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ASIAN PAINTERS: MODERN VIETNAMESE ART

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Lot 5 - THANG TRẦN PHỀNH (1895-1973) - Le chef du village à cheval demandant son chemin, circa 1934 Charcoal and white highlights on paper, signed and dated lower right 75 x 51,5 cm - 29 1/2 x 51 1/2 in. Thang Trần Phềnh (1895-1973), also known as Trần Văn Bình, sometimes nicknamed Đạt Siêu, received a traditional education from a father of Chinese origin and a Vietnamese mother, respecting the principles of Confucianism and learned French at an early age. Gifted with a natural talent for drawing, encouraged by his parents, he became selftaught and, in 1923, won first prize in the fine arts exhibition of the Vietnamese Enlightenment Association of Tiến Đức. In 1925, he narrowly failed the first entrance examination to the Indochina School of Fine Arts. Then second on the waiting list, he was allowed to attend certain courses as an auditor. The following year, at the age of 31, he joined the ranks of the second class. At the instigation of Victor Tardieu, the school’s director, he exhibited with some of his fellow students in 1929 at the Salon de l’Art Colonial organized by the Salon des Artistes Français at the Grand Palais in Paris. In 1931, he took part in the Exposition Coloniale in Paris with a work entitled La partie de cartes. The following year, his work appeared in three successive exhibitions organized by Agindo - the Indochina Economic Agency - in Paris. It was also in 1932 that he graduated from his School in Hanoi, at the same time as artists Vũ Cao Đàm and Tô Ngọc Vân - the first Vietnamese director appointed to head the Indochina School of Fine Arts - following in the footsteps of Victor Tardieu and Evariste Jonchère. Thang Trần Phềnh then turned to theater, founding the Đồng Ấu troupe and directing his efforts towards enhancing stage sets, costumes and props. In theater as in painting, Thang Trần Phềnh is involved in transmitting the memory of his country, its history and culture. His rare work, which focuses on traditional rural scenes in Vietnam, is a true testimony to the past. Sources: Fonds Victor Tardieu, INHA, espace Jacques-Doucet, archives 125/5-9. Triển lãm Thang Trần Phềnh: Bắt gặp quá khứ trong hiện tại, Bằng Lăng, Thể thao & Văn hóa, August 29, 2022 Cố họa sĩ Thang Trần Phềnh: Tài hoa và độc đáo, Nguyệt Hà, Công An Nhân Dân, September 1st, 2022 In the early 1890s, a family of shopkeepers settled in the Hanoi region of Indochina. It was probably during one of the exhibitions organized by the School of Fine Arts from 1929, or at one of the fairs in which its students were then actively participating, that they acquired these two paintings by Thang Thang Trần Phềnh framed by Gadin in the 1930s. Kept by the family as they moved, first to Vietnam and then to France, they were passed down through generations. Le chef du village à cheval demandant son chemin and Le lettré lisant devant les villageois are two silk paintings produced in the early 1930s. As usual, Thang Trần Phềnhset out to freeze animated scenes, with a constant concern to immortalize the daily routine of traditional life. These two paintings attest to the deliberate and distinctive character of this painter who, unlike many of his classmates renowned for posed portraits or composed scenes, demonstrated true originality in the choice of his compositions, featuring various characters in attitudes taken from life. These two rare examples of this painter’s work probably come from an exhibition held around 1934-1935 in Hanoi.

