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Click here to subscribeA Vintage Art Deco style Egyptian Silver Coptic Wedding shawl - Backed on a brown cotton mesh with thousands of hand applied hammered silver metal strips in a decorative Egyptian/Coptic geometric pattern. total weight - 1.350kg and measuring 90cm width by 235cm length. No tears but some staining and a few of the silver pieces are missing.
Deborah Jones (1921-2012) 'The garden room', oil on panel, signed lower left, 17cm x 20cmProvenance: Notes to the reverse of the frame state this painting was purchased from Haxford House Art Gallery, March 1970.Frame is quite worn with some slight damages in places. The painting itself seems ok.
A GEORGE IV ORMOLU AND GLASS SIX-LIGHT DISH LIGHT C.1825 AND LATER the later circular lozenge cut-dish with an urn, decorated with vine draped ram's masks and a cone finial, issuing six arms, the gallery with palmettes and hung from a conforming corona by three chains, with a sphere and leaf pendant base 124.5cm high, 76.7cm diameter Provenance Partridge Fine Art, London A Private Collection, California, USA. Catalogue Note A similar light is in the Yellow Drawing Room at Harewood House, Yorkshire, illustrated in Eileen Harris, The Genius of Robert Adam, fig. 205. another example is illustrated in Jonathan Bourne and Vanessa Brett, Lighting in the Domestic Interior, p.134, fig. 453.
A LATE GEORGE III RED SILK DAMASK AND WIREWORK PENNANT OR BANNER EARLY 19TH CENTURY with an embroidered border and applique central Royal Coat of Arms beneath a 'GR' monogram, on a mahogany tripod stand with a crown finial and shell carved knees pennant 48.5 x 54cm, 151cm high Catalogue Note For a similar pennant, see Woolley and Wallis, Furniture, Works of Art & Clocks, 1st April 2020, lot 372.
A PAIR OF ITALIAN BRONZE GRAND TOUR FIGURES OF LORENZO AND GIULIANO DE MEDICI AFTER MICHELANGELO (ITALIAN 1475-1564), LATE 19TH CENTURY on black marble stepped plinths (2) 24.5cm high Catalogue Note See Woolley and Wallis, Furniture, Works of Art and Clocks, 30th March 2022, lot 351 for a similar gilt bronze pair of figures.
A LIMOGES ENAMEL PLAQUE IN THE MANNER OF PIERRE REYMOND (FRENCH 1513-1589) painted with a scene of Perseus falling on the dragon and Andromeda chained to a rock, the back inscribed with initials 'PR' and the date '1546'14.8 x 11.5cmProvenance Redlynch House, Salisbury, Wiltshire. Catalogue Note For another enamelled plaque with similar initials verso see Sotheby's, Old Master Sculpture and Works of Art, 6th July 2021, Lot 30. Pierre Reymond (1513-after 1584) was a prolific enameller working in Limoges for at least 40 years.
Pair: Shipwright Artificer H. Smith, Royal Navy Naval General Service 1915-62, 1 clasp, S.E. Asia 1945-46 (D/MX.66530. H. Smith. Shpt. R.N.); Royal Navy L.S. & G.C., E.II.R., 1st issue (MX66530. H. Smith. Shpt. Art. 1. H.M.S. Ark Royal) ship partially officially corrected on last, light contact marks, good very fine (2) £80-£100
1914-15 Star (Capt: H. H. Burnham. Can: Fd: Art:) good very fine £80-£100 --- Howard Hampden Burnham was born in Toronto and was a pre-war officer in the Canadian Militia. He enlisted in the Canadian Expeditionary Force in August 1914, and embarked for France in early 1915, serving on attachment to the 2nd Brigade, Canadian Field Artillery, and with No. 2 Canadian Field Ambulance. For his services during the Great War on the Western Front he was twice Mentioned in Despatches (London Gazettes 22 June 1915 and 17 April 1917), and was awarded the Italian Al Valore Militare in silver (London Gazette 25 May 1917), one of just four Canadians so honoured. Returning to the U.K. in early 1917, Burnham was employed as a specialist at Westcliffe Hospital and the C.A.M.C. General Hospital, prior to being discharged back in Ottawa in March 1919. He remained as a Medical Officer on the Non-Permanent Active Militia and ended his career as a Lieutenant-Colonel in command of the 16th Field Ambulance in Toronto. Sold with copied record of service.
The Royal Geographical Society Patron’s Gold Medal awarded to Captain Sir Alexander R. Glen, K.B.E., D.S.C., Royal Naval Volunteer Reserve Royal Geographical Society, Patron’s Gold Medal, 54mm, gold (9ct, 95.24g), the obverse featuring the bare head of George VI facing left, the reverse featuring Minerva standing left, holding wreath and map, with globe and sextant on ground, ‘Ob Terras Reclusas’ above, the edge engraved ‘Lieutenant Alexander R. Glen, R.N.V.R., 1940.’; together with the recipient’s Exploration of Polar Regions Bruce Medal for Valuable Services, 50mm, bronze, the edge engraved ‘Alexander Glen 1938’, nearly extremely fine (2) £6,000-£8,000 --- Sir Alexander (Sandy) Richard Glen was born in Glasgow on 18 April 1912, the son of a Glasgow ship-owner, and was educated at Fettes College, Edinburgh, and Balliol College, Oxford, where he read Geography. He first travelled to the Arctic in 1932, as part of an eight man crew of a 45ft fishing boat owned by a Cambridge law don; legend has it that Glen accepted the invitation to accompany the expedition under the misapprehension that it was an invitation to a debutante ball. Setting sail from King’s Lynn (with Glen still in his white tie and tails), the crew ventured to Spitzbergen, and completed 4,000 miles of sailing and two months of surveying. The following year Glen led a more official 16 man Oxford University summer expedition to Spitzbergen to carry out topographical and geological surveys, spending some winter months with the Lapps of northern Sweden. He returned to Spitzbergen the following summer with the author Evelyn Waugh amongst the team (who nearly drowned when a glacier thawed). In 1935 he led another Oxford University expedition, establishing a research station on the ice cap of North East Land, and carried our research in glaciology, geology, and radio propagation in high latitudes. In 1937 he wrote a book about the expedition, entitled ‘Under the Pole Star’. For his expeditions and scientific work in the Arctic Glen was awarded the prestigious Patron's Gold Medal of the Royal Geographical Society in 1940; at the age of 28 he was (and is) the youngest recipient of the medal. He was also awarded the Polar Medal (London Gazette 10 February 1942: ‘For good services with the Oxford University Arctic Expedition to North East Land in 1935 and 1936’) and received the Bruce Medal of the Royal Society of Edinburgh in 1938. After going down from Oxford Glen worked in investment banking in New York and London. He joined the Royal Naval Volunteer Reserve in 1938, and posted to Naval Intelligence he worked with Ian Fleming under its Director, Admiral John Godfrey. Inevitably, in later life it was rumoured that Glen was perhaps an inspiration for James Bond, but Glen himself always denied the link: ‘I don’t think it is true for a moment; I’m far too gentle, too law-abiding.’ In January 1940 Glen was posted to Belgrade as assistant naval attaché at the British legation, where he met his future wife, the Serbian Baroness Zora (Zorica) de Collaert. Following the bombing of Belgrade in 1941 the British legation left and made their way home via Kotor, Albania, Italy, Vichy France, and Spain. He then worked on the staff of Rear-Admiral Philip Vian in 1941 helping to evacuate Norwegian and Russian coalminers and trappers in the Arctic Circle, and he spent some time protecting Spitzbergen from a German invasion. In the early summer of 1942, he took part in two 27-hour reconnaissances of Spitzbergen by Catalina flying boats of Coastal Command, based in the Shetlands. He then joined a 70-strong joint British-Norwegian force sent by boat, which was sunk by a Luftwaffe raid as they arrived in Spitzbergen harbour. As the survivors struggled ashore, Glen remembered where to find the frozen corpses of 60 slaughtered pigs, and they lived off these, washed down with abandoned German brandy and champagne. Glen later served with distinction with the Russian Army in eastern Europe in 1943-44, sabotaging traffic on the River Danube to disrupt oil supplies to Germany. He also took part in various clandestine and dangerous operations in Yugoslavia with Fitzroy Mclean, in support of Marshal Tito. He ended the War on the British staff in Athens. For his services during the Second World War he was awarded the Distinguished Service Cross in 1942 (London Gazette 27 October 1942), and a Second Award Bar in 1945 (London Gazette 20 February 1945). He was also awarded the Norwegian and Czechoslovakian War Crosses, and was created a Chevalier First Class of the Order of St. Olav (London Gazette 9 May 1944). Post-War, Glen joined the ship-broking business of Clarksons, eventually rising to become the firm’s Chairman. Remaining in the Royal Naval Volunteer Reserve, he was advanced Captain in the Supply and Secretariat Branch on 30 June 1955, and served as a Member of the Council of the Royal Geographical Society periodically from 1945 to 1962. Appointed C.B.E. in 1964 (London Gazette 1 January 1964), he was advanced K.B.E. in 1967 (London Gazette 1 January 1967), and went on to hold various positions in the travel and hotel sector, including the Chairmanship of the British Tourist Authority. Amongst other public appointments he became Chairman of the Advisory Council of the Victoria and Albert Museum. He published his memoirs ‘Footholds Against a Whirlwind’, in 1975, and co-wrote (with Leighton Bowen) ‘Target Danube, a River not quite too far’ in 2002. He died on 6 March 2004. The Sandy and Zorica Glen Charitable Settlement (Charity no. 326311) is a grant making charity that supports a small range of charities in helping to develop leadership qualities in the young via exploration trips and other outdoor activities; and encouraging the conservation of heritage works of art. For the recipient’s group of twelve miniature awards, see Lot 618.
