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Lot 321
§ PLAVINSKY, DMITRY B. 1937 Come si dipingeva una volta , signed and inscribed in Cyrillic with a dedication on the reverse. Tempera and oil on canvas,78.5 by 60.5 cm. Executed in 1972.Provenance: Important private collection, Italy.Authenticity of the work has been confirmed by the artist’s wife Maria Plavinskaya.Exhibited: La nuova arte Sovietica: Una prospettiva non ufficiale, La Biennale di Venezia, Palazzetto dello Sport all’Arsenale, Venice, Italy, 1977 (label on the reverse).La nouva arte Sovietica: Una prospettiva non ufficiale, Palazzo Madama, Turin, 1978.Rassegna sul dissenso culturale nell’Est europeo, Scuola Cantonale di Commercio, Bellinzona, Switzerland, 1978 (label on the reverse).Literature: Exhibition catalogue, La nuova arte Sovietica: Una prospettiva non ufficiale, Venice, Marsilio, 1977, p. 221, listed as Come si dipingeva una volta.Exhibition catalogue, La nuova Arte Sovietica: Una prospettiva non ufficiale, Turin, Gazzetta del Popolo, 1978, p. 41, illustrated; p. 188, listed as Come si dipingeva una volta.Exhibition catalogue, Rassegna sul dissenso culturale nell’Est europeo, Bellinzona, Arte Incontri Mass-media, 1978, listed as La lettera.Dmitry Plavinsky, New York, Rizzoli, 2000, p. 201, illustrated; p. 263, listed as Still Life in a Cobweb.
Lot 68
Dou, GerritLeiden 1612 - 1675 Still Life with Armour, Shield, Helmet, Sword, Leather Jacket and Drum. Oil on wood. 31,7 x 46,5cm. Framed. Provenance: Private collection, Baden-Württemberg since 2003. The painting is in the RKD databank, The Hague listed under artwork no. 114826 and managed as "In the Art of the Gerrit Dou Circle". Assessment: Prof. Dr. Werner Sumowski from June 17th, 2003: "The image was previously misunderstood as a piece from a Dou-follower. Drum, shield, armour, helmet and leather jacket were copied from Dous Budapest`s painting "Standing Soldier with Weapons" still life (Sumowski, Paintings of the Rembrandt School, Landau l983 ff., I, Nr.268 with coloured tables: circa 1630).This assumption was not correct. The objects (except for one) are not all identical; also the perspectives are not the same. Only the shield indicates otherwise, which is missing the nail-like ornaments along the round and on the edge. The objects belong to a props supply. They must have been Rembrandt`s property, because the shield of the Budapest painter has appeared since 1626 in his weapon still life "Ungedeutete Historienszene" held in the Leidener Museum (Corpus I 1982, A 6 m. Abb.). These props would have been seen by Dou during his lessons in Rembrandt`s studio between 1628-1631. The student would have used them for his earlier still life: the small chest harness came from "Self Portrait on the Easel", at the time near Kisters in Kreuzlingen (Sumowski 1983ff., No.261 with ill.: circa 1629/30) before and by "Old Man Writing in his Study" by M.Hornstein, Toronto (ibid., no.267 with coloured tables: circa 1630).The new image, which matches the still life details, stems from Dou, dating back to ca. 1630. Compositionally speaking the items range in size and form and create a quasi-abstract construction. Artistically speaking there is a tonality created from the browns, blacks and especially grey tones in the refined nuances, a colourless colour in an exquisite chiaroscuro. Visible in the calculated reds and yellows of the feathers on the helmet and on the edge of the shield; in the minimal use of white to emphasize the glittering light; and the white of the tip of the sword is brought into sharp contrast. Artistically speaking, first class. The image also has contextual meaning. As does the opus in Budapest remind us of the "Allegory on the Art War". Only here there are no personifications with attributes depicted: the attributes fulfill ("Arma"). This is also found in Dou, who estimates, rarely and gives the images peculiarities. There are only two further pieces known, which are done in this way (of a later time). (Please refer to Sumowski 1983ff `no .307)."The 2011 x-ray images strongly indicate a pentimento located in the left side of the background of the painting. A large wheel is visible, presumably a wheel of a `small` front-loading cannon. A motif Dou Budapest`s dives into.
Lot 171
Two Similar Chinese Porcelain Yellow Ground Bowls, each of circular form and ogee outline, one decorated with three circular reserves containing still life studies of vases and flowers, against a yellow ground enriched with gourds and fruits, the other with qilin near vases, the ground with further vase and Buddhistic emblem decoration, each bearing Daoguang seal mark, 5.3cm high, 11cm diameter, upon associated carved hardwood five-legged stands
Lot 193
A Japanese Ivory, Mother-of-Pearl, Soapstone, Lacquer and Bronze Inlaid Hardwood Panel in Shibayama Style, late Meiji period (1868-1912), the rectangular wood panel depicting a parrot on a perch with vase and feeder attached and with elephantine finials, supporting fish and tassel pendant, the bird looking downwards towards a still life of a bronze wine pot containing flowering blossoms, applied stylised seal mark and four character mark, 76cm high, 45cm wide, applied on the reverse with old label Worcester Royal Porcelain Works Museum No.200 (also ink written number 280)
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