Aguttes

682-CAT-MAQ-2_PA_20250513bd.pdf

Peintres D'Asie : Chine & Vietnam

58bbf882-795c-4424-99ac-5a6bb751fb35.jpeg

SANYU (1895-1966) Seated woman Ink on paper, signed lower right 44.5 x 27.5 cm - 17 1/2 x 10 7/8 in. PROVENANCE Michel Habart Collection Private collection, Paris (family heirloom) La Femme assise is one of a series of inks acquired by Michel Habart at a sale at Drouot in the early 1970s. The owner of a suitcase full of drawings and watercolors, Michel Habart was captivated by the talent of this recently deceased artist, who was still unknown in the art market at the time. In this work, Sanyu depicts a motif that was dear to him and that he had worked on many times in ink on paper: that of the woman drawing beside him, also a student at the Académie de La Grande Chaumière 1... BIBLIOGRAPHY FOR RELATED WORKS BIBLIOGRAPHY FOR RELATED WORKS 相关作品参考书目 Rita Wong, Sanyu Catalogue raisonné: drawings and watercolors - electronical index of drawings, Taipei, 2014, no. D2001, D2007, D2010, repr. coul. 1 Our drawing can be related to many of the drawings referenced by Rita Wong in Sanyu's catalog raisonné raisonné de Sanyu en ligne (sanyu.org): D2001| D2007| D2010| etc. 我们拍卖的这幅画作可以与衣淑凡在常玉在线作品全集（sanyu.org）中提及的许多画作进行比较：D2001；D2007；D2010；等等。 Sanyu born in 1895 in Nanchong in China's Sichuan province. His father, an animal painter specializing in the study of lions and horses, taught him the rudiments of his art. His elder brother, head of the family business, encouraged him in his passion. With considerable financial support, he enabled him to follow the teachings of Zhao Xi, a renowned calligrapher, and then to attend Shanghai University. Sanyu discovered France in 1921, where he stayed for some time before moving to Berlin for 2 years. While his contemporaries Xu Beihong and Lin Fengmian decided to return to China after a time, thereby gaining rapid recognition from their peers, he chose to pursue his own research in the Parisian circle, which he found so stimulating. When he moved to Paris in 1923, he turned to the Académie de la Grande Chaumière, where he studied nudes based on live models, in an environment where teaching advocated freedom. A trained calligrapher, Sanyu made drawing his favorite mode of expression. He practiced it non-stop, whether on paper or on the placemats in the cafés he frequented 1. The two drawings we're selling are typical of this production, showing his lively line and his favorite subject: the study of people he came across and captured on the spot, often classmates absorbed in their work or models posing. The artist never returned to China and died Paris in 1966. Ink on paper, signed lower right 纸本水墨，署名于右下角 PROVENANCE Michel Habart Collection Private collection, Paris (by family transmission from the previous owner) The Femme assise is an ink drawing from the collection acquired by Michel Habart at an auction held in the early 1970s at Drouot. The owner of a suitcase full of drawings and watercolors, Michel Habart was captivated by the talent of this recently deceased artist, who was still unknown in the art world at the time. In this work, Sanyu depicts a motif that was dear to him and which he worked on many times in ink on paper: that of the woman drawing beside him, also a student at the Académie de La Grande Chaumière 1... Sanyu was born in 1895 in Nanchong, Sichuan Province, China. His father, an animal painter specializing in lions and horses, taught him the basics of his art. His older brother, who ran the family business, encouraged him in his passion. With significant financial support, he was able to study under Zhao Xi, a renowned calligrapher, and then attend Shanghai University. Sanyu discovered France in 1921, where he stayed for a while before moving to Berlin for two years. While his contemporaries Xu Beihong and Lin Fengmian decided after a while to return to China, where they quickly gained recognition from their peers, he chose to pursue his own research in the Parisian circle he found so stimulating. When he settled in Paris in 1923, he turned to the Académie de la Grande Chaumière, where he studied mainly nude modeling in an environment where teaching emphasized freedom. Trained as a calligrapher, Sanyu made drawing his favorite form of expression. He practiced it constantly, whether on paper or on the tablecloths of the cafés he frequented 1. The two drawings we are offering for sale are typical of this period, with his lively lines and favorite subject: the study of people encountered and captured on the spot, often classmates absorbed in their work or models posing.