The mounted group of twelve miniature dress medals worn by Captain Sir Alexander R. Glen, Royal Naval Volunteer Reserve The Most Excellent Order of the British Empire, K.B.E. (Civil) Knight Commander’s badge; Distinguished Service Cross, G.VI.R., with Second Award Bar; 1939-45 Star; Atlantic Star; Africa Star; Italy Star; War Medal 1939-45; Polar Medal 1904, G.VI.R., 1st issue, silver, 1 clasp, Arctic 1935-1936; Royal Naval Volunteer Reserve Decoration, G.VI.R., 2nd issue; Norway, Kingdom, War Cross 1940-45, with bronze sword emblem to riband; Order of St. Olav, Military Division, Knight First Class badge; Czechoslovakia, Republic, War Cross 1939-45, mounted as worn, good very fine (12) £1,000-£1,400 --- 1 of only 9 Polar Medals with clasp ‘Arctic 1935-1936’, all to members of the Oxford University Expedition to North East Land. K.B.E. (Civil) London Gazette 1 January 1967: Alexander Richard Glen, Esq., C.B.E., D.S.C., Chairman, Export Council for Europe, For services to Export. C.B.E. (Civil) London Gazette 1 January 1964: Alexander Richard Glen, Esq., D.S.C., Chairman, H. Clarkson and Company Ltd. D.S.C. London Gazette 27 October 1942. D.S.C. Second Award Bar London Gazette 20 February 1945: ‘For courage and undaunted devotion to duty.’ Polar Medal (Silver) London Gazette 10 February 1942: ‘For good services with the Oxford University Arctic Expedition to North East Land in 1935 and 1936.’ Sir Alexander (Sandy) Richard Glen was born in Glasgow on 18 April 1912, the son of a Glasgow ship-owner, and was educated at Fettes College, Edinburgh, and Balliol College, Oxford, where he read Geography. He first travelled to the Arctic in 1932, as part of an eight man crew of a 45ft fishing boat owned by a Cambridge law don; legend has it that Glen accepted the invitation to accompany the expedition under the misapprehension that it was an invitation to a debutante ball. Setting sail from King’s Lynn (with Glen still in his white tie and tails), the crew ventured to Spitzbergen, and completed 4,000 miles of sailing and two months of surveying. The following year Glen led a more official 16 man Oxford University summer expedition to Spitzbergen to carry out topographical and geological surveys, spending some winter months with the Lapps of northern Sweden. He returned to Spitzbergen the following summer with the author Evelyn Waugh amongst the team (who nearly drowned when a glacier thawed). In 1935 he led another Oxford University expedition, establishing a research station on the ice cap of North East Land, and carried our research in glaciology, geology, and radio propagation in high latitudes. In 1937 he wrote a book about the expedition, entitled ‘Under the Pole Star’. For his expeditions and scientific work in the Arctic Glen was awarded the prestigious Patron's Gold Medal of the Royal Geographical Society in 1940; at the age of 28 he was (and is) the youngest recipient of the medal. He was also awarded the Polar Medal and received the Bruce Medal of the Royal Society of Edinburgh in 1938. After going down from Oxford Glen worked in investment banking in New York and London. He joined the Royal Naval Volunteer Reserve in 1938, and posted to Naval Intelligence he worked with Ian Fleming under its Director, Admiral John Godfrey. Inevitably, in later life it was rumoured that Glen was perhaps an inspiration for James Bond, but Glen himself always denied the link: ‘I don’t think it is true for a moment; I’m far too gentle, too law-abiding.’ In January 1940 Glen was posted to Belgrade as assistant naval attaché at the British legation, where he met his future wife, the Serbian Baroness Zora (Zorica) de Collaert. Following the bombing of Belgrade in 1941 the British legation left and made their way home via Kotor, Albania, Italy, Vichy France, and Spain. He then worked on the staff of Rear-Admiral Philip Vian in 1941 helping to evacuate Norwegian and Russian coalminers and trappers in the Arctic Circle, and he spent some time protecting Spitzbergen from a German invasion. In the early summer of 1942, he took part in two 27-hour reconnaissances of Spitzbergen by Catalina flying boats of Coastal Command, based in the Shetlands. He then joined a 70-strong joint British-Norwegian force sent by boat, which was sunk by a Luftwaffe raid as they arrived in Spitzbergen harbour. As the survivors struggled ashore, Glen remembered where to find the frozen corpses of 60 slaughtered pigs, and they lived off these, washed down with abandoned German brandy and champagne. Glen later served with distinction with the Russian Army in eastern Europe in 1943-44, sabotaging traffic on the River Danube to disrupt oil supplies to Germany. He also took part in various clandestine and dangerous operations in Yugoslavia with Fitzroy Mclean, in support of Marshal Tito. He ended the War on the British staff in Athens. For his services during the Second World War he was awarded the Distinguished Service Cross in 1942, and a Second Award Bar in 1945. He was also awarded the Norwegian and Czechoslovakian War Crosses, and was created a Chevalier First Class of the Order of St. Olav (London Gazette 9 May 1944). Post-War, Glen joined the ship-broking business of Clarksons, eventually rising to become the firm’s Chairman. Remaining in the Royal Naval Volunteer Reserve, he was advanced Captain in the Supply and Secretariat Branch on 30 June 1955, and served as a Member of the Council of the Royal Geographical Society periodically from 1945 to 1962. Appointed a Commander of the Order of the British Empire in 1964, he was advanced to Knight Commander in 1967, and went on to hold various positions in the travel and hotel sector, including the Chairmanship of the British Tourist Authority. Amongst other public appointments he became Chairman of the Advisory Council of the Victoria and Albert Museum. He published his memoirs ‘Footholds Against a Whirlwind’, in 1975, and co-wrote (with Leighton Bowen) ‘Target Danube, a River not quite too far’ in 2002. He died on 6 March 2004. Sold with the recipient’s Passport; Timex watch; and the empty case of issue for his K.B.E. set of insignia, by Garrard, London. The Sandy and Zorica Glen Charitable Settlement (Charity no. 326311) is a grant making charity that supports a small range of charities in helping to develop leadership qualities in the young via exploration trips and other outdoor activities; and encouraging the conservation of heritage works of art. For the recipient’s Royal Geographical Society Patron’s Gold Medal, and Royal Society of Edinburgh Bruce Medal, see Lot 587.
Four: Trumpet Major W. H. Orman, Bengal Horse Artillery Punniar Star 1843 (Half Pay Trumpeter William Orman 3rd. Troop. 3rd. Brigade Horse Artillery) original suspension hook replaced with a contemporary silver straight bar suspension; Sutlej 1845-46, for Ferozeshuhur 1845, 1 clasp, Sobraon (Trumpr: W: H: Orman 3rd. Brigade H: Ay.); Punjab 1848-49, 2 clasps, Chilianwala, Goojerat (Bombr. Wm. Henry Orman. 3rd. Tp. 3rd. Bde. H Arty.); Indian Mutiny 1857-59, 3 clasps, Delhi, Relief of Lucknow, Lucknow (Tpt. Major. Wm. Hy. Orman, 3rd. Bde. He. Art.) contact marks and edge bruising, nearly very fine (4) £2,200-£2,600 --- William Henry Orman was born in Cawnpore on 21 August 1826 and was appointed a half pay Trumpeter with the Bengal Artillery on 8 May 1838. Attesting as a Gunner at Meerut on his 18th Birthday, 21 August 1844, he was again appointed a Trumpeter on 20 November 1845, and was promoted Bombardier on 12 December 1848, and Trumpet Major on 10 June 1857. He transferred to the Royal Artillery on 18 February 1861, and was promoted Sergeant on 6 July 1861. He was discharged at his own request on 3 May 1870, after 27 years and 283 days’ service, the entire period of which was spent soldiering in India. He was not entitled to a Long Service and Good Conduct Medal. Sold with copied record of service; medal roll extracts; and other research.