Estim. 50 000 - 80 000 EUR

Lot 8 - VŨ CAO ĐÀM (1908-2000) - Maternité, 1944 Ink and color on silk, signed and dated lower right 60 x 46,4 cm - 23 5/8 18 1/4 in. Born in 1908 in Hanoi, Vũ Cao Đàm came from a large, Catholic and well-off. He was immersed in French culture from his childhood. His father, Vu Dinh Thi (1864 - 1930), a great scholar, who his sculptures, fine and graceful, for which he has many commissions. He exhibited them at the gallery l’Art Français in Paris but also at the Salon des Indépendants, the Salon des Tuileries and the not only mastered the French language but was also a proven Francophile. Indeed, sent to Paris by the Vietnamese government for the occasion of the 1889 World’s Fair, he was won over by the French lifestyle. It is therefore not surprising that Vũ Cao Đàm joined the Hanoi School of Fine Arts in 1926. There, he studied drawing, painting and sculpture under the authority of Victor Tardieu, founder of the School, and Joseph Inguimberty. He graduated in 1931 and obtained a scholarship that allowed him to continue his training in France. After presenting his sculptures at the 1931 International Colonial Exhibition, he decided to settle permanently in France. He then continued his artistic development by rubbing shoulders with all the greatest European masterpieces such as the works of Renoir, Van Gogh, Bonnard and Matisse but also the creations of Rodin, Despiau and Giacometti which particularly inspired him. He is also influenced by Western avant-gardes such as Fauvism and the Paris School, whose imprint can be seen in his work. In 1946, the artist already enjoys great recognition mainly for Salon d’Automne of which he has been a member since 1943. Parallel to sculpture, he also paints on silk. In 1949, Vũ Cao Đàmdecided to leave for the South of France and settled with his family at the villa Les Heures Claires near Saint-Paul-de-Vence, just next to the Matisse chapel and only one kilometer from Marc Chagall’s residence, La Colline. The light and the atmosphere of the South of France mark him and can be found in the works of this period. As early as the 1960s, the artist exhibited internationally, notably in London at the Frost & Reed gallery, but also in Brussels before signing an exclusive contract with the art dealer Wally Findlay in the United States. Today, Vũ Cao Đàm is considered as one of the greatest Vietnamese painters and sculptors of his time and his paintings are part of the permanent collections of many museums around the world such as the Quai Branly Museum in Paris. Motherhood, a universal language, represents one of Vũ Cao Đàm’s favorite themes, a subject the artist always treats with sensitivity and delicacy. Here, the artist pays tribute to the bond between mother and child, choosing to illustrate the special moment of breastfeeding. While this theme, present since ancient Egyptian times - through statuettes of Isis breast-feeding her son Horus - has accompanied the history of art throughout its evolution, it has remained rare in Asia. While the Virgin Mary and the Infant Jesus adorn religious statuary and iconography, the breast-feeding woman is also a subject that recurs regularly in Western scenes of daily life. Inmodern painting, for example, Renoir, Picasso and Mary Cassatt exalt the mother-child bond, regardless of social class. However, the subject recurs much more rarely in Asia than in Europe. This painting, created in 1944 by Vũ Cao Đàm, is one of the rare examples. In this maternity, pastel tones bring softness and tranquility, and reinforce a naturalness and soothing underlined by the vegetal décor, in which the scene is set. This work, produced more than 10 years after the painter’s arrival in France, expresses a talent in full maturity. It is rich in a perfect mastery of the precepts received by the young artist at the fine arts school in Hanoi, at the École du Louvre and through visits to museums. With this perfectly balanced composition and delicate treatment, Vũ Cao Đàm appears at the peak of his art.

Estim. 300 000 - 500 000 EUR

Lot 9 - LÊ PHỔ (1907-2001) - Nature morte aux pivoines et plante en pot, 1935 Oil on canvas, signed and dated lower right 65,7 x 45,3 cm - 25 7/8 x 18 in. This painting was acquired in the 1980s in Saigon by a collector who was sensitive to Lê Phổ’s remarkable talent in the making. Today, it stands as a rare testimony to the artist’s early work and explorations in oil painting. By opting for a classic format, Lê Phổ perpetuates the still-life tradition. His wise composition features peonies and a green plant harmoniously arranged on a table partly covered by a carpet. The perspective is classical and the palette realistic. Following in the footsteps of the old masters, the young Vietnamese artist proves his mastery of Western painting codes. Gradually replacing tempera, oil painting has been a popular medium with European artists since its origins in the 15th century. Composed of three elements (pigment, binder and support), its production depends on the painter’s preparation. Subjected to the different origins of the materials, which can be mineral, vegetable or chemical, the palette, texture but also gloss vary. While Lê Phổ uses a medium rooted in Western history, he chooses to depict flowers linked to European and Asian cultures. Rich in meaning, peonies are synonymous with prosperity, happiness, honor and beauty. Nicknamed the “Queen of Flowers” in China, they were the national flower before being dethroned by plum blossoms. Today, peonies, and particularly pink peonies, are among the most popular of all flowers.

