Addison Thomas Millar

Addison Millar Orientalist Oil Painting "The Palace After Basha"

The Musical Performance by Antonio Ermolao Paoletti An italian genre painting showcasing two boys playing a trumpet and a guitar for their sist...

ANTONIO RIVAS Spanish, 1845-1911 Sultan’s Concubine Signed 'A. Rivas' Oil on canvas 10 x 15 1/2 inches Framed: 15 1/2 x 20 3/4 inches

ANTONIO RIVAS Spanish, 1845-1911 The Favorite Odalisque Signed 'A. Rivas; Rema' Oil on panel 9 1/2 x 15 1/4 inches Framed: 14 1/2 x 20 inches

A Fine Pair of Allegorical Paintings of Poetry and Music by Charles Chaplin Title: Allegory of Poetry and Music Artist: Charles Chaplin (French, 1825-1891) Date: 19th Century Medium...

Provenance: Private Collection, New Jersey The present painting depicts Saint Vincent Ferrer preaching from a raised pulpit to a group of seven peopl...

Provenance: Dr. James Henry Lancashire, Manchester-by-the-Sea, Massachusetts, by 1925; probably by descent to: Private Collection, Cumberland Foreside, Maine, until 2018 This unpublished panel is a characteristic work of the Master of the Apollo and Daphne Legend, an anonymous Florentine painter in the circle of Bartolommeo di Giovanni, Domenico Ghirlandaio, and Sandro Botticelli. The artistic personality of the Master of the Apollo and Daphne Legend was independently recognized by Everett Fahy and Federico Zeri at roughly the same moment in time. Fahy originally dubbed this artist the Master of the Ryerson Panels but later adopted Zeri’s name for the artist, which derives from his eponymous works from the Samuel H. Kress collection (Figs. 1-2). Fahy posited that the artist was most likely a pupil of Ghirlandaio active from roughly 1480 to 1510, and that he may be identifiable with one of Ghirlandaio’s documented pupils to whom no works have been securely attributed, such as Niccolò Cieco, Jacopo dell’Indaco, or Baldino Baldinetti. The present painting was first attributed to this master by Everett Fahy in 1989, who became aware of its existence only after publishing his definitive studies on the artist. The surviving body of work by the Master of the Apollo and Daphne Legend is largely composed of series of panels treating the same theme. In addition to the works illustrating the legend of Apollo and Daphne, there are also series on the themes of Susanna and the Elders and the story of Saint Joseph, among others. The subject of the present panel is drawn from Genesis 24, the story of Isaac. It is possible that our painting relates to another work by the artist depicting the Sacrifice of Isaac formerly in the collection of E. A. McGuire in Dublin, Ireland (Fig. 3), and that these two panels were originally part of a decorative scheme based on the story of Isaac. Although the Master’s paintings of this type have traditionally been considered painted fronts of wedding chests, known as cassoni, the scale of these paintings and the fact that they are often part of a series indicates that they are more likely spalliera panels—paintings set into furniture or the wainscoting of a room. The biblical episode depicted in this painting centers on the theme of marriage, which suggests that this work was likely commissioned for the domestic interior of a newly married couple. The Master has transcribed into paint even the minute details of this Old Testament story, in which Abraham sends a servant to travel by camel to the land of his father and seek out a wife for his son Isaac. The servant is here shown at the well...

This painting (oil on paper applied to wood panel, 18 x 12, 5 cm) is a valuable example of the production of small-format works, thus aimed at a private audience, which was very comm...

Beautiful mid century figurative landscape of a contemplative woman in Cotswold village, England by David L. Ghilchik (b. 1892 Romania; d. 1972 London), c.1945. Signed lower right "Ghilchik." Presented in rustic wood frame. Image measures: 14.5"H x 17.5"W. With frame, measures: 21"H x 25"W x 2"D. David Louis Ghilchik was a painter, and cartoonist for Punch Magazine and the Daily Sketch. He was the son of Abraham Josef Ghilchik, who traded in lace and linen, and his wife Sali. The family settled in Salford in 1920, where David enrolled at the Manchester School of Art and studied under Adolphe Valette...