Pair: Gunner and Driver J. Montgomery, Royal Artillery Crimea 1854-56, 3 clasps, Alma, Inkermann, Sebastopol (Gr. & Dr. J. Montgomery. 11th. Bn. Rl. Art.) officially impressed naming; Turkish Crimea 1855, Sardinian issue (Gr. J. Montgomery. 6B. 13B. R.A.) contemporarily engraved naming, plugged and fitted with a small ring suspension, contact marks and edge bruising, nearly very fine (2) £280-£340 --- John Montgomery was born Girvan, Ayrshire, in 1828 and attested for the Royal Artillery at Ayr on 26 January 1847. He served with the 11th Battalion in the Crimea, before transferring to the 13th Brigade, and saw further service with them in India before being posted to the School of Gunnery on 1 May 1863. He was discharged on 1 June 1869, after 22 years and 32 days’ service; he did not receive a Long Service and Good Conduct Medal. Sold with copied record of service.
Mappin & Webb Ltd. and Mappin Bros. Catalogue,of Jewellery, Silver, and Plated Wares; including penknives, lady's fitted cases, barometers, and more. the cover with silver and gold coloured embossed Art Nouveau decoration c.1905, 27 cm x 20.5 cm Some damage to the spine, and to the forward index. Light staining.
Medical, Vaquez-Laubry Sphygmotensiphone, Bowles Stethoscope etc.,Bowles stethoscope American, by Pillings, in original oak case with trade label, chest piece stamped ' Bowles patent June 25 (19)01 directly taking two tubes; sphygmotensiphone French, early to mid 20th century, by Spengler, Paris, outfit comprising cuff with aneroid sphygmomanometer and stethoscope in zip case; with a sphygmomanometer with art deco chrome pressure dial signed 'Progress Hako', with stethoscope in zip case,
The Rainforth Stereoscopic Skin Clinic,American, c.1910, cased set with label ' THE STEREOSCOPIC SKIN CLINIC, RAINFORTH , NEW YORK MEDICAL ART PUBLISHING CO.' comprising a Holmes-type stereoscope, 128 stereoviews of skin conditions from acne to syphilis, each composed of two half-tone colour prints derived from original photographs, with detailed descriptions verso and numbered 1-128, cloth covered card case with replacement lid
WW1 / WW2 Honourable Artillery Company Artillery Group of Three Medals Awarded to 625433 CPL J.W. BROWNSILL HAC-ART. Comprising: British War Medal, Victory Medal, Defence Medal. Mounted loose as originally worn. Accompanied by Miniature Medals mounted as worn. Uniform ribbon bars ... Forwarding slip for the Defence Medal.
Territorial Royal Artillery Home Service 1878 Pattern Blue Cloth Helmet circa 1908-14. A good example by Hawkes & Co. bearing Royal Arms regimental pattern plate, the scroll above the gun bearing laurel spray. Gilt peak trim, crosspiece, ball top, spine, velvet lined chinchain and rosette ear bosses. The interior with crimson silk edged leather sweatband with paper label underneath: 505 Crowe. Minor service wear, generally VGC. housed in lightly rusted shaped Japanned metal storage/transit tin bearing Hawkes brass shield and nameplate F. Crowe Esq.1st West York Vol. Art.. Carrying handle and hasp present, staple absent. (2 parts) Commissioned 2nd Lieutenant 1st West York Vol. Art. 4.3.99; transferred as Captain to Territorial Force in 1908.
LÉA LAFUGIE (FRANCE, 1890-1972) SCHOOL OF TRAVELING PAINTER, GRADUATED FROM THE PARIS SCHOOL OF DECORATIVE ARTS Opium subject: ‘Sombrée dans la béate humeur de son extase solitaire...’ (lit. ‘Falling asleep in the blissful mood of her solitary enjoyment’) 1930 Watercolor and pencil on paper Signed on the lower right With an artist seal on the lower right Titled on the lower central part Dated on the lower left Framed with a glass Dimensions (as seen within the frame): 43 x 34 cm Publication: Didier HAMEL & Sandrine DAPSENS. ‘Léa Lafugie: Art et Aventure’. Hexart Publishing, 2016: p. 74, ref. b. LÉA LAFUGIE (PHÁP, 1890-1972) TRƯỜNG HỌA SĨ DU MỤC, TỐT NGHIỆP TỪ TRƯỜNG MỸ THUẬT TRANG TRÍ PARIS NOTICE TO BIDDERS: This lot has been authenticated by Sandrine DAPSENS. Note: A French explorer born in Paris with an atypical personality and life like Alexandra David-Néel (1868-1969) in Tibet and Edith Durham (1863-1944) in Albania, Léa Lafugie was fascinated by the Asian continent and, starting from the 1920s, traveled extensively to countries such as Burma, Tibet, India and Vietnam. Her talent as a drawer and portraitist, depicting peoples’ facial features as well as their souls, lead her to meet important peoples such as Jetsuma Dorjee Pagmo, the highest female reincarnation in Tibet Hierarchy (nr. 3 after the Dalaï Lama) and Nam Phương, the last Empress of the Nguyen Dynasty. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
LÉA LAFUGIE (FRANCE, 1890-1972) SCHOOL OF TRAVELING PAINTER, GRADUATED FROM THE PARIS SCHOOL OF DECORATIVE ARTS Opium subject: 'Le corps s'allège en un symbole tandis que l'âme ivre s’envole…’ (lit. in English: 'The body lightens into a symbol while the drunken soul flies away') 1932 Watercolor and pencil on paper Signed on the lower left With an artist seal on the lower left Titled on the lower left A further inscription on the lower left reading 'Contre les moustiques Nord du Siam' Dated on the lower left Framed with a glass Dimensions (as seen within the frame): 43,4 x 34 cm Publication: Didier HAMEL & Sandrine DAPSENS. ‘Léa Lafugie: Art et Aventure’. Hexart Publishing, 2016: p. 92, ref. b. LÉA LAFUGIE (PHÁP, 1890-1972) TRƯỜNG HỌA SĨ DU MỤC, TỐT NGHIỆP TỪ TRƯỜNG MỸ THUẬT TRANG TRÍ PARIS NOTICE TO BIDDERS: This lot has been authenticated by Sandrine Dapsens. Note: A French explorer born in Paris with an atypical personality and life like Alexandra David-Néel (1868-1969) in Tibet and Edith Durham (1863-1944) in Albania, Léa Lafugie was fascinated by the Asian continent and, starting from the 1920s, traveled extensively to countries such as Burma, Tibet, India and Vietnam. Her talent as a drawer and portraitist, depicting peoples’ facial features as well as their souls, lead her to meet important peoples such as Jetsuma Dorjee Pagmo, the highest female reincarnation in Tibet Hierarchy (nr. 3 after the Dalaï Lama) and Nam Phương, the last Empress of the Nguyen Dynasty. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
+ LÊ PHỔ (VIETNAM & FRANCE, 1907-2001) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1ST CLASS (1925-1930) Bouquet de lys ou Nature morte au vase meiping fleuri d’hibiscus et au bol bleu blanc (Bouquet of Lily of Still life with a meiping vase with lily flowers and a bleu and white bowl) Gouache on paper Signed to the lower right Framed with a glass 44,3 x 36,3 cm (the full leaf out of the frame) Provenance: René et Raymonde Altobianchi, antique dealers active in the 1960s-1980s in l’Escarène, near Nice, French Riviera, where Lê Phổ settled after the French army, in which he enrolled in Carcassonne, was defeated by German. Their shop was named ‘César de Peluet’ after the first name of the father of Raymonde. Probably acquired in the 1970s from a local Estate. René Altobianchi was also an ornamental sculptor and was awarded the Medal of the French National Order of Merit for his volunteer role as a technical director of judo, which he practiced along with Yves Klein, a world-renowned artist of the School of Nice prized, notably, for his famous ‘Leap into the void’ and his ‘IKB blue’. + NOTICE TO BIDDERS: This lot has been authenticated by the Wally Findlay Institute, USA. According to them, it will be included in the forthcoming catalogue raisonne of the artist. The buyer will bear the cost of this certificate. Please e-mail the department for further details: yuchen@adams.ie. This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Batiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60. Notes: 1. One of the leading figures of modern Vietnamese art, Lê Phổ was born in 1907 in Hà Tây province into a respected Mandarin family, his father being the last viceroy of Tonkin. Showing a predisposition for painting and drawing, he entered the first class of the Indochina School of Fine Arts in 1925. He was soon noticed by the director and founder of the school, Victor Tardieu, for whom he retained a strong attachment throughout his life. In 1931, he came to France to present his works on the occasion of the International Colonial Exhibition. He chose to stay in Paris for a year to attend classes at the École des Beaux-Arts, then undertook several trips to Europe. He returned to Vietnam in 1933 and taught at the Indochina School of Fine Arts in Hanoi. He decided to settle permanently in France in 1937 and quickly became very well known. 2. Lily symbolizes purity and fertility. The sweet and innocent beauty of the lily flower has given it the association of fresh life and rebirth. In this painting, Lê Phổ pays tribute to the classic genre of still life, whilst bringing his fresh vision on it, thereby creating an image at the confluence of the Western and the East Asian pictorial traditions. The discreet and quickly painted low-tone grey background, possibly a reference to the Spanish Bodegones, contrasts with the vivid red of the round table. On the latter are depicted two antique Chinese porcelains: a Ming style blue and white bowl resting on a wooden legged-stand and a Yuan stype Meiping vase flowered with white lillies. 3. Bouquet of flowers was one of the main subjects depicted by Lê Phổ along with young women. In some paintings, he even combined both subjects, as one can see in a work entitled ‘Nostalgie’ sold at CHRISTIE’S Hong Kong, China, 2018-11-24, under lot number 44. The artist mastered at painting all varieties of flowers with bright colors and a rare freshness. The record price at auction for a bouquet of flowers was achieved at SOTHEBY’S Hong Kong, China, 2020-07-09, lot 268 at €273,153.
