strong\u003e: Visard Gallery\u003c\/p\u003e\n\u003ch6\u003e\u003cem\u003e*Provenance and attribution details are based on our best research and are offered in good faith but are not guaranteed. Please contact us through the contact form with any questions prior to purchase.\u003c\/em\u003e\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAcademic Resources\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/0lbew0tmg03lpuwm5iui5\/AMN6dLORSWM1RJvN2c9jRFE?rlkey=rjgkc31x8ysxbsu09iaxakl1r\u0026amp;st=1g7v73q5\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry Research\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca style=\"color: rgb(80, 197, 215);\" href=\"https:\/\/www.dropbox.com\/scl\/fo\/azy0g1jiiuwoqobunfvnr\/AGNcmO5EW9EmfgkXAAtYTGg?rlkey=4fny60lhndc49gpfh98y8e84j\u0026amp;st=45vm26dt\u0026amp;dl=0\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.springfieldart.net\/?exhibition=tomoko-parry-drawings-george-hageman-ceramics\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry_Springfield Museum of Art\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.youtube.com\/watch?v=nChlNeP3TP0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry_YouTube\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Visard Gallery","offers":[{"title":"Default Title","offer_id":46720913899681,"sku":"ART205","price":1395.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0698\/6072\/0801\/files\/ART205_TomokoParry_Hilltop2_Full.png?v=1784513190"},{"product_id":"leatherflower-and-clematis-vines-tomoko-parry-c-1990s","title":"Leatherflower and Clematis Vines  - Tomoko Parry, c. 1990s","description":"\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"rte-table-wrapper\"\u003e\n\u003ctable width=\"100%\" style=\"width: 98.087%;\" height=\"1543\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eArtwork Description\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLeatherflower and Clematis Vines*\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eTomoko Parry, c. 1990s\u003c\/em\u003e\u003c\/p\u003e\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cp data-start=\"1937\" data-end=\"2458\" class=\"PDq2pG_selectionAnchorContainer\"\u003eIn \u003cstrong\u003e\u003cem data-start=\"1940\" data-end=\"1974\"\u003eLeatherflower and Clematis Vines\u003c\/em\u003e\u003c\/strong\u003e, Tomoko Parry compresses the botanical world into an all-over field of petals, leaves, stems, and saturated color. The painting does not offer a conventional garden view with identifiable ground, horizon, container, or surrounding architecture. Instead, the vines occupy the entire image, placing the viewer at close range within a dense mass of growth. This elimination of environmental context transforms the subject from botanical description into an immersive visual environment.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"2460\" data-end=\"2881\"\u003eThe composition is organized around the prominent flower slightly right of center. Its broad petals radiate outward in pink, violet, and magenta, gathering around a compact yellow center. This small area of yellow is the brightest and warmest note in the composition, giving it unusual visual authority despite its limited size. It functions as both the flower’s botanical center and the painting’s principal focal point.\u003c\/p\u003e\n\u003cp data-start=\"2883\" data-end=\"3361\"\u003eParry avoids placing the bloom in perfect isolation. Several petals are interrupted or partially obscured by surrounding leaves and blossoms, while related purple forms continue into the background. The central flower therefore emerges from the vine rather than appearing arranged in front of it. This integration is essential to the work’s sense of natural abundance. The painting presents growth as layered and interconnected rather than as a collection of separate specimens.\u003c\/p\u003e\n\u003cp data-start=\"3363\" data-end=\"3754\"\u003eThe surrounding plant forms create a loose spiral around the central bloom. Pale blue and lavender petals sweep across the right side, while deeper violet passages descend toward the lower left. Green leaves enter from multiple directions, some sharply pointed and others softly rounded. Their directional variety keeps the composition in motion and prevents the flower from becoming static.\u003c\/p\u003e\n\u003cp data-start=\"3756\" data-end=\"4239\"\u003eColor is the painting’s most immediately commanding element. Parry builds the image through an unusually rich cool palette dominated by cobalt, ultramarine, indigo, violet, lavender, turquoise, and blue-green. The central flower introduces warmer magenta and rose tones, while scattered yellow-green leaves and the flower’s yellow center provide luminous accents. Because the majority of the image remains cool and shadowed, these warmer notes appear to glow from within the foliage.\u003c\/p\u003e\n\u003cp data-start=\"4241\" data-end=\"4645\"\u003eThe darkest areas are concentrated along the upper left, lower edge, and right side. Rather than functioning as empty background, these dark passages appear to contain additional leaves, stems, and partially hidden blossoms. Parry uses shadow as a generative space from which forms emerge. The garden does not stop at the visible surface; it seems to continue behind the most clearly articulated flowers.\u003c\/p\u003e\n\u003cp data-start=\"4647\" data-end=\"5107\"\u003eWatercolor allows Parry to create this sense of layered depth without relying upon conventional perspective. Transparent washes overlap so that earlier colors remain visible beneath later ones. Blue may show through green, violet through pink, or turquoise through a darker indigo passage. These optical mixtures make the foliage feel dense but not opaque. Light seems able to pass through petals and leaves even within the darkest portions of the composition.