Estim. 350 000 - 450 000 EUR

Lot 10 - VŨ CAO ĐÀM (1908-2000) - Jeune fille annamite, le modèle Paul Reynaud Bronze with green patina, signed on the base on the left side 37 x 15.8 x 19 cm - 14 5/8 x 6 1/4 x 7 1/2 in. Vũ Cao Đàm’s sculptures received critical acclaim in Paris at the 1931 Colonial Exhibition. In particular, he created the bust of Bảo Đại, the bust of his father and several heads of young girls, including the one shown here. The artist succeeded in modeling faces that convey serenity and gentleness, the image that emerges being that of a bust sculpted with great finesse. In his paintings, the artist uses techniques of composition, color and texture to convey these emotions. He plays with light and shadow, facial expressions and postures to create an atmosphere of tranquility. Similarly, in sculpture, he models the shape and contours of the face with a precision that reveals the inner peace and gentleness of the soul depicted. Vũ Cao Đàm not only depicts the face of a young Vietnamese woman, he also manages to give it an inner life, a subtle emotion that touches the viewer. It is this ability to transcend matter to express deep feelings that makes his work so remarkable. Through his art, Vũ Cao Đàm offers the viewer a visual and emotional experience that invites contemplation and reflection. This model, entitled Jeune fille annamite, was produced in very limited numbers. It was presented at various exhibitions in the 1930s. Today, some examples are referenced in the most important international collections, from major museums to private collections. The one shown here has a remarkable green patina. This is the model that entered the collection of Minister Paul Reynaud at the time, an art lover with a keen appreciation of the sculptor’s talent. On October 10, 1932, at the Agindo in Paris, the exhibition of the Salon des artistes indochinois was inaugurated in the presence of numerous personalities surrounding President Paul Doumer and His Majesty Bao - Dai, Emperor of Annam. Mr. Victor Tardieu, Director of the Indochina School of Fine Arts; Mr. Mario Roustan, Mr. de Chapdeleine (Minister for the Colonies in 1932), Mr. Blanchard de Brosse, Director of Agindo; Mr. Albert Sarraut, Minister; but also Mr. Paul Doumer and Mr. Bao - Dai, Emperor of Annam. Albert Sarraut, Minister; as well as Governor General Martial Merlin and Madame Paul Reynaud; Mr. Darras, Director of the School of Fine Arts in Paris; the curator of the Musée Galliera, Mr. Clozot; and art critics Marguillier and Rambosson, journalists from the Daily Mail, Temps and Le Figaro...

Estim. 80 000 - 120 000 EUR

Lot 11 - VŨ CAO ĐÀM (1908-2000) - Mère et enfant Ink and color on silk, signed lower right, titled and numbered on back 54,8 x 45,2 cm - 21 5/8 x 17 3/4 in. A remarkable testimony to the work of the pre-war years, Mère et enfant, circa 1942-1944 by Vũ Cao Đàm illustrates the tenderness of a mother holding her child in her arms. In this painting, exhibited in Algiers at the instigation of gallery owner André Romanet in 1944, Vũ Cao Đàm depicts the protagonist’s attitude with refinement and elegance. She moves against this homogeneous background, which gracefully brings her to life. The result is a precious chromaticism, the product of a skilful arrangement of blue tones. The precision of the line, visible in particular in the fine, precise work on the hair, bears witness to the excellence of the training received by the artist in Hanoi. In 1942-1944, the Romanet gallery organized a Mai Trung Thứ, Lê Phổ and Vũ Cao Đàm exhibition in Algiers, Galerie d’Art Pasteur. Mai Trung Thứ, L’écharpe bleue, 1942 n°19 Aguttes, 3 octobre 2022 Lê Phổ. Méditation, circa 1940 Aguttes, 6 mars 2023 Mai Trung Thứ, Mère et enfant dormant, 1944 n°21. Aguttes, 6 mars 2023 Vũ Cao Đàm, Mère et enfant, 1944, n°93 Aguttes, 22 mai 2024 The works exhibited at the time are listed opposite. Most were then acquired by private collectors and subsequently passed down through the family.We are honored to have been chosen on several occasions in recent years to present for sale a fine selection of works from this original first exhibition.