+ LÊ PHỔ (VIETNAM & FRANCE, 1907-2001) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1ST CLASS (1925-1930) La colombe (The Dove) Ink and colors on silk Signed to the lower right Framed with a glass 17,8 x 22,7 cm (as seen in the frame) *****DIMENSIONS SHOULD READ 17,8 x 22,7 CM***** Provenance: - René et Raymonde Altobianchi, antique dealers active in the 1960s-1980s in l’Escarène, near Nice, French Riviera, where Lê Phổ settled after the French army, in which he enrolled in Carcassonne, was defeated by German. Their shop was named ‘César de Peluet’ after the first name of the father of Raymonde. Probably acquired in the 1970s from a local Estate. René Altobianchi was also an ornamental sculptor and was awarded the Medal of the French National Order of Merit for his volunteer role as a technical director of judo, which he practiced along with Yves Klein, a world-renowned artist of the School of Nice prized, notably, for his famous ‘Leap into the void’ and his ‘IKB blue’. + NOTICE TO BIDDERS: This lot has been authenticated by the Wally Findlay Institute, USA. According to them, it will be included in the forthcoming catalogue raisonne of the artist. The buyer will bear the cost of this certificate. Please e-mail the department for further details: yuchen@adams.ie. This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Batiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60. Notes: One of the leading figures of modern Vietnamese art, Lê Phổ was born in 1907 in Hà Tây province into a respected Mandarin family, his father being the last viceroy of Tonkin. Showing a predisposition for painting and drawing, he entered the first class of the Indochina School of Fine Arts in 1925. He was soon noticed by the director and founder of the school, Victor Tardieu, for whom he retained a strong attachment throughout his life. In 1931, he came to France to present his works on the occasion of the International Colonial Exhibition. He chose to stay in Paris for a year to attend classes at the École des Beaux-Arts, then undertook several trips to Europe. He returned to Vietnam in 1933 and taught at the Indochina School of Fine Arts in Hanoi. He decided to settle permanently in France in 1937 and quickly became very well known. Why would Lê Phổ have depicted a dove The dove represents purity, gentleness, devotion, beauty and faith but also hope and peace, and that has resonated well across the vast majority of religions and cultures. It may be possible to draw a link between the dove and the Vietnam war, during which the term ‘Dove’ was describing a person who opposed the war, as opposed to ‘Hawk’. In East Asia, the dove is associated with long life and fidelity as doves pair for life. It is also noted that Lê Phổ has depicted young women with birds such as in a painting sold in DROUOT Paris, France, by Fraysse & Associés, 2007-03-21 under lot number 56. Additionally, following the East Asian pictorial tradition, he has depicted birds and flowers, as seen in a painting sold by SOTHEBY’S Singapore, 2011-04-01, under lot number 70. Compare with a related ink and colors on silk by Lê Phổ entitled ‘Three doves’ from the collection of Madame Dorothy Fera Tajasque, wife of Georges Tajasque who served as Chef du Cabinet to Marie Antoine Pasquier, Governor General of French Indochina from 1928 to 1934. This work has been sold at public auction at BONHAM’S Hong Kong, China, 2017-11-27, under lot number 250. LÊ PHỔ (VIỆT NAM VÀ PHÁP, 1907-2001) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG, KHÓA 1 (1925-1930) La colombe (Chim bồ câu) Tranh lụa vẽ bằng mực và màu Được ký ở phía dưới bên phải Đóng khung kính 28 x 33 cm (như thấy trong khung) Xuất xứ: - René và Raymonde Altobianchi, những nhà buôn đồ cổ hoạt động trong những năm 1960-1980 tại l'Escarène, gần Nice, French Riviera, nơi Lê Phổ định cư sau khi quân đội Pháp, mà ông đã nhập ngũ tại Carcassonne, bị quân Đức đánh bại. Cửa hàng của họ được đặt tên là “César de Peluet” theo tên cha đẻ của Raymonde. Có lẽ được mua vào những năm 1970 từ một Nhà bất động sản địa phương. René Altobianchi cũng là một nhà điêu khắc trang trí và đã được trao tặng Huân chương Công trạng Quốc gia Pháp cho vai trò tình nguyện viên với tư cách là giám đốc kỹ thuật võ judo, mà ông đã luyện tập cùng với Yves Klein, một họa sĩ nổi tiếng thế giới của Trường Nice được đánh giá cao, nổi bật, với tác phẩm nổi tiếng “Leap into the void” và “IKB blue” của ông. Lưu ý quan trọng đối với các nhà đấu giá tiềm năng: Nhà đấu giá thành công sẽ được cung cấp một giấy chứng nhận tác phẩm thật do Viện Findlay, Hoa Kỳ cấp. Tác phẩm này sẽ được đưa vào danh mục quan trọng của nghệ sĩ hiện đang được chuẩn bị. Người mua sẽ chịu chi phí cho giấy chứng nhận này. Vui lòng gửi e-mail cho bộ phận để biết thêm thông tin chi tiết: yuchen@adams.ie. Ghi chú: Là một trong những gương mặt hàng đầu của nền mỹ thuật Việt Nam hiện đại, Lê Phổ sinh năm 1907 tại tỉnh Hà Tây trong một gia đình quan lại danh giá, cha ông là tổng trấn cuối cùng của Bắc Kỳ. Có thiên hướng về hội họa và vẽ tranh, ông đã vào học khóa đầu tiên của Trường Mỹ thuật Đông Dương vào năm 1925. Ông đã nhanh chóng thu hút sự chú ý của giám đốc đồng thời là người sáng lập trường, Victor Tardieu, người mà ông đã gắn bó suốt cuộc đời. Năm 1931, ông đã đến Pháp để trình bày các tác phẩm của mình nhân Hội triển lãm Thuộc địa Quốc tế. Ông đã chọn ở lại Paris một năm để tham gia các lớp học tại École des Beaux-Arts, rồi thực hiện một số chuyến đi đến châu Âu. Ông đã trở về Việt Nam năm 1933 và giảng dạy tại Trường Mỹ thuật Đông Dương ở Hà Nội. Ông đã quyết định định cư lâu dài tại Pháp vào năm 1937 và nhanh chóng trở nên rất nổi tiếng. Vì sao Lê Phổ lại vẽ một con chim bồ câu Chim bồ câu đại diện cho sự thuần khiết, dịu dàng, tận tâm, vẻ đẹp và sự chung thủy nhưng cũng đại diện cho hy vọng và hòa bình, điều đó đã gây được tiếng vang lớn trong đại đa số các tôn giáo và nền văn hóa. Có thể rút ra mối liên hệ giữa chim bồ câu và chiến tranh Việt Nam, trong đó thuật ngữ “Chim bồ câu” mô tả một người phản đối chiến tranh, trái ngược với “Chim ưng”. Ở Đông Á, chim bồ câu gắn liền với cuộc sống lâu dài và chung thủy bởi vì chim bồ câu khi bắt cặp với nhau thì sống bên nhau trọn đời. Cũng cần lưu ý là Lê Phổ đã vẽ các thiếu nữ với các loài chim như trong một bức tranh bán ở DROUOT Paris, Pháp, bởi Fraysse & Associés, 21-03-2007 theo lô số 56. Ngoài ra, theo truyền thống tranh ảnh Đông Á, ông đã mô tả chim và hoa, như được thấy trong một bức tranh được bán bởi SOTHEBY'S Singapore, 01-04-2011, theo lô số 70. So sánh với một tác phẩm vẽ bằng mực và màu trên lụa có liên quan của Lê Phổ mang tên “Ba con chim bồ câu” trong bộ sưu tập của Quý bà Dorothy Fera Tajasque, vợ của Georges Tajasque, người từng là Trưởng Nội các của Marie Antoine Pasquier, Toàn quyền Đông Dương thuộc Pháp từ năm 1928 đến 1934. Tác phẩm này đã được bán đấu giá công khai tại BONHAM'S Hồng Kông, Trung Quốc, 27-11-2017, lô số 250. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
