A LARGE CARVED GILTWOOD WALL MIRRORIN LOUIS XVI STYLE, SECOND HALF 19TH CENTURY232cm high, 132cm wideProvenance: Ston Easton Park, near Bath, SomersetCondition Report: Marks, scratches and abrasions comensurate with age and useSome old chips and splits. some losses. Some old cracks and splits. some losses including a section of ribbon to the upper right corner of the frame and a leaf from the swag towards the upper centre of the mirror plate. Some 'slivers' of loss where the arched elements of the frame are joined. Some slender sections of gilt gesso are coming away from the frame and need securing/ gluing. The square and rectangular terminals in each corner of the frame bear cracking and some loose elements and some fragmentary losses at their side edges (see images) Wear to the gilding in areas. Some additional scratching, abrasion and chips of loss from the side edges. The mirror plate bears very little signs of 'depletion' if any apart from a lightly 'bloomed' area towards the upper right quarter of the plate. (see images)The rear panel to the mirror appears original and is panelled. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
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A CARVED GILTWOOD MIRRORIN MID-18TH CENTURY STYLE, 19TH CENTURY148cm high, 167cm wideProvenance: Ston Easton Park, near Bath, SomersetCondition Report: Marks, scratches and abrasions comensurate with age and useSome old chips and splits. some losses. Old cracks and splits to the frame. Wear to gilding overall. In areas, particularly to the lower half of the frame, there are areas where the gilding has worn away so the underlying preparation of yellow/ white colour is visible (see images) . To the surface of the frame it appears that an old thin layer of varnish has depleted and been affected by craquleure and losses throughout. Some old glued repairs to the frame. Some residual glue adjacent to some old glued repairs is very dry and can generally easily be removed. A small number of the glued elements have been re-glued slightly out of position so one may wish to have these re-set into more accurate position. The mirror plates appear to have some age and bear expected fairly minimal depletion in the form of black and grey 'spotting' in some areas. (see images)The rear panel to the mirror appears original and is panelled. The reverse of the mirror has been previously later re-painted. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A GEORGE III MAHOGANY WARDROBE IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770The moulded panel doors opening to a hanging rail 205cm high, 129cm wide, 61cm deep overallCondition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.There is some colour differentiation from sun fading with the front, the right hand side paler than the sides and cornice.There are losses and restorations including the doors which have cracks along the sectional construction joints, with some colour variations suggesting some restoration, there are some tears to the veneers where there is underlying movement; some bowing to the top right panel of the right door; some cracks to the door panels along the grain of the timber or along the construction lines. Some of the carved mouldings are lacking small sections, one moulding is detached from the door.The escutcheons are later, one is lose.The lock is later and there is a later key that operates the lock.The interior is lined with fabric to all sides, there are some stains and marks. The brass rail has five brass hooks and there are four brass hooks to the back of the interior. There are some later magnet fittings to the top of the doors/carcass.The back is of panelled construction.The feet are scuffed. Some later blocks and timber supporting the feet.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
ENAMEL BOXES TO INCLUDE AN ENGLISH ENAMEL TABLE SNUFF BOX CIRCA 1800 of shaped scallop form decorated to the lid with fishing boats by buildings, pale pink body, 9.5cm wide; ANOTHER ENGLISH BOX, painted with cattle and sheep in repose by Classical ruins, the sides painted with flower sprays on a white ground, 9.8cm wide; AND A SMALL ENAMEL BOX decorated throughout with floral sprays, 7cm wideProvenance:From the estate of Henry Lane Eno (1871-1928) and by descent to the current owner.Condition Report: There are some marks, scratches, knocks, and wear to surface consistent with age and heavy use.First- lid detached main body with cracks and losses notably to back rightSecond- lid detached- restored crack. Body with cracks and restorations to all 4 cornersThird- rubbed to raised decoration and top painted floral panel, lid with cracks and signs that lid has been reattached Please refer to additional images for visual references to condition which forms part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