常玉 坐着的女人 纸上水墨，右下方有签名 44,5 x 27,5 厘米 - 17 1/2 x 10 7/8 英寸（1895-1966 年 出处 米歇尔-哈巴特收藏 私人收藏，巴黎（由前主人家族传承） La Femme assise》是米歇尔-哈巴特在 20 世纪 70 年代初德鲁奥拍卖会上购得的一套水墨画中的一幅。米歇尔-哈巴特拥有一个装满素描和水彩画的手提箱，他被这位刚刚去世的艺术家的才华所吸引，当时他在艺术市场上还默默无闻。在这幅作品中，常玉描绘了他所珍爱的一个主题，他曾多次在纸上用水墨创作过这个主题：在他身边画画的女人，她也是第一大混血儿学院的学生。 相关作品目录 相关作品参考书目 相关作品参考书目 Rita Wong，《常玉图录：素描和水彩画--素描电子索引》，台北，2014，编号 D2001、D2007、D2010，repr. coul. 1 我们的图画与黄丽达在常玉的在线图录中提到的许多图画有关。 1 我们拍卖的这幅画作可以与 Rita Wong 在常玉在线目录（sanyu.org）中提到的许多画作相联系。 我们拍卖的这幅画作可以与衣淑凡在常玉在线作品全集（Sanyu.org）中提及的许多画作进行比较：D2001；D2007；D2010；等等。 常玉于 1895 年出生于中国四川省南充市。他的父亲是一位动物画家，专门研究狮子和马，教他艺术的基础。他的兄长经营家族生意，鼓励他发挥自己的热情。他为常玉提供了大量资助，使他得以师从著名书法家赵熙，并进入上海大学学习。1921 年，常玉发现了法国，并在那里逗留了一段时间，之后又到柏林生活了两年。与他同时代的徐悲鸿和林风眠在一段时间后决定回国，从而迅速获得了同行的认可，而他却选择了在巴黎圈子里从事自己的研究，因为他发现巴黎圈子里的研究非常刺激。1923 年定居巴黎后，他进入大夏美尔美术学院，在一个崇尚自由的教学环境中学习裸体画。 作为一名训练有素的书法家，常玉将绘画作为自己最喜爱的表达方式。他不停地练习绘画，无论是在纸上还是在咖啡馆的餐垫上。 他经常光顾的咖啡馆的餐垫 1.我们出售的这两幅画是他创作的典型代表作，展现了他生动活泼的风格和他最喜欢的题材：研究他遇到并当场捕捉到的人物，这些人物通常是专注于工作的同学或摆姿势的模特。这位艺术家从未回过中国，1966 年在巴黎去世。 1966 年逝世于巴黎。 纸本水墨，署名于右下角 出处 米歇尔-哈巴特收藏 私人收藏，巴黎（由前拥有者家族传承） Femme assise》是米歇尔-哈巴特在 20 世纪 70 年代初德鲁奥拍卖会上购得的一幅水墨画。米歇尔-哈巴特拥有一个装满素描和水彩画的手提箱，他被这位刚刚去世的艺术家的才华所吸引，当时他在艺术界还默默无闻。在这幅作品中，常玉描绘了一个他非常喜爱的主题 在这幅作品中，常玉描绘了他非常喜爱的一个主题，他曾多次在纸上用水墨描绘这个主题：在他身旁画画的女子，也是第一大手工艺学院的学生... 常玉于 1895 年出生于中国四川省南充市。他的父亲是一位动物画家，擅长画狮子和马，教他艺术的基本知识。他的兄长经营家族生意，鼓励他发挥自己的热情。 在大量的经济支持下，他得以师从著名书法家赵熙，随后进入上海大学学习。1921 年，常玉发现了法国，并在那里逗留了一段时间，之后又到柏林生活了两年。 与他同时代的徐悲鸿、林风眠等人回国后很快就得到了同行的认可，而常玉却选择在巴黎这个他认为很有吸引力的圈子里从事自己的研究。1923 年定居巴黎后，他进入巴黎大学校学习，在一个强调自由的教学环境中，他主要学习裸体造型。 作为一名书法家，常玉将绘画作为自己最喜爱的表达方式。他经常在纸上或他经常光顾的咖啡馆的桌布上练习绘画1。 我们出售的这两幅画是这一时期的典型作品，线条生动活泼，题材也是他最喜欢的：研究在现场遇到并捕捉到的人物，通常是专注于工作的同学或摆姿势的模特。