\u003c\/p\u003e\n\u003cp data-start=\"5109\" data-end=\"5454\"\u003eAt the same time, the painting is not loosely improvised. Fine drawn lines describe veins, petal folds, and the contours of individual leaves. These lines provide structure within the flowing color and reveal Parry’s background as a disciplined draftsperson. Her control of contour keeps the painting legible even as boundaries become uncertain.\u003c\/p\u003e\n\u003cp data-start=\"5456\" data-end=\"5954\"\u003eThat uncertainty is one of the work’s central strengths. The title identifies both leatherflower and clematis vines, but Parry does not separate the two species into distinct botanical studies. Their forms intertwine until identification becomes secondary to the experience of growth. Leaves overlap petals, stems disappear beneath darker washes, and several blossoms remain only partially visible. The viewer understands the plants through accumulation rather than through isolated classification.\u003c\/p\u003e\n\u003cp data-start=\"5956\" data-end=\"6442\"\u003eThis approach distinguishes the painting from traditional botanical illustration. Botanical illustration generally prioritizes clarity, separating the specimen from its environment so that its structure can be studied. Parry does the opposite. She allows vines to crowd one another, permits forms to disappear into shadow, and emphasizes atmosphere alongside observation. The plants remain recognizable, but they are presented as living participants in a larger ecological entanglement.\u003c\/p\u003e\n\u003cp data-start=\"6444\" data-end=\"6874\"\u003eThe tightly cropped composition contributes to the painting’s apparent scale. Although the work measures only 13.5 by 9.5 inches, the central bloom feels monumental because its petals occupy such a significant portion of the image. The edges of the painting cut through leaves and flowers, implying that the vines continue beyond the visible field. This visual continuation makes the composition feel expansive rather than contained.\u003c\/p\u003e\n\u003cp data-start=\"6876\" data-end=\"7266\"\u003eThe treatment of the central flower also creates a subtle tension between emergence and concealment. Its yellow center and upper petals are clearly visible, but portions of the bloom merge into the surrounding violet foliage. The flower appears to open toward the viewer while simultaneously remaining embedded within the vine. It is both individual and inseparable from the mass around it.\u003c\/p\u003e\n\u003cp data-start=\"7268\" data-end=\"7691\"\u003eThere is also a temporal quality to the painting. The central blossom appears fully open, while other forms around it seem to represent different stages of growth—buds, curling petals, mature leaves, and fading or shadowed blossoms. Parry does not organize these stages into a scientific sequence, but their coexistence conveys the cyclical character of a climbing plant continuously producing, opening, and shedding forms.\u003c\/p\u003e\n\u003cp data-start=\"7693\" data-end=\"8201\"\u003eWithin Parry’s broader practice, \u003cstrong\u003e\u003cem data-start=\"7726\" data-end=\"7760\"\u003eLeatherflower and Clematis Vines\u003c\/em\u003e\u003c\/strong\u003e demonstrates how her sustained interest in botanical subjects could move between meticulous observation and atmospheric interpretation. Her graphite drawings often build density through tonal accumulation, while this watercolor achieves a comparable richness through layered transparency and saturated hue. In both approaches, the plant becomes more than an isolated subject: it becomes an environment that surrounds and absorbs the viewer.\u003c\/p\u003e\n\u003cp data-start=\"8203\" data-end=\"8569\"\u003eThe broad white mat provides an important visual pause around the intensely colored image. Without that open margin, the saturated blues and violets might feel visually overwhelming. The mat contains the abundance while emphasizing the painting’s jewel-like concentration. Its understated presentation also permits the unusual color relationships to remain dominant.\u003c\/p\u003e\n\u003cp data-start=\"8571\" data-end=\"9106\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u003cstrong\u003e\u003cem data-start=\"8583\" data-end=\"8617\"\u003eLeatherflower and Clematis Vines\u003c\/em\u003e\u003c\/strong\u003e is compelling because it balances botanical specificity with visual mystery. The viewer recognizes flowers, leaves, and climbing stems, yet the painting continually shifts toward abstraction. Petals become planes of violet and pink; leaves become interlocking green and blue silhouettes; the garden becomes a field of light moving through shadow. Parry presents the vines not as tidy decorative motifs, but as an enveloping system of growth—layered, luminous, and inseparably intertwined.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n-\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eJonathan Flike\u003c\/strong\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003ch6 class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cstrong\u003e\u003cem\u003e*The title of this work was assigned by Visard Gallery.