+ LÊ PHỔ (VIETNAM & FRANCE, 1907-2001) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1ST CLASS (1925-1930) Les blanchisseuses ou les lavandières au bord de l’eau, Vietnam (Washerwomen - Laundresses or Laundry Women - along the River, Vietnam) Ink on paper / two paper leaves Signed to the lower right Framed with a glass 25,7 x 35,7 cm *****DIMENSIONS SHOULD READ 25,7 x 35,7 CM***** Provenance: - René et Raymonde Altobianchi, antique dealers active in the 1960s-1980s in l’Escarène, near Nice, French Riviera, where Lê Phổ settled after the French army, in which he enrolled in Carcassonne, was defeated by German. Their shop was named ‘César de Peluet’ after the first name of the father of Raymonde. Probably acquired in the 1970s from a local Estate. René Altobianchi was also an ornamental sculptor and was awarded the Medal of the French National Order of Merit for his volunteer role as a technical director of judo, which he practiced along with Yves Klein, a world-renowned artist of the School of Nice prized, notably, for his famous ‘Leap into the void’ and his ‘IKB blue’. + NOTICE TO BIDDERS: This lot has been authenticated by the Wally Findlay Institute, USA. According to them, it will be included in the forthcoming catalogue raisonne of the artist. The buyer will bear the cost of this certificate. Please e-mail the department for further details: yuchen@adams.ie. This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Batiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60. The buyer will bear the cost of this certificate. Please e-mail the department for further details: yuchen@adams.ie. Notes: One of the leading figures of modern Vietnamese art, Lê Phổ was born in 1907 in Hà Tây province into a respected Mandarin family, his father being the last viceroy of Tonkin. Showing a predisposition for painting and drawing, he entered the first class of the Indochina School of Fine Arts in 1925. He was soon noticed by the director and founder of the school, Victor Tardieu, for whom he retained a strong attachment throughout his life. In 1931, he came to France to present his works on the occasion of the International Colonial Exhibition. He chose to stay in Paris for a year to attend classes at the École des Beaux-Arts, then undertook several trips to Europe. He returned to Vietnam in 1933 and taught at the Indochina School of Fine Arts in Hanoi. He decided to settle permanently in France in 1937 and quickly became very well known. The washerwomen installed around the laundries have marked the previous centuries. Washerwomen is a generic term that includes laundresses and laundry women who differ in the nature of the laundry they wash: the formers take care of the fine linen (e.g. costume) whilst the latter clean the less delicate, coarser linen (e.g. rags). This theme inspired many French artists of the 19th century, such as Pierre-Auguste Renoir and Honoré Daumier, with different perspectives: some glorified the hard work of these women whilst others showed their complicity at work. In Blanchisseuse, Lê Phổ, deals with a very Francophile pictorial subject with his Vietnamese soul. Two women are seated on a pier above quiet water: the first one, fronting the spectator, is soaking clothes in her hands, a laundry basin next to her; the second one, at rest and seen from the back, is melancholically staring at the horizon. The slender Vietnamese women wear traditional clothes known as áo dài. The one seen from the back also wears a traditional headdress. Lê Phổ used sweet, soft, curvy, and round lines to magnify the beauty and the femininity of those women (as would have done Jean-Auguste-Dominique Ingres), whom do not seem affected by their work. In doing so, he created an ideal depiction, an iconic vision of washerwomen. Compare with a related oil on canvas by Lê Phổ entitled ‘The Laundry Ladies’ sold at CHRISTIE’S Hong Kong, China, 2006-05-28, lot 72, for €70,910.
LÊ BÁ ĐẢNG 黎白璗 ALSO KNOWN AS DANG LEBADANG (VIETNAM & FRANCE, 1921-2015) GRADUATED FROM THE ECOLE DES BEAUX-ARTS DE TOULOUSE (TOULOUSE FINE ARTS COLLEGE) Poissons rouges de l’Abondance - Goldfish of Abundance - 金玉滿堂 Oil on canvas Signed on the lower right Further attributed three (3) times to the back of the canvas and of the stretcher together with a short description of the artist life A label of Galerie Double SARL on the stretcher Framed Dimensions (the sole painting, frame excluded): 27 x 35 cm Provenance: - a Normandy private collection; - acquired from Galerie Doublet SARL, Avranches, Normandy, France (according to the label). LÊ BÁ ĐẢNG 黎白璗 CÒN ĐƯỢC BIẾT VỚI TÊN DANG LEBADANG (VIỆT NAM VÀ PHÁP, 1921-2015) TỐT NGHIỆP ECOLE DES BEAUX-ARTS DE TOULOUSE (TRƯỜNG CAO ĐẲNG MỸ THUẬT TOULOUSE) Note: Lebadang was a Vietnamese-born French artist born in Bích La Đông, (in Quang Tri near Huê) in 1921. In 1939, he emigrated to France where he fought in the French Resistance Army against the Nazi invasion. Alone and without resources, he survived for a time in wartime France, and enrolled for a course in painting given by Mr. Espinasse and sculpture lessons given by Mr. Manin at the Ecole des Beaux-Arts de Toulouse (Toulouse Fine Arts College) form which he graduated (1942-1948). Today, Lebadang’s works are in the collections of the Cincinnati Museum of Art, the Rockefeller Collection in New York, and the Phoenix Museum of Art, among others. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
NGUYEN PHUOC (VIETNAM, B. 1943) SAIGON SCHOOL OF APPLIED ARTS (1960) THE NATIONAL UNIVERSITY OF FINE ARTS OF HO CHI MINH CITY ‘Autumn Evening’ 2002 Oil on canvas Signed on the lower left Bears an artist seal on the lower left Dated on the lower left: ‘02’ Framed 81 x 77 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. NOTICE TO BIDDERS: This work has been authenticated by the artist himself (www.nguyenphuoc.com). The successful bidder will be provided with a certificate of authenticity with the serial #US-02-032 matching that which is on the stretcher, on the back of the painting. Notes: 1. Born in Saigon, Vietnam, Nguyen Phuoc began to paint as a teenager and later on graduated from the School of Applied Arts of Saigon (1960) and from the National University of Fine Arts (also in Saigon, 1965). He later settled in Minnesota, USA. 2. A thoughtful and attentive artist, Nguyen Phuoc always devotes a great deal of care to his compositions, meticulously executed on large formats by an unfailing hand. His works are profuse in their themes, using a rich chromatic palette. The artist is deliberately neglecting the rules of classical perspective. Amidst his main subjects are depictions of women and still lives. Our painting is the perfect combination of the two. Two beautiful Vietnamese ladies dressed in áo dài are resting outside on a terrace overlooking a river. On the first ground is a flowered antique blue and white porcelain vase with a fruit dish next to it. On the second and third grounds are the two ladies, the first one resting against an opium bed, the second one against a garden stool. In the background is a river with sampan boats. They are enjoying a quiet autumn evening outdoors. They are similar both by the color of their clothes and by their positions in the composition with the two women depicted by the same artist on a painting sold at SOTHEBY’S Singapore, 2004-04-04, lot 193. 3. Currently, his works are preserved in several public collections such as the Singapore Museum of Arts, the Singapore Vietnam Heritage Foundation and the Singapore Emerald Hill Gallery. His record price at auction was achieved by SOTHEBY’S Hong Kong, China, 2020-10-06, lot 264, sold for €35,060. NGUYỄN PHƯỚC (VIỆT NAM, SINH NĂM 1943) TRƯỜNG MỸ THUẬT ỨNG DỤNG SÀI GÒN (1960) TRƯỜNG ĐẠI HỌC MỸ THUẬT QUỐC GIA CỦA THÀNH PHỐ HỒ CHÍ MINH “Buổi tối mùa thu” 2002 Tranh vải dầu Được ký ở góc dưới bên trái Có con dấu họa sĩ ở góc dưới bên trái Đề ngày ở góc dưới bên trái: “02” Được đóng khung 81 x 77 cm Xuất xứ: Một bộ sưu tập tư nhân của Nghệ thuật Việt Nam, French Riviera, Pháp. Lưu ý quan trọng đối với các nhà đấu giá tiềm năng: Tác phẩm này đã được chứng thực bởi chính họa sĩ (www.nguyenphuoc.com. Người đấu giá thành công sẽ được cung cấp một giấy chứng nhận tranh thật có số sê-ri #US-02-032 trùng khớp với số ghi trên khung căng vải, mặt sau của bức tranh. Ghi chú: 1. Sinh ra tại Sài Gòn, Việt Nam, Nguyễn Phước bắt đầu vẽ tranh từ khi còn là một thiếu niên và sau đó tốt nghiệp Trường Mỹ thuật Ứng dụng Sài Gòn (1960) và Đại học Mỹ thuật Quốc gia (cũng tại Sài Gòn, 1965). Sau đó ông đã định cư tại Minnesota, Hoa Kỳ. 2. Là một nghệ sĩ sâu sắc và tận tâm, Nguyễn Phước luôn dành nhiều tâm huyết cho những tác phẩm của ông, được thực hiện một cách tỉ mỉ trên khổ lớn bởi một bàn tay bền bỉ. Các tác phẩm của ông có chủ đề phong phú, sử dụng một bảng màu phong phú. Người nghệ sĩ cố tình bỏ qua các quy tắc của phối cảnh cổ điển. Đối tượng chính trong những bức tranh của ông bao gồm miêu tả phụ nữ và tĩnh vật. Bức tranh của chúng tôi là sự kết hợp hoàn hảo của cả hai. Hai người phụ nữ Việt Nam xinh đẹp mặc áo dài đang nằm nghỉ ngơi trên sân thượng nhìn ra sông. Ở tầng một là một chiếc bình sứ cổ màu xanh trắng in hình hoa với một đĩa hoa quả bên cạnh. Ở tầng hai và ba là hai người phụ nữ, người đầu tiên nằm nghỉ dựa vào giường thuốc phiện, người thứ hai tựa vào chiếc ghế đẩu. Ở cảnh nền là một dòng sông với những chiếc thuyền tam bản. Họ đang tận hưởng một buổi tối mùa thu yên tĩnh ngoài trời. Họ giống nhau cả về màu sắc quần áo và vị trí của họ trong bố cục với hai người phụ nữ được miêu tả bởi cùng một họa sĩ trong một bức tranh được bán tại SOTHEBY'S Singapore, 04-04-2004, lô số 193. 3. Hiện tại, các tác phẩm của ông được lưu giữ trong một số bộ sưu tập công cộng như Bảo tàng Nghệ thuật Singapore, Quỹ Di sản Việt Nam Singapore và Nhà Triển lãm Emerald Hill Singapore. Giá kỷ lục của ông tại cuộc đấu giá là €35.060 đạt được bởi SOTHEBY'S Hồng Kông, Trung Quốc, 06-10-2020, lô 264. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