AFTER THE ANTIQUE, A LEAD RELIEF PANEL OF PRIAM KISSING THE HAND OF ACHILLES PROBABLY ITALIAN, MID 19TH CENTURY The scene from Homer's Iliad with the King begging for the return of the body of his fallen son Hector 57cm wide, 18.5cm high, 1.5cm deepProvenance: Property from the Kingshott CollectionPossibly derived in part from a sarcophagus bas-relief. Camillo Pacetti's design for Wedgwood in 1788 seems to have a similar source inspiration from the sarcophagus of Alexander Severus and Julia Mamaea, Capitoline Museum. Most notable is the distinctive modelling of Achilles head turned away from the king- not bent over him as in most depictions of this scene.Condition Report: Rubbed to margins and worn to edges- some wear to raised definition- will benefit from a cleanCondition Report Disclaimer
A RARE GEORGE III BLACK JAPANNED AND POLYCHROME DECORATED SEMI ELLIPTICAL FOLDING TEA TABLEBY HENRY CLAY, LAST QUARTER 18TH CENTURY Veneered in papier mâché and painted, the top with neoclassical reserves and with Grand Tour style vignettes within bands of Roman style profile portraits, the interior with a Chinoiserie scene, the whole with 73.5cm high, 92cm wide, 46cm deep (when closed)The discovery of this rare table is an important addition to the very small number of known examples of furniture produced by the Birmingham manufacturer, inventor and entrepreneur Henry Clay (1738-1812).In 1776 Edward Daniel Clarke noted in his book that he had visited Clay- and seen two pier tables for Lord Bristol, "which were painted after some designs brought purposely from Rome". These tables for the 4th Earl disappeared until 1987 when two appeared at Christie's London with two further appearing in 2005 and two more known to be in a private collection. The Bristol tables were designed with decoration to the top in two styles. Either fully painted scenes of Italianate landscapes- or in the Pompeian manner with vignettes within formal borders with medallions of profile human and animal heads and with central medallion of Cupids sacrificing at an altar, while crowning a roundel portrait of Beatrice Cenci as seen in the Palazzo Barberini.This table corresponds to the second form of decorative design. A papier mâché tray in the Birmingham Museum stamped Henry Clay has this exact design- presented as an oval- which is how this table design would appear if two such tables were placed back-to-back. The frieze and top and legs are veneered in what Clay referred to as "panel"- his 1772 patented version of 'stoved', or baked, japanning on papier mâché.Whilst the location and existence of the Bristol tables is recorded- it is also known that Clay carried out commissions for other similar examples of furniture and tables. Most notably it was said that he presented a pair of pier tables to Queen Charlotte, the wife of George III. There appears to be no trace of such tables in the Royal Collection but it seems that many pieces purchased by Queen Charlotte were later sold. The gift had been made with a view to currying favour and further commissions from the Queen, her retinue and the court. It is a tantalising possibility that this table may be from one such commission.The interior decoration on this table, especially the execution of the trees, may be compared with the Clay panel sold by Woolley & Wallis, 11 November 2008, Lot 365. The pendant heads bear comparison with the doors in the Marble Hall, at Keddleston Hall in Derbyshire (pl.11 p21 in "Japanned Papier Mache").We are most grateful to Yvonne Jones for her assistance and suggestions with cataloguing and researching this table.Related Literature:Yvonne Jones, 'A recent discovery of two papier mâché pier tables by Henry Clay', The Furniture History Society Newsletter, no. 162, May 2006Yvonne Jones, 'George Brookshaw - Japanner! Further light on japanned metal and papier mâché furniture c. 1740-c. 1820', The Furniture History Society Newsletter, no. 173, February 2009Yvonne Jones, 'Japanned papier mâché and tinware c.1740-1940', pp.128-130, Woodbridge, Antique Collectors' Club, 2012Condition Report: Wear, abrasions and loss from use, handling and as per age.The surface uniformly with build up of surface dirt and varnish(?) discolouration. The main top with undulations from carcass movement. Streaky patches of surface that might be from old water spillage. Interior much better condition. Some rubbing to exposed gilded detailsStructurally- all 4 legs have been off at one time or another. Back two with modern metal strip bracing, 1 front with underframe block repair- the other with cruder nail repair.Losses to veneer most notably to extremities and exposed edges notably back corners, feet and top and frieze marginsPlease see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
Tribal interestDayak baby carrier, Borneo, the woven cane body with an applied beadwork panel, hung with further beads, shells and bells, with carrying strap, 32cm highAt present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.
Collection of miscellaneous items to include silver-plated pedestal candlesticks on square bases, 13cm high, two magnifying glass, brass pincushion in the form of a pig, micro mosaic panel, boxes, wrist watches, dress rings, pearl necklace etcAt present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.
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.