\u003c\/em\u003e\u003c\/strong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"23\" data-end=\"590\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eTomoko Parry\u003c\/strong\u003e\u003c\/span\u003e is a Japanese-born painter and draftsperson whose mature career developed within the active arts communities of Ohio’s Miami Valley. Born in Japan in 1938, Parry immigrated to the United States in 1971 and later settled in Fairborn, Ohio. From at least 1995 through 2009, she maintained a documented exhibition practice encompassing graphite drawing, watercolor, pastel, painting, and other works on paper. Although she worked across several media, Parry considered herself primarily a pencil artist, becoming particularly recognized for technically exacting drawings of plants, gardens, domestic surroundings, and overlooked urban spaces. \u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"724\" data-end=\"1359\"\u003eParry began sustained formal art study around 1991–1992, after raising her daughter and managing the responsibilities of family life. A watercolor course at the Springfield Museum of Art initiated a period of intensive artistic development. She continued her training through the museum, Sinclair Community College in Dayton, Clark State Community College in Springfield, and numerous independent workshops. Rather than representing a casual late-life interest, this education became the foundation for nearly two decades of exhibitions, awards, critical coverage, and sustained studio production.\u003c\/p\u003e\n\u003cp data-start=\"1361\" data-end=\"1920\"\u003eBy the mid-1990s, Parry was exhibiting regularly in competitive juried shows accumulating over 60 awards. She received second-place honors in the Western Ohio Watercolor Society’s 1995 annual exhibition at the Springfield Museum of Art. The museum’s subsequent society exhibitions included her \u003cem data-start=\"1627\" data-end=\"1647\"\u003eUrban Sunflower #2\u003c\/em\u003e in 1996, \u003cem data-start=\"1657\" data-end=\"1672\"\u003eCigar Tree #3\u003c\/em\u003e in 1997, and \u003cem data-start=\"1686\" data-end=\"1703\"\u003eSun Dance No. 5\u003c\/em\u003e in 1998. These appearances demonstrate an evolving, serial examination of botanical forms across watercolor and drawing rather than isolated participation in regional art events.\u003c\/p\u003e\n\u003cp data-start=\"1922\" data-end=\"2714\"\u003eHer work earned repeated recognition during the late 1990s and early 2000s. Parry received an Honorable Mention in the Seventh Annual Works on Paper exhibition at Rosewood Arts Centre in 1997 and the Second Jurors’ Award in Dayton’s \u003cem data-start=\"2155\" data-end=\"2171\"\u003eArt About Town\u003c\/em\u003e competition that same year. In 1998, she received Best of Show at the Middletown Fine Arts Center. The following year brought an Honorable Mention for the pencil drawing \u003cem data-start=\"2342\" data-end=\"2358\"\u003eSundance No. 4\u003c\/em\u003e, second place in the Dayton Society of Painters and Sculptors’ drawing and mixed-media category, and second place in the Cincinnati Art Club’s national juried exhibition \u003cem data-start=\"2529\" data-end=\"2545\"\u003eView Point ’99\u003c\/em\u003e. In 2000, she was again recognized by the Fairborn Art Association and Rosewood Arts Centre.\u003c\/p\u003e\n\u003cp data-start=\"2716\" data-end=\"3442\"\u003eParry’s exhibition history included solo, two-person, and institutional presentations. In 2001, the Springfield Museum of Art presented \u003cem data-start=\"2852\" data-end=\"2876\"\u003eTomoko Parry: Drawings\u003c\/em\u003e alongside ceramics and drawings by \u003ca href=\"https:\/\/daytondsa.org\/hageman\" rel=\"noopener\" target=\"_blank\"\u003eGeorge Hageman\u003c\/a\u003e. That same year, Town and Country Fine Art Gallery mounted \u003cem data-start=\"2986\" data-end=\"3003\"\u003eFrom the Garden\u003c\/em\u003e, a solo exhibition of her pencil drawings. Later presentations included \u003cem data-start=\"3076\" data-end=\"3102\"\u003eDrawings and Watercolors\u003c\/em\u003e at the Downtown YMCA in Dayton in 2003, a two-person exhibition of watercolor paintings and pencil drawings with \u003ca href=\"https:\/\/www.sharonmdundeeart.com\/about\" rel=\"noopener\" target=\"_blank\"\u003eSharon Cleveland\u003c\/a\u003e in 2007, and the \u003cem data-start=\"3250\" data-end=\"3264\"\u003eTri-Art Trio\u003c\/em\u003e exhibition at the Dayton Convention Center in 2009, where Parry and her fellow exhibitors were presented as award-winning regional artists.\u003c\/p\u003e\n\u003cp data-start=\"3444\" data-end=\"4077\"\u003eHer work also attracted sustained critical attention. Regional critics praised the precision and intimacy of her drawings, describing her botanical works as finely detailed and singling out an Oregon back-alley drawing for its extraordinary meticulousness. A 2003 review similarly emphasized her ability to find visual significance in an easily overlooked section of an urban river walk. In 2001, Parry was selected for the \u003cem data-start=\"3868\" data-end=\"3927\"\u003eMaster Pastel Artists of the World—United States Showcase\u003c\/em\u003e in \u003cem data-start=\"3931\" data-end=\"3960\"\u003ePastel Artist International\u003c\/em\u003e, extending recognition of her practice beyond the regional exhibition circuit.\u003c\/p\u003e\n\u003cp data-start=\"4079\" data-end=\"4621\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eParry’s art is distinguished by disciplined observation, patient accumulation, and an ability to make familiar subjects feel immersive and psychologically resonant. Her botanical drawings move beyond conventional plant studies: leaves, stems, pods, and blossoms overlap until they become enveloping visual environments. The surviving record reveals not an occasional or marginal artist, but a committed professional whose work was repeatedly exhibited, awarded, reviewed, and recognized across institutional, juried, and independent settings.