+ ALIX AYMÉ (FRANCE & VIETNAM, 1894-1989) PROFESSOR AT THE ÉCOLE DES BEAUX-ARTS DE L’INDOCHINE (EBAI - INDOCHINA FINE ARTS COLLEGE OF HANOI) Jeune fille assise aux fleurs – A seated young beauty with flowers Lacquered wooden panel Signed on the lower right Framed with an American case Dimensions (the sole lacquered panel, frame excluded): 77 x 49 cm This lot will be included in the forthcoming catalogue raisonne of the artist in preparation by Mr. Pascal Lacombe. Provenance: a Brittany private collection, France. + NOTICE TO BIDDERS: This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Bâtiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60. Notes: 1. Born in Marseille as Alix Angèle Marguerite Hava, Alix Aymé (this last name being that of her second husband, Georges Aymé, who eventually became the Commandant of French Forces in Indochina) was a pupil of George Desvallières (1861–1950) and then Maurice Denis (1870-1943), with whom she maintained a close correspondence throughout her career. She first traveled to Asia (Shanghai, China then Hanoi, Vietnam) in the 1920s with her first husband, a milestone from which would grow her fascination for this continent. She returned to Indochina in the late 1920s together with her new-born child and then traveled extensively the South-Eastern Asia. Alix Aymé was inextricably linked to the French colonial experience in Indochina: she lived and worked for many years in Hanoi; she was instrumental in the revival of the ancient art of lacquer that she taught at the Ecole des Beaux-Arts de l’Indochine (Indochina School of Fine Arts) along with Joseph Inguimberty (1896-1971). Her work is at the crossing point between the Nabis style and the traditional Vietnamese painting. It is also inspired from the Byzantine icons with a notable taste for gilt backgrounds. She thereby brought traditional Vietnamese subjects, such as young beauties and maternities, under the light of Western Modernity. She was particularly talented at depicting the soul and intimacy of her models. In September of 2012, an exhibition about the Ecole des Beaux-Arts de l’Indochine (EBAI) opened at Paris Museum of Asian Art (Cernuschi Museum) that drew attention to the work of Alix Aymé with the display of a magnificent lacquered cabinet by hert that was arguably the ‘star attraction’. Today, her work is found in a number of important private and public collections worldwidely, including the Cabinet des Dessins of the Louvre Museum (Paris, France), the Musée des Années Trente (Paris, France), the Royal Palace in Luang Prabang (Cambodia) and the Evergreen Museum and Library of Johns Hopkins University in Baltimore (USA) 2. This portrait seems to belong to a series of lacquered wooden panels depicting women together with flowers and may possibly be the most notable one. Indeed, it stands out because of its size (it appears to be the largest one of the series) and also because the body of the model is made visible, whilst on the other panels, their sole busts are depicted. Alix Aymé captured the soul and intimacy or her model - a very young girl with almond eyes, half-long hair and a delicate smile - who appears to be serene and calm. She is wearing a long brown long robe as well as a flower necklace and his holding a bouquet of flowers. The sobriety of her tunisque is deeply contrasting with the bright pastel colors of the flowers and with the gold background. The latter makes it looks like an icon rather than a mere portrait, which conveys spirituality and invites to meditate. 3. Compare with a panel depicting a young girl with a dove of smaller size (45,5 x 38 cm) sold at AGUTTES, Paris, France, 2020-10-06, lot 24, for €27,000 hammer price. Also compare with a panel depicting a young girl with flowers of smaller size (48 x 38 cm) sold at AGUTTES, Paris, France, 2022-03-14, lot 30, for €87,000 hammer price. This last example is the closest one to our panel and gives a good idea on the most recent trend for prices.
TRẦN PHÚC DUYÊN (VIETNAM, 1923-1993) ECOLE DES BEAUX ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE - EBAI), 16TH CLASS (1942-1946) ECOLE DES BEAUX ARTS DE PARIS (PARIS FINE ARTS COLLEGE, 1955-1959) Paysage de la région du delta - Landscape of the delta river Lacquer cigar box with gilt against a red ground Signed on the lower right of the lid H: 6,7 cm - L: 26,6 cm - width: 12,5 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. TRẦN PHÚC DUYÊN (VIỆT NAM, 1923-1993) ECOLE DES BEAUX ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG - TMTĐD), KHÓA 16 (1942-1946) ECOLE DES BEAUX ARTS DE PARIS (TRƯỜNG MỸ THUẬT PARIS, 1955-1959) Notes: 1. Tran Phuc Duyen was born in Hanoi in 1913. Fascinated by the arts of drawing and painting, he embraced a career in that field and successfully passed the entrance exam of the Ecole des Beaux-Arts d'Indochine (Indochina Fine Arts College), from which he graduated in lacquerware, along with major artists such as Jean Volang (B. 1921). From 1945 to 1954, he was living and working in Hanoi where he had his studio. He received numerous commands from bourgeois families and French officials. In 1950, three of his lacquers were selected to be gifted to Pope Pius and kept in the Vatican Museum. While in Hanoi, he was a close friend of artists such as Bui Xuan Phai (1920-1988) and Nguyen Tien Chung (1914-1976), for whom he drew many sketches and who had a strong influence on his work. In 1954, he moved to Paris, France, where he studied under the direction of Jean Souverbie (1891-1981) at the Ecole des Beaux-Arts de Paris (Paris School of Fine Arts). In 1961, he had a solo exhibition in Nice, France, with a total of forty lacquer and silk paintings. 2. This box's lacquer style and tones is typical of the art of Tran Phuc Duyen and is related with, inter alia, a panel recently sold at public auction by LYNDA TROUVE, 2020-09-22, lot 265, sold for €38,000. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
VIETNAMESE SCHOOL (VIETNAM, ACTIVE 20TH CENTURY) PROBABLY A STUDENT OF THE ECOLE DES BEAUX ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE - EBAI) La Moyenne Région (du Nord Vietnam, Tonkin) - The Middle Region (of North Vietnam, Tonkin) Lacquered wooden shallow dish with gilt against a red ground Not signed D: 30 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. TRƯỜNG VIỆT NAM (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) CÓ THỂ LÀ SINH VIÊN CỦA THE ECOLE DES BEAUX ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG - TMTĐD) Note: A lacquer piece undoubtedly by a skillful artist, possibly a student of the Ecole des Beaux Arts de l’Indochine, with striking gilt coco trees and palm trees along thatched houses. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