Cream silk skirt and bodicedecorated with embroidered flowers all over, skirt 42cm across (when fastened) x 98cm long (2)Bodice/top with restoration and alterations. Added panel to the front. Waistband replaced and is not inkeeping with the skirt. Damage and fraying throughout. Some marks and small stains. Pulls to the fabric (front and lining). Small holes in places. One or two signs of old moth damage. Hooks/eyes missing.
A GEORGE III MAHOGANY SERPENTINE SERVING TABLE C.1790 inlaid with stringing, the fan inlaid top with a central oval panel, above a fluted frieze fitted with three drawers, on panelled and stop fluted legs 86cm high, 139.3cm wide, 64.8cm deep Provenance From the collection of the late Peter Meyer.
A SATINWOOD AND GILTWOOD PEMBROKE TABLE IN SHERATON STYLE IN THE MANNER OF WRIGHT AND MANSFIELD, C.1860-70 the drop-leaf top with a central oval panel painted en grisailles with Aurora in her chariot in the manner of Angelica Kauffman, with a border painted with roses, above a frieze drawer, on stop fluted legs and with a later curved stretcher 76.7cm high, 50.5cm wide, 91.5cm long
A Large Brass & Mahogany 11x14 Camera,American, dated 1902, stamped 'CENTURY CAMERA CO, ROCHESTER N.Y.' and with name plaque to the front for 'CENTURY', the camera on a large two piece track with rack and pinion focusing, constructed of French polished mahogany with all lacquered brass parts, with 3 DDS's and a separate back, lens panel with mount/flange but no lens, assembled track length 95cm
Victorian 6th Inniskilling Dragoons Officer's Shabraque Bullion Badges. These bullion badges depicting the Regimental device with title, VR Cyphers and Guelphic Crowns have been mounted onto a double sided black cloth panel. Bullion dulled and a small amount of mouth to the backing cloth. Size 20 x 23 inches.
German Third Reich Forestry Service sidearm / cutlass by Original Eichorn, Solingen. A good scarce senior forester's example, the 33 cm blade with fine etched panel either side depicting hunting scenes and with maker squirrel logo circa 1935-41. Simulated ivory grips ornamented each side with three gilt acorns, gilt knucklebow joining the pommel in a deer foot design; gilt clamshell guard. Housed in original black leather scabbard with gilt mounts and acorn frog stud; complete with leather frog by A. Domeyer, Bremen 8. Minor service wear, gilt finish worn, generally VGC
+ 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) 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
TRAN VAN HA (VIETNAM, 1911-1974) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1935TH CLASS Les Quatre Saisons ou Les Quatre Gentilshommes (The Four Seasons of the Four Noblemen) A large lacquered wooden quadriptych Inscribed with a calligraphy on the far-right panel Also signed on the far-right panel Framed 33 x 67,4 cm TRẦN VĂN HÀ (VIỆT NAM, 1911-1974) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG), 1935 KHÓA Les Quatre Saisons ou Les Quatre Gentilshommes (Bốn mùa của Bốn chàng quý tộc) Notes: 1. The Four Gentlemen (sijunzi 四君子), also known as the Four Plants of Virtue, include the plum, orchid, bamboo and chrysanthemum. Each plant represents a season and the four plants together represent a year. On this quadriptych, the theme is enriched with birds such as sparrows and flying butterflies. 2. In this accomplished work by Tran Van Ha, possibly originally a folding screen, the combination of gilt designs against a silver grey background creates a striking visual effect. 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.
IN THE MANNER OF DO DINH HIEP (1914-1972) ECOLE DES BEAUX-ARTS DE L'INDOCHINE (INDOCHINA FINE ARTS COLLEGE) Le Fleuve Rouge, Paysans du Tonkin / The Red River, Tonkin peasants A large lacquered wooden panel Signed (unidentified) and dated to the lower right: 50 for 1950 55 x 101,5 cm THEO BÚT PHÁP CỦA ĐỖ ĐÌNH HIỆP (1914-1972) THE ECOLE DES BEAUX-ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG) Le Fleuve Rouge, Paysans du Tonkin / Sông Hồng, nông dân Bắc Kỳ Notes: 1. Do Dinh Diep (1914-1972) graduated from the Ecole des Beaux Arts d'Indochine (Indochina Fine Arts College) in 1937, one of his classmates being the renowned painter Luong Xuan Nhi (1913-2006). The same year he went to Paris, where he depicted the Eiffel Tower. Later on he settled in Saigon where he became the Director of The Ecole des Beaux-Arts de Saigon (Saigon's Fine Arts College). 2. Compare with a related panel by Do Dinh Diep (1914-1972) with a similar composition sold by Lynda Trouve Paris, France, 2019/10/18, lot 311 for Ôé¼128.000 BP incl. 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, 20TH CENTURY) Bamboo grove A gilt and red lacquered wooden panel Inscribed with a calligraphy on the middle right part Possibly signing it: ‘公 [...]’ (lit. Công [...]) 50,5 x 40 cm TRƯỜNG HỌC VIỆT NAM (VIỆT NAM, 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.