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eUnderrepresented Artist Information\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"36\" data-end=\"707\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eTomoko Parry’s\u003c\/strong\u003e\u003c\/span\u003e career also reflects a pattern familiar in the histories of many talented women artists: sustained creative ability existing alongside gendered expectations that redirected public attention toward domestic, supportive, or adjacent professional roles. Before settling into family life, Parry worked as a Japanese translator for San Francisco art galleries, placing her within the professional art world well before her own museum-recognized drawing practice emerged. By 1994, she and her husband had co-founded La Mariposa Gallery, further demonstrating that art was not a peripheral interest but a continuous part of her intellectual and professional life.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"709\" data-end=\"1465\"\u003eParry later described herself as a “domestic engineer,” a phrase that acknowledges the labor, skill, and organizational responsibility involved in homemaking while also revealing how her own artistic career became less publicly visible. Available records increasingly foreground her work supporting her husband’s writing and speaking career, as well as the Japanese consulting company associated with her name. These pursuits should not be treated as insignificant, nor should the partnership be framed as adversarial. Yet the imbalance in the surviving record is notable: his public career continued to accumulate documentation, while hers appears to have remained largely in stasis outside occasional exhibitions, newspaper coverage, and museum holdings.\u003c\/p\u003e\n\u003cp data-start=\"1467\" data-end=\"2099\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eParry’s story therefore speaks to a broader historical problem. Women artists have often been encouraged—or expected—to translate their creativity into family support, cultural mediation, teaching, administration, or other socially sanctioned forms of labor. The result is not necessarily an absence of artistic production, but an absence of sustained recognition. Recovering Parry’s work allows her to be understood not simply through her domestic or consulting roles, but as an artist whose disciplined drawings, watercolors, and mixed media pieces demonstrate considerable technical command, visual intelligence, and a long-standing commitment to the arts.\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eCustom Shipping Notice\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eInformation\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eStyle: Modern\u003c\/li\u003e\n\u003cli\u003eSubject: Figure \u003c\/li\u003e\n\u003cli\u003eYear: 1990s\u003c\/li\u003e\n\u003cli\u003eSight: 13.5 x 9.5 in (34.29 x 24.13 cm)\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003eMatting: 20 x 16 in\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Watercolor\u003c\/li\u003e\n\u003cli\u003eMaterial: Paper\u003c\/li\u003e\n\u003cli\u003eSignature: Signed\u003c\/li\u003e\n\u003cli\u003eCirculation status: One of a kind\u003c\/li\u003e\n\u003cli\u003eFrame Status: Unframed\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eVintage Condition Disclaimer\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003ePlease note that this item is vintage and shows wear consistent with age, use, and history. Signs of wear may include, but are not limited to, minor surface marks, patina, fading, or imperfections typical of older items. All items are sold\u003cstrong\u003e as-is\u003c\/strong\u003e, which is standard with vintage and pre-owned goods and cannot be returned on the basis of condition. Measurements are approximate. We do our best to describe items accurately; however, condition assessments are subjective. If you would like additional details, images, or clarification before purchasing, please contact us through the contact form.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eSpecial Condition Notes\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHistorical framing components. \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eProvenance*\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1990s - 2026:\u003c\/strong\u003e Tomoko Parry\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026:\u003c\/strong\u003e Secondary Market\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026 - Present\u003c\/strong\u003e: Visard Gallery\u003c\/p\u003e\n\u003ch6\u003e\u003cem\u003e*Provenance and attribution details are based on our best research and are offered in good faith but are not guaranteed. Please contact us through the contact form with any questions prior to purchase.\u003c\/em\u003e\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAcademic Resources\u003c\/strong\u003e\u003c\/span\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.nga.gov\/artworks\/177610-nature-obverse\" target=\"_blank\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.nga.gov\/artworks\/177610-nature-obverse\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/0lbew0tmg03lpuwm5iui5\/AMN6dLORSWM1RJvN2c9jRFE?rlkey=rjgkc31x8ysxbsu09iaxakl1r\u0026amp;st=1g7v73q5\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry Research\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca style=\"color: rgb(80, 197, 215);\" href=\"https:\/\/www.dropbox.com\/scl\/fo\/azy0g1jiiuwoqobunfvnr\/AGNcmO5EW9EmfgkXAAtYTGg?rlkey=4fny60lhndc49gpfh98y8e84j\u0026amp;st=45vm26dt\u0026amp;dl=0\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.springfieldart.net\/?exhibition=tomoko-parry-drawings-george-hageman-ceramics\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry_Springfield Museum of Art\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.youtube.com\/watch?v=nChlNeP3TP0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry_YouTube\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Visard Gallery","offers":[{"title":"Default Title","offer_id":46721309245601,"sku":"ART206","price":1295.