Estim. 140 000 - 200 000 EUR

Lot 12 - ALIX AYMÉ (1894 - 1989) - Famille et animaux, circa 1940 Ink and color on silk, signed lower left 29 x 43 cm - 11 3/8 x 16 7/8 in. Alix Hava, known by her married name Alix Aymé, was born in Marseille on 21 March 1894. She moved with her family to Martinique in 1909, and then to England before the First World War. On her return to Paris, she studied with George Desvallières and Maurice Denis, with whom she maintained a close correspondence throughout her career. She took part in French artistic life and regularly exhibited her work at Parisian salons (Salon des artistes français, Salon d’hiver, Salon des décorateurs etc.) and in galleries. It was while accompanying her husband, Paul de Fautereau-Vassel, a professor appointed to Shanghai, that the artist developed a passion for the Asian continent. The couple settled in Hanoi in 1921. Alix taught drawing at the technical high school and painted in her studio. She signed her works with her name Alix de Fautereau. Michel, their son, was born in 1926. Teaching drawing at the Albert-Sarraut high school, it is closer to the School of Fine Arts of Indochina where she taught in 1935, and occupied in 1936 a position as technical professor. She is interested in working on silk and contributes to developing learning the art of lacquer alongside Joseph Inguimberty. Very present with the students of the School, she provides them with lots of advice and transmits his passion for this astonishing medium. His favorite subjects revolve around motherhood and childhood, taking as models young Vietnamese women around him or again each of his sons. His workshop serves him decor. Curtain drapes and throws fabrics allow him to deepen his work of light initiated during its formation. After 1945 events, the couple returned definitively in Paris, where General Aymé died in 1950 as a result of his recent captivity. What follows for Alix Aymé the order of large lacquer panels for the liner Antilles and numerous exhibitions in Paris, in the provinces, as well as in Morocco and Italy. She decorates Bảo Đại’s apartment. Friend of Foujita and the Saint-Exupéry family, she frequents intellectual, literary and Parisian artistic establishments, where his spirit is expressed open, lively, free and curious. Until the end of his life, Alix Aymé practices the very particular technique of lacquer art. She continues to travel never without her sketchbooks and thus, at sixty-eight years old, stays eight months at Congo. She died in 1989 near Paris.

Estim. 10 000 - 15 000 EUR

Lot 13 - PHẠM QUANG HẬU (1903-1994) - Cerf et biches en sous-bois, Moyenne Région, Tonkin, circa 1935-1940 Lacquer with gold highlights, signed lower right 130 x 80,6 cm - 51 1/8 x 31 3/4 in. Made in Tonkin, the northern part of present-day Vietnam, this lacquer depicts two hinds and a deer, in a lushly vegetated landscape. The artist’s sensitivity is perfectly expressed by his meticulousness and attention to detail, demonstrated by great technical mastery. The abundant vegetation, made up of banana leaves, palms and other shrubs, underlines the tropical nature of Vietnam. Through the representation of this luxuriance, Phạm Quang Hậu recalls the prosperity and natural wealth of his country and the beauty of its landscapes, eternal sources of inspiration. Born in 1903 in the village of Đông Ngạc in Ha Dong province in a poor family, Phạm Quang Hậu lost his parents at the age of 10. Although his siblings tried to provide for him, his childhood was marked by a very precarious situation. His marriage in 1926 with Phạm Thị Chuyên the daughter of a wealthy family, enabled him to meet the painter Nam Sơn. He made him want to enter the Indochina School of Fine Arts, joining the 5th class from 1929-1934. During these years of apprenticeship, he discovered and deepened the technique of lacquer. Supported by his teacher Joseph Inguimberty and helped by his classmates such as Lê Phổ and Trần Văn Cẩn, Phạm Quang Hậu renewed this ancestral craftsmanship. He experimented the addition of new pigments and new materials which allowed him to produce more layers and create new effects. After graduating in 1934, Phạm Quang Hậu returned to his native village where he continued to produce paintings, objects and lacquered furniture. With the help of Victor Tardieu, the artist obtained an order for 50 lacquered cigarette cases marked by the Art Nouveau and Art Deco taste very much appreciated in France. He found success, and in front of the increase of orders Phạm Quang Hậu recruited apprentices. His talent was rewarded on several occasions by many organizations, including the SADEAI (Society to encourage art and industry) in Hanoi, which awarded him the gold medal in 1935 and the First Certificate in 1936. His fame is such that his biography can be read in the Vietnamese Who’s who in 1943, which lists only two other painters. Attached to the promotion and spreading of his country’s craftsmanship, he created in 1949 the National School of Handicrafts, the first university of art in the country and still active today under the name of University of Industrial Fine Art. In addition to his teaching, the high quality of his lacquerware has led him to exhibit in many countries such as Thailand, the Philippines, Indonesia and North Korea. His unique style based on the ancestral technique of lacquer but enriched by new contributions makes the artist one of the best ambassadors of Vietnamese art. Mainly inspired by the representation of landscapes and forests but also of animals, his lacquers are collected by European collectors and Vietnamese amateurs.