BÙI MAI HIÊN (VIETNAM, B. 1957) Chat vert et vase fleuri (A jumping green cat with a flowered vase) Lacquer wooden panel Signed and dated on the lower right: ‘02’ () Unidentified artist Framed 48,8 x 69,2 cm BÙI MAI HIỀN (VIỆT NAM, Sinh năm 1957) Chat vert et vase fleuri (Chú mèo xanh nhảy lên bình hoa) Tấm gỗ sơn mài 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.
STUDIO OF NGUYEN THÀNH LÊ (1919-2003) Lotus pond Lacquered wooden panel Signed on the lower right 50 x 70 cm XƯỞNG CỦA NGUYỄN THÀNH LÊ (1919-2003) Tấm tranh gỗ sơn mài Hồ sen 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.
STUDIO OF NGUYEN THÀNH LÊ (VIETNAM, 1919-2003) Le retour de pêche (Returning Fishermen) A large lacquered wooden panel Signed on the lower right Framed 60 x 160,3 cm XƯỞNG CỦA NGUYỄN THÀNH LÊ (VIỆT NAM, 1919-2003) Le retour de pêche (Ngư dân trở về) Một tấm tranh gỗ sơn mài lớn 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 ‘GOLDFISH OF ABUNDANCE’ LACQUER BUFFET OR CREDENCE BY THE STUDIO OF NGUYEN THÀNH LÊ (1919-1923) VIETNAM, 20TH CENTURY It opens by two front panel doors unveiling shelves. It is all lacquered in red on which are depicted ‘Les Poissons Rouges de l’Abondance’ (‘金玉滿堂’, lit. Goldfish of Abundance). The inner part of the right door bears a label signing it: ‘THÀNH LÊ VIETNAM’. H 92,3 cm - L: 150 cm - depth: 45 cm TỦ BÁT ĐĨA HOẶC TỦ LY SƠN MÀI HỌA TIẾT “CÁ VÀNG THỊNH VƯỢNG” BỞI XƯỞNG NGUYỄN THÀNH LÊ (1919-1923) VIỆT NAM, 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.
AN IRON-RED DECORATED ‘PROCESSION OF THE DAIMYO’ BALUSTER PORCELAIN VASE BY THE STUDIO OF MAKUZU KOZAN JAPAN, MEIJI PERIOD Resting on a short ring foot, with a waisted base and a globular body surmounted by a long tubular neck with a slightly everted rim. Finely painted in deliberately ‘faded’ iron red design depicting an interesting procession of insects. The base is inscribed in cobalt blue with a mark in Japanese script reading ‘Makuzu-gama Kozan Sei’. H: 20,7 cm ****WARNING: THIS LOT IS LOT 454 = NOT THE BOWL IN THE PRINTED CATALOGUE**** Notes: 1. Miyagawa Toranosuke, birth name of Makuzu Kōzan 宮川香山 (1842-1916) was of the major potters of the Meiji period appointed artist to the Japanese Imperial household. He won prizes at fifty-one (51) exhibitions. 2. The design may have been made after an oshi-e panel – i.e. a tradition Japanese craft of folded silk over stiff paper cuttings, puffed up with stuffed cotton – by the artist Sakurai Seppo (1753-1824) currently preserved at the Whyte Museum of the Canadian Rockies, Canada, under accession number SeP.15.01. It is a parody of a procession of the daimyo, i.e. a the regional and feudal warrior lords. Those approximately two hundred and fifty (250) lords were required to spend alternate years in the shogun court in the capital Edo, thus the roads to Edo were often the sigh of formidable pageants. The original piece of art depicts forty-two (42) insects in total, either grasshoppers, wasps and mantises – bearing flowers and fruits over their stiff limbs, banners and even a palanquin. 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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