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0698\/6072\/0801\/files\/ART206_TomokoParry_LeatherflowerandClematisVines_Full.png?v=1784520802"},{"product_id":"daffodils-in-vase-tomoko-parry-c-1990s","title":"Daffodils in Vase  - Tomoko Parry, c. 1990s","description":"\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"rte-table-wrapper\"\u003e\n\u003ctable width=\"100%\" style=\"width: 98.087%;\" height=\"1543\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eArtwork Description\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDaffodils in Vase*\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eTomoko Parry, c. 1990s\u003c\/em\u003e\u003c\/p\u003e\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cp data-start=\"1896\" data-end=\"2419\" class=\"PDq2pG_selectionAnchorContainer\"\u003eTomoko Parry’s \u003cstrong\u003e\u003cem data-start=\"1911\" data-end=\"1930\"\u003eDaffodils in Vase\u003c\/em\u003e\u003c\/strong\u003e belongs to the long tradition of floral still-life painting, yet its freshness comes from the tension between careful observation and the fluid unpredictability of watercolor. The artist presents a recognizable arrangement—a bouquet of yellow daffodils in a blue-violet vessel—but avoids the rigid symmetry and polished finish of a formal botanical display. Flowers, leaves, and stems rise at different angles, creating an image that feels recently gathered and still responsive to light.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"2421\" data-end=\"2917\"\u003eThe bouquet is organized around several fully opened daffodils, each distinguished by a trumpet-shaped orange center surrounded by broad yellow petals. Parry varies their orientation so that no two blossoms repeat one another exactly. One turns outward toward the viewer, another angles toward the right, and others tilt downward or partially away. These shifts create a circular movement through the bouquet and allow the flowers to be understood as individual forms within a larger arrangement.\u003c\/p\u003e\n\u003cp data-start=\"2919\" data-end=\"3369\"\u003eThe central orange-red interiors provide the painting’s strongest concentrated color. Their warmth intensifies the surrounding yellows and creates depth within each flower. Parry does not model the petals through heavy shadow; instead, she uses small variations of lemon yellow, gold, cream, and orange to describe folds and changes in direction. The petals remain luminous because the white of the paper appears to participate in their construction.\u003c\/p\u003e\n\u003cp data-start=\"3371\" data-end=\"3830\"\u003eAmong the open blossoms, an unopened bud rises near the top of the composition. This vertical accent is important both structurally and symbolically. It extends the bouquet into the lavender background and prevents the flowers from forming a compact, rounded mass. At the same time, the bud introduces another stage of growth. The arrangement contains blossoms that are fully open, flowers that turn away or begin to droop, and a form still waiting to unfold.\u003c\/p\u003e\n\u003cp data-start=\"3832\" data-end=\"4238\"\u003eThis subtle chronology gives the still life a temporal dimension. Daffodils are closely associated with the arrival of spring, yet their flowering season is brief. Parry’s arrangement therefore carries both optimism and impermanence. The flowers celebrate renewed growth, while the medium of watercolor—with its transparent, shifting washes—reinforces the sense that the moment cannot be held indefinitely.\u003c\/p\u003e\n\u003cp data-start=\"4240\" data-end=\"4649\"\u003eThe long green leaves establish a contrasting linear rhythm. They rise between and behind the flowers like narrow blades, introducing vertical and diagonal movements against the rounded petals. Some leaves are defined by darker green contours, while others soften into the background. Their varied lengths expand the bouquet beyond the central cluster and contribute to its natural, slightly unruly character.\u003c\/p\u003e\n\u003cp data-start=\"4651\" data-end=\"5142\"\u003eParry’s vase is comparatively restrained. Its broad cylindrical body is constructed through overlapping blue, violet, turquoise, and gray washes. The darkest tones gather near the lower right edge and beneath the bouquet, while paler passages suggest reflected light on the left. Small vertical reserves of unpainted or lightly painted paper create highlights on the vessel’s surface, implying glass, glazed ceramic, or another subtly reflective material without requiring exact description.\u003c\/p\u003e\n\u003cp data-start=\"5144\" data-end=\"5587\"\u003eThe cool vase serves several compositional purposes. It anchors the flowers, balances the heat of the yellows and oranges, and connects the bouquet to the lavender-blue background. Because its outline is softened rather than rigidly drawn, the vessel appears to occupy the surrounding atmosphere rather than sit separately upon it. Parry allows color to migrate gently across boundaries, creating continuity between object, surface, and light.\u003c\/p\u003e\n\u003cp data-start=\"5589\" data-end=\"6023\"\u003eThe tabletop is indicated with remarkable economy. A faint horizontal division toward the lower portion of the painting establishes where the background meets the supporting surface. The vase casts a diluted blue-violet shadow toward the right, which gives the arrangement weight and direction. Parry avoids filling the foreground with secondary objects, allowing the empty space around the vase to preserve the composition’s clarity.