SANYU (1895-1966)

SANYU (1895-1966) Femme assise Encre sur papier, signée en bas à droite 44,5 x 27,5 cm - 17 1/2 x 10 7/8 in. PROVENANCE Collection Michel Habart Collection particulière, Paris (par transmission familiale du précédent) La Femme assise est une encre qui est issue de l’ensemble acquis par Michel Habart lors de la vente qui se tint au début des années 1970 à Drouot. Propriétaire d'une valise remplie de dessins et aquarelles, Michel Habart est subjugué par le talent de cet artiste récemment décédé et alors encore méconnu dans le monde du marché de l’art. Dans cette oeuvre Sanyu représente un motif qui lui est cher et qu’il a de nombreuses fois travaillé à l’encre sur papier : celui de la femme qui dessine à ses côtés, également élève de l’académie de La Grande Chaumière 1… BIBLIOGRAPHIE POUR DES OEUVRES EN RAPPORT BIBLIOGRAPHY FOR RELATED WORKS 相关作品参考书目 Rita Wong, Sanyu Catalogue raisonné : drawings and watercolors - electronical index of drawings, Taipei, 2014, n° D2001, D2007, D2010, repr. coul. 1 Notre dessin peut être mis en rapport avec de nombreux dessins référencés par Rita Wong dans le catalogue raisonné de Sanyu en ligne (sanyu.org) : D2001| D2007| D2010| etc. 我们拍卖的这幅画作可以与衣淑凡在常玉在线作品全集（sanyu.org）中提及的许多画作进行比较：D2001；D2007；D2010；等等。 Sanyu né en 1895 à Nanchong dans la province du Sichuan en Chine. Son père, peintre animalier spécialisé dans l’étude des lions et des chevaux, lui transmet les rudiments de son art. Son frère aîné, à la tête de l’entreprise familiale, l’encourage dans sa passion. Par un soutien financier important, il lui permet de suivre l’enseignement de Zhao Xi, calligraphe réputé, puis, d’aller à l’Université de Shangaï. Sanyu découvre la France en 1921, où il reste quelque temps avant de partir à Berlin pendant 2 ans. Alors que ses contemporains Xu Beihong ou Lin Fengmian décident, après un temps, de rejoindre la Chine, bénéficiant ainsi d’une reconnaissance rapide par leurs pairs, il choisit, quant à lui, de pousser ses propres recherches dans ce cercle parisien qu’il trouve si stimulant. À son installation en 1923, il se tourne vers l’Académie de la Grande Chaumière où il étudie surtout le nu sur modèle vivant, dans un environnement où l’enseignement prône la liberté. Calligraphe de ormation, Sanyu fait alors du dessin son mode d’expression favori. Il le pratique sans arrêt que ce soit sur papier ou sur les napperons des cafés qu’il fréquente 1. Les deux dessins que nous présentons en vente sont typiques de cette production, on reconnaît son trait vif et son sujet de prédilection : l’étude de personnages croisés et saisis sur le vif, souvent des camarades de classe absorbées dans leur travail ou des modèles posant. L’artiste ne retournera pas en Chine et décède à Paris en 1966. Ink on paper, signed lower right 纸本水墨，署名于右下角 PROVENANCE Michel Habart Collection Private collection, Paris (by family transmission from the previous owner) The Femme assise is an ink drawing from the collection acquired by Michel Habart at an auction held in the early 1970s at Drouot. The owner of a suitcase full of drawings and watercolors, Michel Habart was captivated by the talent of this recently deceased artist, who was still unknown in the art world at the time. In this work, Sanyu depicts a motif that was dear to him and which he worked on many times in ink on paper: that of the woman drawing beside him, also a student at the Académie de La Grande Chaumière 1... Sanyu was born in 1895 in Nanchong, Sichuan Province, China. His father, an animal painter specializing in lions and horses, taught him the basics of his art. His older brother, who ran the family business, encouraged him in his passion. With significant financial support, he was able to study under Zhao Xi, a renowned calligrapher, and then attend Shanghai University. Sanyu discovered France in 1921, where he stayed for a while before moving to Berlin for two years. While his contemporaries Xu Beihong and Lin Fengmian decided after a while to return to China, where they quickly gained recognition from their peers, he chose to pursue his own research in the Parisian circle he found so stimulating. When he settled in Paris in 1923, he turned to the Académie de la Grande Chaumière, where he studied mainly nude modeling in an environment where teaching emphasized freedom. Trained as a calligrapher, Sanyu made drawing his favorite form of expression. He practiced it constantly, whether on paper or on the tablecloths of the cafés he frequented 1. The two drawings we are offering for sale are typical of this period, with his lively lines and favorite subject: the study of people encountered and captured on the spot, often classmates absorbed in their work or models posing.