VIETNAMESE SCHOOL (VIETNAM, ACTIVE 20TH CENTURY) ATTRIBUTED TO HOÀNG TÍCH CHU (1914-1976) AND NGUYÊN TIÊN CHUNG (1897-1933) ECOLE DES BEAUX ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE - EBAI), 11TH CLASS (1936-1941) La Moyenne Région (du Nord Vietnam, Tonkin) - The Middle Region (of North Vietnam, Tonkin) Lacquered wooden shallow dish with gilt against a red ground Not signed D: 30,5 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. Notes: 1. This impressive work may be linked with a major lacquered wooden panel sold at CHRISTIE’S, a common work by these two artists, students of Joseph Inguimberty (1896-1971) in the lacquer section of the Ecole des Beaux Arts de l’Indochine as well as close friends. See CHRISTIE’S Hong Kong, China, 2017-05-28, lot 325, sold for €549,320. 2. Please find below an abstract of the lot essay written by expert Jean-François Hubert, senior consultant at CHRISTIE’S, for the above-mentioned panel, that may also fit our shallow dish: ‘The execution of a joint work, might not be unique, but it certainly remains exceptional. In 1942, these two artists were in full force and at the peak of their talent. In this work, they both related the same way to this majestic and mysterious mountainous Tonkin, which Victor Tardieu and Joseph Inguimberty always encouraged students of the Beaux Arts to go admire. The sugar loaf mountains, such as those found in this region are magnified, as well as the vegetation, by an abundant use of gold lacquer in contrast to the rather dark atmosphere of the rice fields.’ TRƯỜNG HỌC VIỆT NAM (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) THUỘC VỀ HOÀNG TÍCH CHU (1914-1976) VÀ NGUYÊN TIÊN CHUNG (1897-1933) ECOLE DES BEAUX ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG, KHÓA 11 (1936-1941) La Moyenne Région (du Nord Vietnam, Tonkin) - Miền Trung (thuộc miền Bắc Việt Nam, Bắc Kỳ) Đĩa nông lòng bằng gỗ sơn mài có hoa văn mạ vàng trên nền đỏ Chưa được ký Kích thước: 30,5 cm Xuất xứ: Một bộ sưu tập tư nhân của Nghệ thuật Việt Nam, French Riviera, Pháp. Ghi chú: 1. Tác phẩm ấn tượng này có thể được liên kết với một tấm tranh gỗ sơn mài lớn được bán tại CHRISTIE'S, một tác phẩm chung của hai nghệ nhân này, họ là học sinh của Joseph Inguimberty (1896-1971) trong khoa sơn mài của Trường Mỹ thuật Đông Dương đồng thời cũng là những người bạn thân. Xem CHRISTIE’S Hồng Kông, Trung Quốc, 28-05-2017, lô số 325, được bán với giá €549.320. 2. Vui lòng xem dưới đây phần trích của bài luận văn về lô sản phẩm do chuyên gia Jean-François Hubert, chuyên gia tư vấn cấp cao của CHRISTIE'S, viết về tấm tranh sơn mài đề cập ở trên, cũng có thể phù hợp với cái đĩa nông lòng của chúng tôi: “Việc thực hiện một tác phẩm chung, có thể không độc nhất vô nhị, nhưng chắc chắn vẫn rất đặc biệt. Năm 1942, hai nghệ nhân này đang sung sức và ở đỉnh cao tài năng. Trong tác phẩm này, cả hai liên hệ với nhau thông qua cùng mối quan tâm sâu sắc đến vùng Bắc Kỳ có núi non hùng vĩ và huyền bí này, nơi mà Victor Tardieu và Joseph Inguimberty luôn khuyến khích các sinh viên của Mỹ thuật đi chiêm ngưỡng. Những ngọn núi có đỉnh núi giống cối đường, chẳng hạn như những ngọn núi được tìm thấy ở vùng này thật hùng vĩ, cũng như thảm thực vật, được phóng đại bằng cách sử dụng nhiều lớp sơn mài màu vàng tương phản với bầu không khí khá u ám của những cánh đồng lúa”. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
+ LÊ QUỐC LỘC (VIETNAM, 1918-1987) ECOLE DES BEAUX ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE - EBAI), 12TH CLASS (1942) Paysage au village traversé par le fleuve Mékong - A Mekong river landscape with a village A rare and important six-panel (or six-fold, 6) lacquered wooden screen Signed and dated on the lower right of the far-right panel: ‘1943’ Dimensions: - each panel (approximately): 97,5 x 32 cm - the screen (approximately): 97,5 x 192 cm Provenance: - a French Riviera private collection; - acquired by the grand-father of the current owner, who lived Vietnam from 1922 to 1948, in Chợ Lớn, a district of Hồ Chí Minh Ville (Saigon, Vietnam), in front of hôpital Drouhet, and then in Cần Thơ (Mekong delta region, Vietnam) and Phnom Penh (Cambodia). + NOTICE TO BIDDERS: This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Bâtiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60. Notes: 1. Lê Quốc Lộc was born in Tuấn Quang hamlet in Phùng Hưng Commune, Khoái Châu District, Hưng Yên Province in 1918. He studied in the lacquer department of the École des Beaux Arts de l’Indochine starting from 1936 with professor Joseph Inguimberty (1896-1971) and graduated in 1942. He then opened his own lacquer workshop located at 42 Lò Đúc Street in Hanoï along with other artists such as Phạm Hậu, Nguyễn Gia Trí, Nguyễn Văn Tỵ and Hoàng Tích Chù. Starting from August 1945, during the First Indochina War, Lê Quốc Lộc joined the Việt Minh. Between 1945 and 1946, he worked at the Department of Propaganda in North Vietnam. Later on, he was put in charge of the Painting Department at the Department of Propaganda of Military Zone 3 (1947-1954). Between 1955 and 1959, he worked at the Vietnam Arts and Crafts Association and eventually became a member of the Vietnam Fine Arts Association in 1957. After the division of Vietnam following the war, he was appointed the deputy director of the Gia Đinh (Saigon) School of Applied Arts, whose founder was Lê Văn Đệ (1906-1966) where he taught from 1959 to 1967 and contributed to the rise of new artists. In 1968, he moved back to Hanoi to work at the Vietnam Fine Arts Association until 1978. Through his career, he was awarded numerous prizes amongst which: the National Fine Arts Exhibition Award (1st Prize in 1960, 2nd Prize in 1955, 1958 and 1962); the Craft Exhibition Award of the GDR (1st Prize in 1978 and 2nd Prize in 1974); the Ho Chi Minh Prize for Literature and Art (in 2000). 2. This screen, a masterpiece by world-renowned lacquer artist Lê Quốc Lộc, is typical of the artist’s work, in the sense that the predominant colors (or tones) are red and dark brown combined with gilt. It depicts a bird’s eye-viewed animated landscape, as seen from the top of a hill, crossed by Mekong river arms. The in-depth perspective is created by a succession of grounds. In the first two ones, the artist used a gilt lacquer to depict trees, including palm trees. In the middle one, on the left, is a traditional thatched houses hamlet. Then come Mekong river arms in alternance with isthmuses. The composition may roughly be described as being divided into two parts by a diagonal going from the upper left corner to the lower right corner - thereby creating two triangular shapes - and playing with empty and full: the lower left part, a full one dominated by red tones, is mostly devoted to the village scene and to the depiction of nature; the upper right part, an empty one dominated by dark tones, mostly concentrates on the depiction of the Mekong River. This work also stands out because of its profusion of details, amidst which: clothes hanging on a line in the hamlet; sampan boats with fishermen sailing the river; walking peasants or water carriers; a silent street market scene in front of a thatched house on the lower right corner etc. Also of importance is the year during which this screen was created, i.e. 1943, a very special one for Lê Quốc Lộc as well as a very creative one. Indeed, not only was his first son (Lê Huy Văn) born that year, but also he set up his own lacquer workshop and created several masterpieces such as an almost identical screen (click HERE to see this work) and another screen depicting Phnom Penh (click HERE to see this work). 