\u003c\/p\u003e\n\u003cp data-start=\"6025\" data-end=\"6395\"\u003eThe background is not a neutral backdrop but an active field of color. Lavender and violet dominate the upper center, watery blue gathers toward the right, and pale yellow-green washes illuminate the left. These hues suggest atmosphere rather than a literal wall or interior. They may be read as changing light, reflected color, or an emotional extension of the bouquet.\u003c\/p\u003e\n\u003cp data-start=\"6397\" data-end=\"6886\"\u003eThis atmospheric field differentiates the work from conventional floral illustration. A botanical study would normally isolate each flower against a blank ground, emphasizing identifiable structure. Parry instead places the daffodils within a responsive environment. Color surrounds, supports, and occasionally dissolves their edges. The result remains observational, but it is also experiential: the viewer encounters the bouquet as a concentration of spring color emerging through light.\u003c\/p\u003e\n\u003cp data-start=\"6888\" data-end=\"7306\"\u003eParry’s drawn contours remain visible throughout the work. Fine lines define petal edges, central trumpets, stems, and leaves, giving the painting the structural discipline associated with her practice as a draftsperson. These lines are rarely uniform. Some are dark and decisive, while others nearly disappear beneath the washes. Their changing strength allows the flowers to alternate between precision and softness.\u003c\/p\u003e\n\u003cp data-start=\"7308\" data-end=\"7705\"\u003eThis balance reflects a broader duality within Parry’s work. Her graphite drawings often achieve immersion through densely accumulated tonal detail, while her watercolors depend upon transparency and selective definition. In \u003cem data-start=\"7533\" data-end=\"7552\"\u003eDaffodils in Vase\u003c\/em\u003e, she combines both instincts. The flowers are carefully observed and clearly constructed, but the surrounding color remains open, fluid, and suggestive.\u003c\/p\u003e\n\u003cp data-start=\"7707\" data-end=\"8136\"\u003eThe work’s vertical format reinforces the upward movement of the bouquet. The vase occupies the lower center, while leaves and the unopened bud carry the eye toward the top. Yet the arrangement is not perfectly centralized. Flowers spread asymmetrically toward both sides, with several blossoms extending more strongly to the left. This slight imbalance gives the bouquet its vitality and prevents the image from becoming static.\u003c\/p\u003e\n\u003cp data-start=\"8138\" data-end=\"8429\"\u003eThe broad white mat around the watercolor heightens the effect of its luminous palette. The open margin provides visual rest and allows the lavender, blue, green, and yellow passages to retain their delicacy. It also makes the image feel concentrated and jewel-like despite its modest scale.\u003c\/p\u003e\n\u003cp data-start=\"8431\" data-end=\"8877\"\u003eAmong the Parry works considered thus far, \u003cstrong\u003e\u003cem data-start=\"8474\" data-end=\"8493\"\u003eDaffodils in Vase\u003c\/em\u003e \u003c\/strong\u003eis one of the most immediately accessible. Its subject is familiar, cheerful, and easily placed within a domestic interior. Yet its artistic interest extends beyond simple floral decoration. The varied stages of bloom, asymmetrical construction, carefully controlled drawing, and atmospheric color field reveal a sustained study of how living forms occupy space and respond to light.\u003c\/p\u003e\n\u003cp data-start=\"8879\" data-end=\"9381\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eUltimately, the painting’s success rests on its balance of confidence and restraint. Parry gives the daffodils sufficient color and definition to command attention, but she leaves the surrounding environment unresolved. The flowers appear vivid without becoming rigid, and the watercolor remains spontaneous without losing structure. \u003cstrong\u003e\u003cem data-start=\"9213\" data-end=\"9232\"\u003eDaffodils in Vase\u003c\/em\u003e\u003c\/strong\u003e captures spring not as a generalized symbol, but as a particular visual event: yellow petals opening briefly within a field of cool, shifting light.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n-\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eJonathan Flike\u003c\/strong\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003ch6 class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cstrong\u003e\u003cem\u003e*The title of this work was assigned by Visard Gallery.\u003c\/em\u003e\u003c\/strong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"23\" data-end=\"590\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eTomoko Parry\u003c\/strong\u003e\u003c\/span\u003e is a Japanese-born painter and draftsperson whose mature career developed within the active arts communities of Ohio’s Miami Valley. Born in Japan in 1938, Parry immigrated to the United States in 1971 and later settled in Fairborn, Ohio. From at least 1995 through 2009, she maintained a documented exhibition practice encompassing graphite drawing, watercolor, pastel, painting, and other works on paper. Although she worked across several media, Parry considered herself primarily a pencil artist, becoming particularly recognized for technically exacting drawings of plants, gardens, domestic surroundings, and overlooked urban spaces. \u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"724\" data-end=\"1359\"\u003eParry began sustained formal art study around 1991–1992, after raising her daughter and managing the responsibilities of family life. A watercolor course at the Springfield Museum of Art initiated a period of intensive artistic development. She continued her training through the museum, Sinclair Community College in Dayton, Clark State Community College in Springfield, and numerous independent workshops. Rather than representing a casual late-life interest, this education became the foundation for nearly two decades of exhibitions, awards, critical coverage, and sustained studio production.