Estim. 60 000 - 90 000 EUR

Lot 36 - MAI TRUNG THỨ (1906-1980) - ° Grand-mère, 1976 Ink and color on silk, signed and dated upper right. In its original frame, made by the artist 22 x 47 cm - 8 5/8 x 18 1/2 in. Although Mai Trung Thứ is one of the artists of the Indochina School of Fine Arts who is most consistent in his choice of subjects, his style has evolved over the years. The silhouettes began to simplify in the 1950s, the faces became rounder and the backgrounds gave way to neutrality. These changes were reinforced in the 1960s and are particularly evident in the works of the 1970s. Grand-mère, made in 1976, is also marked by a different vision of colour. These were the years of bright, acidic tones. Thus, pink, blue and orange shimmer cheerfully in the composition, while the background, brushed with a blue-green gradation, contributes to highlighting this colourful palette. If the treatment of the subject is marked by the evolution of the artist’s style, the subject itself is characteristic of his corpus. Marked by the Confucianism reigning in his native country, filial piety appears as a central value. The inter-generational bond but also the respect of the ancestors are thus regularly evoked in his work. In the ink and colours on silk presented for sale, a grandmother is surrounded by her two granddaughters. With her benevolent smile, she seems to be watching over the next generation. The daughters listen attentively to the wisdom of their elder. The clothing marks the different generations. The children wear a simple tunic while the grandmother wears a more traditional outfit: the áo dài. The grandmother’s outfit is very charming: a pearl necklace with two coloured buttons enhances her outfit. Mai Trung Thứ perfectly captures Vietnamese values and brings them to light through a unique style composed of a training halfway between East and West but also of a singular vision where colour has its importance.

Estim. 150 000 - 200 000 EUR

Lot 42 - DAO MINH TRI (NÉ EN 1950) - Pushing away the war, 1996 Lacquer with eggshell, set of four panels signed and dated lower 3rd from left 121 x 244 cm (total) - 121 x 61 cm (chaque) 47 5/8 x 96 in. (total) - 47 5/8 x 24 in. (each) “Through encounters, discoveries and discussions, we have built our collection of Vietnamese art around three main themes: contemporary abstract painting, lacquer art and the influence of Chinese art on Vietnamese abstract art. We have focused the collection on the direct Post Doi Moi period, from the 1990s to 2010.” “The first exhibition of abstract art in Vietnam (...) was a landmark event in the history of Vietnamese painting. Organised in 1992 in Ho Chi Minh City, the exhibition validated abstraction as an important artistic language. Participating artists included rising talents such as Ca Le Thang, Dao Minh Tri, Nguyen Tan Cuong, Nguyen Thanh Binh, Nguyen Lam, Tran Van Thao and established painter Nguyen Trung. With Trung as their leading figure, these artists were part of a new collective that began exhibiting together in 1989. Throughout the group’s seven-year history, Nguyen Trung’s aesthetic and technical experiments had a profound influence on its direction. For these artists, abstraction was a means of expressing pure values of freedom and individualism. The collection of their works preserves a history of personal and artistic struggle against censorship and a certain aesthetic conformism.” MADAME L A teacher and curator at numerous institutions around the world, Ms L has devoted much ofer career to promoting and showcasing the work of Vietnamese painters from the post-Doi-Moi school. With over 15 years’ experience in museums and galleries in Europe and Asia, she has successfully organised and managed international exhibitions with renowned artists and institutions. We are proud to present part of her exceptional collection for auction today..

Estim. 30 000 - 50 000 EUR
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