3. Recently, Lê Quốc Lộc has been highly prized and valued on the art market by knowledgeable collectors, thereby acknowledging his prominent position in the history of Vietnamese Art. Indeed, an eight-fold lacquer screen depicting Phnom Penh achieved an impressive €1,222,000 at a public auction in Paris (2021-10-21, lot 114 - click HERE to see this work). In 2020, another version of our screen fetched €357,500 at another public auction in Paris (2020-11-03, lot 176 - click HERE to see this work). LÊ QUỐC LỘC (VIỆT NAM, 1918-1987) ECOLE DES BEAUX ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG, KHÓA 12 (1942) Paysage au village traversé par le fleuve Mékong - Phong cảnh sông Mê Kông với hình ảnh làng quê Một bức bình phong bằng gỗ sơn mài sáu tấm (hoặc gấp sáu, 6 lần) quý hiếm và đặc biệt. Được ký tên và ghi ngày ở góc dưới bên phải của tấm ngoài cùng bên phải: “1943”. Kích thước: - mỗi tấm (ước tính): 97,5 x 32 cm - nguyên bức (ước tính): 97,5 x 192 cm Xuất xứ: - một bộ sưu tập tư nhân Riviera của Pháp; - được mua bởi ông nội của người chủ sở hữu hiện tại, người đã sống ở Việt Nam từ năm 1922 đến năm 1948, tại Chợ Lớn, một quận của Thành phố Hồ Chí Minh (Sài Gòn, Việt Nam), trước bệnh viện Drouhet, và sau đó ở Cần Thơ (vùng đồng bằng sông Cửu Long) , Việt Nam) và Phnom Penh (Campuchia). Ghi chú: 1. Lê Quốc Lộc sinh ra tại thôn Tuấn Quang, xã Phùng Hưng, huyện Khoái Châu, tỉnh Hưng Yên vào năm 1918. Ông theo học khoa sơn mài của Trường Mỹ thuật Đông Dương từ năm 1936 với giáo sư Joseph Inguimberty ( 1896-1971) và tốt nghiệp năm 1942. Sau đó, ông mở xưởng sơn mài của riêng mình tại 42 đường Lò Đúc, Hà Nội cùng với các nghệ nhân khác như Phạm Hậu, Nguyễn Gia Trí, Nguyễn Văn Tỵ và Hoàng Tích Chù. Bắt đầu từ tháng 8 năm 1945, trong Chiến tranh Đông Dương lần thứ nhất, Lê Quốc Lộc tham gia Việt Minh. Trong khoảng thời gian từ năm 1945 đến năm 1946, ông làm việc tại Sở Tuyên truyền tại miền Bắc Việt Nam. Sau đó, ông được đưa về phụ trách Phòng Hội họa ở Sở Tuyên truyền Quân khu 3 (1947-1954). Từ năm 1955 đến 1959, ông làm việc tại Hội Thủ công Mỹ nghệ Việt Nam và cuối cùng trở thành hội viên Hội Mỹ thuật Việt Nam năm 1957. Sau khi Việt Nam bị chia cắt sau chiến tranh, ông được bổ nhiệm làm Phó giám đốc Trường Mỹ thuật Ứng dụng Gia Định (Sài Gòn), người sáng lập là Lê Văn Đệ (1906-1966), nơi ông giảng dạy từ năm 1959 đến năm 1967 và góp phần vào sự phát triển của các nghệ sĩ mới. Năm 1968, ông về Hà Nội công tác tại Hội Mỹ thuật Việt Nam cho đến năm 1978. Trong sự nghiệp của mình, ông đã được tặng thưởng nhiều giải thưởng: Giải thưởng Triển lãm Mỹ thuật Toàn quốc (Giải nhất năm 1960, Giải nhì năm 1955, 1958 và 1962); Giải thưởng Triển lãm Hàng Thủ công Mỹ nghệ của CHDC Đức (Giải nhất năm 1978 và Giải nhì năm 1974); Giải thưởng Hồ Chí Minh về Văn học Nghệ thuật (năm 2000). 2. Bức bình phong này, một kiệt tác của nghệ nhân sơn mài nổi tiếng thế giới Lê Quốc Lộc, là tác phẩm tiêu biểu của nghệ nhân, thể hiện ở màu sắc chủ đạo (hoặc tông màu) là đỏ và nâu sẫm kết hợp với mạ vàng. Tác phẩm này mô tả toàn cảnh một cảnh quan sống động, như được nhìn từ trên đỉnh đồi, được cắt ngang bởi các nhánh sông Mekong. Luật phối cảnh xa gần chuyên sâu được tạo ra bởi sự nối tiếp nhau của các lớp. Trong hai bức đầu tiên, nghệ nhân đã sử dụng sơn mài mạ vàng để khắc họa cây cối, bao gồm cây cọ. Ở tấm giữa, bên trái, là một xóm nhà tranh truyền thống. Sau đó đến các nhánh sông Mekong xen kẽ với các eo đất. Bố cục có thể được mô tả một cách đại khái là được chia thành hai phần bởi một đường chéo đi từ góc trên bên trái đến góc dưới bên phải - do đó tạo ra hai hình tam giác - và cách xử lý với sự trống vắng và đông đúc: phần dưới bên trái, một
PUBLICATION DE L’ECOLE D’ART DE GIADINH, SAIGON (GIADING SCHOOL OF ART PUBLICATION) J.G. BESSON, CONTROLLER OF INDOCHINA’S SCHOOL OF ARTS (UNDER THE DIRECTION OF) MONOGRAPHIE DESSINEE DE L’INDOCHINE COCHINCHINE (DRAWN MONOGRAPH OF INDOCHINA COCHINCHINA) ASSOCIATION CORPORATIVE DES DECORATEURS, GRAVEURS ET LITHOGRAPHES DE GIADINH (CORPORATION ASSOCIATION OF THE DECOTORS, ENGRAVERS AND LITHOGRAPHERS OF GIADINH) PARIS, LIBRAIRIE ORIENTALISTE PAUL GEUTHNER, 12 RUE VAVIN (VITH DISTRICT), MCMXXXV (1935) PREFACE BY LOUIS MALLERET TOME I: SITES ET GENS (SITES AND PEOPLES) In-folio. Title page of the publication. Title page of the Tome. Plate summary. Complete preface of the publication by Louis Malleret (11 pages). 40 plates originally. 39 plates (missing one plate, no. 40). TOME II: SITES ET GENS (SITES AND PEOPLES) In-folio. Missing title page of the publication. Title page of the Tome. Plate summary. 40 plates originally. 12 plates (missing no. 1-5, 9-16, 18-20, 26, 28-35, 38-40). TOME III: SITES ET GENS (SITES AND PEOPLES) In-folio. Title page of the publication. Title page of the Tome. Plate summary. 40 plates originally. Complete. TOME IV: AGRICULTURE INDUSTRIE ET COMMERCE (AGRICULTURE INDUSTRY AND TRADE) In-folio. Title page of the publication. Title page of the Tome. Plate summary. 42 plates originally. Complete. TOME V: AGRICULTURE INDUSTRIE ET COMMERCE (AGRICULTURE INDUSTRY AND TRADE) In-folio. Title page of the publication. Title page of the Tome. Plate summary. 40 plates originally. Complete. TOME VI: AGRICULTURE INDUSTRIE ET COMMERCE (AGRICULTURE INDUSTRY AND TRADE) In-folio. Title page of the publication. Title page of the Tome. Plate summary. 40 plates originally. Complete. One tear to the title page of the publication. TOME VII: THEATRE SINO-ANNAMITE (CHINESE ANNAMESE THEATER) In-folio. Title page of the publication. Title page of the Tome. Plate summary. 42 plates originally. Complete. TOME VIII: CULTE (DEVOTION) In-folio. Title page of the publication. Title page of the Tome. Plate summary. 42 plates originally. Complete. [TOTAL: +/- 300 LITHOGRAPHS - ALL NUMBERS GIVEN IN THAT DESCRIPTION ARE APPROXIMATE] PUBLICATION DE L’ECOLE D’ART DE GIADINH, SÀI GÒN (TRƯỜNG XUẤT BẢN NGHỆ THUẬT GIA ĐỊNH) J.G. BESSON, TRƯỞNG BAN QUẢN TRỊ CỦA TRƯỜNG MỸ THUẬT ĐÔNG DƯƠNG (THEO CHỈ ĐẠO CỦA) Notes: 1. All the plates are lithographs. 8 tomes from a series of 13 tomes. A very rare publication. Such a lot with that many tomes has never been seen at auction previously. 2. Compare with a single tome (no. 3) of this collection of 13 tomes offered at auction at Lynda Trouve Paris, 2019/04/01, lot 190 sold for €2.000 BP excl. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A BIÊN HÒA 边和 STONEWARE ‘WARRIORS’ SHALLOW DISH OF ROUND SHAPE VIETNAM, BIÊN HÒA 边和 SCHOOL OF APPLIED ARTS, SECOND HALF OF 20TH CENTURY This shallow dish, of round shape, has a foliate rim. It is adorned in yellow, blue and green. Its wing is enhanced with a floral pattern together with a geometric pattern whilst its central part is adorned with a war scene with horse riders and infantrymen. Its base is engraved with two marks. D: 41,5 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. MỘT ĐĨA NÔNG LÒNG HÌNH TRÒN HỌA TIẾT “CHIẾN BINH” ĐỒ GỐM ĐÁ BIÊN HÒA 边和, TRƯỜNG HỌC MỸ THUẬT ỨNG DỤNG BIÊN HÒA 边和, NỬA SAU THẾ KỶ 20 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
TRƯƠNG VĂN THÀNH (VIETNAM, ACTIVE 20TH CENTURY) THE CO-FOUNDER OF THE THÀNH LÊ STUDIO OF HANOI, SCHOOL OF THỦ DẦU MỘT La cité royale de Huế - The Royal City of Huế Lacquered wooden panel Signed on the lower right Also bearing an artist symbol / seal or monogram on the lower right 120,5 x 60 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. TRƯƠNG VĂN THÀNH (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) NHÀ ĐỒNG THÀNH LẬP XƯỞNG THÀNH LỄ TẠI HÀ NỘI, TRƯỜNG THỦ DẦU MỘT La cité royale de Huế - Hoàng thành Huế NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
VIETNAMESE SCHOOL (VIETNAM, ACTIVE 20TH CENTURY) WITH SIGNATURE POSSIBLY READING LƯƠNG THI THỦY Paysage du vietnam - A vietnamese landscape 1925 Watercolour on paper Signed, dated and numbered on the lower right: '215' Framed 39 x 48,6 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. TRƯỜNG HỌC VIỆT NAM (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) VỚI CHỮ KÝ CÓ THỂ ĐỌC ĐƯỢC LƯƠNG THỊ THỦY Paysage du vietnam - Một phong cảnh Việt Nam 1925 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
VUONG V. KHOA ALSO KNOWN AS KHOA DI NGOC (VIETNAM, ACTIVE 20TH CENTURY) POSSIBLY A STUDENT OF THE ECOLE DES BEAUX ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE - EBAI) Les vieilles rues de Hanoi animées - Hanoi old streets with characters Watercolor on paper Signed on the lower right Framed with a glass 22,8 x 31 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. XXXXX IN THE PRINTED CATALOG, LOT 385 AND LOT 386 DESCRIPTIONS WERE INVERSED XXXX VƯƠNG V. KHOA CÒN ĐƯỢC BIẾT LÀ KHOA DI NGỌC (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) CÓ THỂ LÀ SINH VIÊN CỦA THE ECOLE DES BEAUX-ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG - TMTĐD) NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
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