\u003c\/p\u003e\n\u003cp data-start=\"1361\" data-end=\"1920\"\u003eBy the mid-1990s, Parry was exhibiting regularly in competitive juried shows accumulating over 60 awards. She received second-place honors in the Western Ohio Watercolor Society’s 1995 annual exhibition at the Springfield Museum of Art. The museum’s subsequent society exhibitions included her \u003cem data-start=\"1627\" data-end=\"1647\"\u003eUrban Sunflower #2\u003c\/em\u003e in 1996, \u003cem data-start=\"1657\" data-end=\"1672\"\u003eCigar Tree #3\u003c\/em\u003e in 1997, and \u003cem data-start=\"1686\" data-end=\"1703\"\u003eSun Dance No. 5\u003c\/em\u003e in 1998. These appearances demonstrate an evolving, serial examination of botanical forms across watercolor and drawing rather than isolated participation in regional art events.\u003c\/p\u003e\n\u003cp data-start=\"1922\" data-end=\"2714\"\u003eHer work earned repeated recognition during the late 1990s and early 2000s. Parry received an Honorable Mention in the Seventh Annual Works on Paper exhibition at Rosewood Arts Centre in 1997 and the Second Jurors’ Award in Dayton’s \u003cem data-start=\"2155\" data-end=\"2171\"\u003eArt About Town\u003c\/em\u003e competition that same year. In 1998, she received Best of Show at the Middletown Fine Arts Center. The following year brought an Honorable Mention for the pencil drawing \u003cem data-start=\"2342\" data-end=\"2358\"\u003eSundance No. 4\u003c\/em\u003e, second place in the Dayton Society of Painters and Sculptors’ drawing and mixed-media category, and second place in the Cincinnati Art Club’s national juried exhibition \u003cem data-start=\"2529\" data-end=\"2545\"\u003eView Point ’99\u003c\/em\u003e. In 2000, she was again recognized by the Fairborn Art Association and Rosewood Arts Centre.\u003c\/p\u003e\n\u003cp data-start=\"2716\" data-end=\"3442\"\u003eParry’s exhibition history included solo, two-person, and institutional presentations. In 2001, the Springfield Museum of Art presented \u003cem data-start=\"2852\" data-end=\"2876\"\u003eTomoko Parry: Drawings\u003c\/em\u003e alongside ceramics and drawings by \u003ca href=\"https:\/\/daytondsa.org\/hageman\" rel=\"noopener\" target=\"_blank\"\u003eGeorge Hageman\u003c\/a\u003e. That same year, Town and Country Fine Art Gallery mounted \u003cem data-start=\"2986\" data-end=\"3003\"\u003eFrom the Garden\u003c\/em\u003e, a solo exhibition of her pencil drawings. Later presentations included \u003cem data-start=\"3076\" data-end=\"3102\"\u003eDrawings and Watercolors\u003c\/em\u003e at the Downtown YMCA in Dayton in 2003, a two-person exhibition of watercolor paintings and pencil drawings with \u003ca href=\"https:\/\/www.sharonmdundeeart.com\/about\" rel=\"noopener\" target=\"_blank\"\u003eSharon Cleveland\u003c\/a\u003e in 2007, and the \u003cem data-start=\"3250\" data-end=\"3264\"\u003eTri-Art Trio\u003c\/em\u003e exhibition at the Dayton Convention Center in 2009, where Parry and her fellow exhibitors were presented as award-winning regional artists.\u003c\/p\u003e\n\u003cp data-start=\"3444\" data-end=\"4077\"\u003eHer work also attracted sustained critical attention. Regional critics praised the precision and intimacy of her drawings, describing her botanical works as finely detailed and singling out an Oregon back-alley drawing for its extraordinary meticulousness. A 2003 review similarly emphasized her ability to find visual significance in an easily overlooked section of an urban river walk. In 2001, Parry was selected for the \u003cem data-start=\"3868\" data-end=\"3927\"\u003eMaster Pastel Artists of the World—United States Showcase\u003c\/em\u003e in \u003cem data-start=\"3931\" data-end=\"3960\"\u003ePastel Artist International\u003c\/em\u003e, extending recognition of her practice beyond the regional exhibition circuit.\u003c\/p\u003e\n\u003cp data-start=\"4079\" data-end=\"4621\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eParry’s art is distinguished by disciplined observation, patient accumulation, and an ability to make familiar subjects feel immersive and psychologically resonant. Her botanical drawings move beyond conventional plant studies: leaves, stems, pods, and blossoms overlap until they become enveloping visual environments. The surviving record reveals not an occasional or marginal artist, but a committed professional whose work was repeatedly exhibited, awarded, reviewed, and recognized across institutional, juried, and independent settings.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eUnderrepresented Artist Information\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"36\" data-end=\"707\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eTomoko Parry’s\u003c\/strong\u003e\u003c\/span\u003e career also reflects a pattern familiar in the histories of many talented women artists: sustained creative ability existing alongside gendered expectations that redirected public attention toward domestic, supportive, or adjacent professional roles. Before settling into family life, Parry worked as a Japanese translator for San Francisco art galleries, placing her within the professional art world well before her own museum-recognized drawing practice emerged. By 1994, she and her husband had co-founded La Mariposa Gallery, further demonstrating that art was not a peripheral interest but a continuous part of her intellectual and professional life.