G. Dughet Attr. Oil on Canvas XVII Century - Classical Landscape with 17th century figures

Winter Landscape with Figures on Ice

Oil painting on canvas. Flemish school of the XVII-XVIII century. On the frame there is a label attributing to Thomas Heeremans (but with incorrect date). The large scene offers a winter landscape appropriate to the Dutch territory, as it is characterized by a frozen canal, near a village, populated by numerous figures of skaters, intent on daily activities: the horse-drawn sleigh for transporting people, the the man who pushes the "wheelbarrow" full of wood, the child who pushes himself into his little box; other figures pass by on the embankment along the canal. The gray and cold sky of a winter day hangs over everything. The subject was the recurring one in the production of the Dutch painter Thomas Heeremans, who mainly painted winter landscapes of his land, replicating them several times due to the success obtained, and inducing numerous other artists to imitate him; it is therefore thought that this work can be traced back to an imitator of the Heeremans, rather than to him directly. Restored and relined, the painting is presented in a period frame.

The Tale of Apollo and Marsyas

Oil painting on canvas. Northern Italian school of the seventeenth century. The large canvas derives from an engraving of 1562 by the Venetian Giulio Sanuto, who faithfully reproduced the homonymous work by Bronzino (1503-1572), currently preserved in the Hermitage; compared to the original, the engraving added the group of Muses and modified the landscape background by introducing views of the villages. The work is divided into four scenes, which must be read from right to left. The first scene depicts the musical contest between Apollo and the Silenus Marsyas, who played the flute so well that he was considered superior to the same god; the two contenders are performing, the god with the lyre and the silenus with the flute even upside down (to increase the difficulty of the undertaking), in front of King Midas and the goddess Minerva, recognizable by her attributes, the helmet, the spear and the shield. In the second scene Apollo is intent on skinning Marsyas, to punish him for having won the musical contest; lean on the ground next to him, his cloak and lyre. In the third scene, it is King Midas who is punished by the god for having preferred Marsyas to him: Apollo is putting the donkey's ears on Midas, while Minerva is watching. Finally, the fourth scene, in the foreground on the left, is characterized by a particular figure, identified in the faithful servant and barber of the king: since Midas had ordered him to keep the secret on his donkey ears, not being able to let off steam otherwise, he dug a hole in the ground and yelled into there his secret; in that place, however, legend has it that a bush of reeds grew that with the wind whispered "King midas has donkey ears", thus revealing the dreaded secret. The painting has been previously restored and relined, but currently needs any further color recovery. On the back in pencil there is an old attribution to the Ferrara school ("Ercole da Ferrara"). It is presented in a late 19th century style frame.

Oil on canvas. Flemish school of the seventeenth century. Already attributed to Jan Peeters (1624 -1677), the painting falls fully within the style and genre of the author who, working in his father's workshop and then in his brother Bonaventura's, specialized in marines, above all in the "Fortune di mare" i.e. the accidents due to the sea, and to any other event caused at sea by fortuitous events or insurmountable obstacles, which therefore in painting become representations of storms with ships and crews at the mercy of events. This is exactly what the painting proposed here is about: some ships, full of men, are at the mercy of the high waves of a night storm, near the coast which, with its protruding rocks, has already caused the shipwreck of some small boats. One perceives the struggle of men, small and defenseless, against the forces of nature, dominant, violent, gloomy and hostile, which dominates and attacks the boats both from the sea and from the sky, dark and black. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. Tuscan school of the seventeenth century. Scion of an ancient Longobard lineage of Aquino (in the province of Frosinone), Thomas (born around 1226) went to Naples to study, in 1243 he entered the order of Dominican preachers against the wishes of his relatives, but during the journey to the northerner was arrested by his brothers and held prisoner for about a year. In the scene, the young saint in the centre, already dressed in the Dominican habit, is surrounded on both sides by four richly dressed figures, precisely his relatives, probably including his mother, who hold him kindly, almost embracing him, while with gestures of the hands and the afflicted and loving looks try to convince him, almost begging him. The figures are also placed in a prison, as indicated by the bars in the window on the right, to underline the coercive action performed. Rich and detailed are the details of the clothes of the characters, with bright colors that contrast with Thomas' dress, plastic movements properly in Baroque taste. Already restored and relined, the painting is in good condition, with evident cracking. It is presented in an antique re-lacquered and re-gilded frame.

Love and Psyche

Oil painting on canvas. Northern Italian school of the 17th century. The scene refers, with some variations but very close in size, to a part of the large fresco entitled "Banchetto degli dei" in the Chamber of Cupid (or Chamber of Cupid and Psyche) of Palazzo Té in Mantua, a large representation of over nine meters made by Giulio Romano with his workshop in the 16th century. The proposed scene (which in Mantua is located to the right of the great banquet) sees Cupid and Psyche lying on a triclinium, while a small winged figure crowns them with laurel and two nymphs wash Cupid's hand; in the background on the right a group of satyrs is sacrificing a goat to the altar of a deity, while in the centre, in the distance, a city is burning. The banquet of the gods is the final moment of the myth of the two lovers who, after many trials and vicissitudes, obtain Venus'permission to get married. The work, restored and relined, is presented in an antique frame.

Oil on canvas. Intense and high quality, the painting depicts a monarch of the royal house of Scotland. Around the portrait, in a painted oval frame, there are some writings: the name Rober(t) appears at the top left, the title Rex at the bottom left and the abbreviation Scot, which stands for Scotorum, on the right; the writing at the top right is not identifiable, but it seems to be an acronym. The man portrayed wears a hat and a coat adorned with ermine fur, which is considered the noblest fur, reserved for royalty. He wears a golden pendant around his neck, which depicts two leaves with the fruit of the thistle, which, in heraldry, symbolizes Scotland. The writing and the pendant therefore refer to a Robert of Scotland, probably from the dynasty that reigned in the fourteenth century. The portrait was however executed in the romantic nineteenth-century period, probably using some ancient engravings for inspiration. Restored and relined, it is presented in a frame in style.

Still life with holes, fruit, a parrot and quail

Oil painting on canvas. Neapolitan school of the seventeenth-eighteenth century. The large composition is rich in numerous different elements: in the center stands a large floral composition, of multiple varieties in bright colors; on the left of the flowers, resting on a Doric capital, there is a budgie with bright colors contrasting with the dull ones of the dead quail lying on the floor below, together with some pumpkins and a pewter vase. The painting, restored and relined, is presented in a period frame. It comes from an important collection (Commendatore Arturo Stucchi, an entrepreneur from Como, is mentioned on the back).

Oil on canvas. Neapolitan school of the eighteenth century. The scene, located near the sea, is dominated by a large complex of architectural ruins, with statues, arches, hanging gardens, and animated by numerous figurines of commoners intent on various activities. Restored and relined, the painting is presented in an antique frame.

Feast day in the Village

Oil on canvas. On the back of the painting there are some labels: one from an English market (probably an auction from the early 1900s) bearing the title; a second from a Milanese gallery in via Montenapoleone (from the 1930s) and finally a label from an important private collection. The scene proposes a moment of celebration in a Nordic village: in the center of the street men and women dance and chat, while others sit at tables drinking and playing, children and animals chase each other around; the atmosphere is lively and cheerful. The pictorial style and the methods of execution are compatible with the production of David Teniers III (son of David Teniers II the Younger), a Flemish painter who in his production includes various scenes of festivity and village life. Restored and relined at the end of the 19th century, with a frame from the same period.