Robilant+Voena

A professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking degree in Urbino. He received a BFA...

In 1607, the Delft city council decided to commission a portrait of Stadholder Maurits of Nassau for the town hall, with Michiel van Mierevelt as the chosen artist due to the passing...

Outstanding 19th century English warship off the Italian, Mediterranean coast, with village, mountains and hills. A very interesting and somewhat unique oil on slate depicting an English ship at anchor in what looks like an Italian or Mediterranean coastline. The piece has influences from John Thomas Serres...

Italian painting of Alphonsus Liguori in French Neo-Gothic Frame Italian and French, Late 18th and 19th Century Frame: Height 61cm, width 39cm, depth 6cm Panel: Height 28cm, width 22...

A classic scene of a large mid-Nineteenth Century schooner at rest in the Mediterranean port painted by the Italian countryman Tomaso De Simone. The complete narrative scene around the schooner's broadside is complemented with a British merchant steam/sail ship, local boats and the colorful sky and headland architecture of the ancient city. The vast serenity and unspoiled life of cruising the Mediterranean Ocean...

This charming 19th-century British School portrait depicts a young boy standing within a softly rendered landscape. Dressed in a dark, buttoned tunic with a white ruffled collar, the...

A muscular male is seated on a chair, his eyes closed and head tilted toward the sky soaking up the warmth of the sun. "Sogni D'Oro", meaning sweet dreams, is set upon an intricate b...

This painting strongly reflects Richard Gibbons’s engagement with classical myth, the heroic figure, and architectural containment, while also revealing his interest in tension betwe...

The Road is a unique oil on canvas painting by contemporary artist Valérie de Sarrieu, dimensions are 160 × 160 cm (63 × 63 in). The artwork is signed, sold unframed and comes with a...

This captivating winter landscape was painted in early 20th century, signed lower left "W.L. Palmer", attributed to American Impressionist Walter Launt Palmer (1854–1932). Trained in...

Gouache of a Shipwreck in a Storm with Gothic Ruins, Early 19th Century Technique: Gouache on paper Period: Early 19th century Description: This romantic painting depicts a dramatic ...

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...