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"709\" data-end=\"1465\"\u003eParry later described herself as a “domestic engineer,” a phrase that acknowledges the labor, skill, and organizational responsibility involved in homemaking while also revealing how her own artistic career became less publicly visible. Available records increasingly foreground her work supporting her husband’s writing and speaking career, as well as the Japanese consulting company associated with her name. These pursuits should not be treated as insignificant, nor should the partnership be framed as adversarial. Yet the imbalance in the surviving record is notable: his public career continued to accumulate documentation, while hers appears to have remained largely in stasis outside occasional exhibitions, newspaper coverage, and museum holdings.\u003c\/p\u003e\n\u003cp data-start=\"1467\" data-end=\"2099\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eParry’s story therefore speaks to a broader historical problem. Women artists have often been encouraged—or expected—to translate their creativity into family support, cultural mediation, teaching, administration, or other socially sanctioned forms of labor. The result is not necessarily an absence of artistic production, but an absence of sustained recognition. Recovering Parry’s work allows her to be understood not simply through her domestic or consulting roles, but as an artist whose disciplined drawings, watercolors, and mixed media pieces demonstrate considerable technical command, visual intelligence, and a long-standing commitment to the arts.\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eCustom Shipping Notice\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eInformation\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eStyle: Modern\u003c\/li\u003e\n\u003cli\u003eSubject: Botanical\u003c\/li\u003e\n\u003cli\u003eYear: 1990s\u003c\/li\u003e\n\u003cli\u003eSight: 10.5 x 13.5 in (26.67 x 34.29 cm)\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003eMatting: 16 x 20 in\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Watercolor\u003c\/li\u003e\n\u003cli\u003eMaterial: Paper\u003c\/li\u003e\n\u003cli\u003eSignature: Signed\u003c\/li\u003e\n\u003cli\u003eCirculation status: One of a kind\u003c\/li\u003e\n\u003cli\u003eFrame Status: Unframed\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eVintage Condition Disclaimer\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003ePlease note that this item is vintage and shows wear consistent with age, use, and history. Signs of wear may include, but are not limited to, minor surface marks, patina, fading, or imperfections typical of older items. All items are sold\u003cstrong\u003e as-is\u003c\/strong\u003e, which is standard with vintage and pre-owned goods and cannot be returned on the basis of condition. Measurements are approximate. We do our best to describe items accurately; however, condition assessments are subjective. If you would like additional details, images, or clarification before purchasing, please contact us through the contact form.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eSpecial Condition Notes\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHistorical framing components. \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eProvenance*\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1990s - 2026:\u003c\/strong\u003e Tomoko Parry\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026:\u003c\/strong\u003e Secondary Market\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026 - Present\u003c\/strong\u003e: Visard Gallery\u003c\/p\u003e\n\u003ch6\u003e\u003cem\u003e*Provenance and attribution details are based on our best research and are offered in good faith but are not guaranteed. Please contact us through the contact form with any questions prior to purchase.\u003c\/em\u003e\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAcademic Resources\u003c\/strong\u003e\u003c\/span\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.nga.gov\/artworks\/177610-nature-obverse\" target=\"_blank\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.nga.gov\/artworks\/177610-nature-obverse\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/0lbew0tmg03lpuwm5iui5\/AMN6dLORSWM1RJvN2c9jRFE?rlkey=rjgkc31x8ysxbsu09iaxakl1r\u0026amp;st=1g7v73q5\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry Research\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca style=\"color: rgb(80, 197, 215);\" href=\"https:\/\/www.dropbox.com\/scl\/fo\/azy0g1jiiuwoqobunfvnr\/AGNcmO5EW9EmfgkXAAtYTGg?rlkey=4fny60lhndc49gpfh98y8e84j\u0026amp;st=45vm26dt\u0026amp;dl=0\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.springfieldart.net\/?exhibition=tomoko-parry-drawings-george-hageman-ceramics\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry_Springfield Museum of Art\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.youtube.com\/watch?v=nChlNeP3TP0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTomoko Parry_YouTube\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Visard Gallery","offers":[{"title":"Default Title","offer_id":46721406402721,"sku":"ART207","price":795.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0698\/6072\/0801\/files\/ART207_TomokoParry_DaffodilsinVase_Full.png?v=1784523047"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0698\/6072\/0801\/collections\/Frame_Image_Cropped_Tomoko_Parry.png?v=1784505331","url":"https:\/\/visardgallery.com\/collections\/tomoko-parry-1932.oembed","provider":"Visard Gallery","version":"1.0","type":"link"}