0001_VAmfdK.jpg

0002_UAdQeM.jpg

0003_KanNaN.jpg

0001_qWzAim.jpg

0002_WfibEK.jpg

0003_eXjbeT.jpg

LƯƠNG XUÂN NHỊ (1914-2006) Two young girls selling tea, autumn 1936 Ink and colors on silk, signed lower right, countersigned, dated and titled upper left. In original frame 49.5 x 40.5 cm - 19 1/2 x 16 in. on sight Ink and color on silk, signed lower right, countersigned, dated and titled upper left. In its original frame PROVENANCE Private collection, Hanoi then France (acquired in Vietnam between 1936 and 1938) Private collection, France (inherited from the preceding owner) EXHIBITION Probably Salon de la SADEAI, Hanoi, 1936 Lương Xuân Nhị was born in Hanoi in 1914. He entered the Class VIII of the Indochina School of Fine Arts in 1932, graduating top of his class in 1937. Even during his formative years, his talent and production were recognized: he received the silver medal at the Sadeai 1 exhibition in Hanoi, the gold medal in 1936 and a "special prize" in 1937. His work was soon exhibited in France. For the 1937 Universal Exhibition, eighty-six of the artist's silk paintings were exhibited in the Indochina pavilion. The Paris Exposition, dedicated to the applied arts, had a commercial orientation. Typical" stores and workshops were presented, in which craftsmen - selected by Victor Tardieu - worked in full view of the public 2. Committed to imparting an education of exacting standards and excellence, Lương Xuân Nhị founded the Farta (Foyer de l'Art Annamite) in Saigon in 1942 with Lê Văn Đệ, Tô Ngọc Vân, Georges Khánh and Trần Văn Cẩn3. 1 Société Annamite d'Encouragement à l'Art et à l'Industrie. 2 2025, Symposium "Asian Artists in Paris: New Narratives", co-organized by the National Gallery Singapore and Musée Cernuschi, Musée Cernuschi, Paris, February 20, 2025. 3 Charlotte Aguttes-Reynier, L'art moderne en Indochine, éditions In Fine, Paris, 2023, p. 261-262. The work presented today is dated autumn 1936. Lương Xuân Nhị was then completing his studies at the Indochina School of Fine Arts. It depicts a classic subject of everyday life in the countryside, two young girls selling tea, seated on the ground. One is handling a bowl containing tea leaves, while the other is seated in the background. The silk is presented in its original frame similar to those adorning the walls of the 1936 Salon de la Sadeai, of which we are aware thanks to photographs held in the Fonds Tardieu archives at the INHA. Lương Xuân Nhị made the choice, right from the start of his career, to depict rural Vietnam. Thus, the traditional subject is put to the service of a modern technique, the artist mixing Chinese, Vietnamese and Western influences and using a soft, sober chromatic range4. This work can be compared with L'Atelier de Broderie in the delicacy of its choice of subject, tonality and technique. Lương Xuân Nhị was born in Hanoi in 1914. He joined the eighth class of the Indochina School of Fine Arts in 1932 and graduated at the top of his class in 1937. His talent and work were recognized early on: he received the silver medal at the Sadeai 1 exhibition in Hanoi, the gold medal in 1936, and a "special prize" in 1937. His works were quickly exhibited in France. At the 1937 World's Fair, eighty-six of the artist's silk paintings were exhibited in the Indochina pavilion. The Paris exhibition, dedicated to applied arts, had a commercial focus. Traditional shops and workshops were presented, in which artisans selected by Victor Tardieu worked in full view of the public 2. Committed to passing on a rigorous and excellent education, Lương Xuân Nhị founded the Farta (Foyer de l'Art Annamite) in Saigon in 1942 with Lê Văn Đệ, Tô Ngọc Vân, Georges Khánh, and Trần Văn Cẩn 3. The work presented here dates from the fall of 1936. Lương Xuân Nhị was then completing his studies at the School of Fine Arts in Indochina. He depicts a classic scene from everyday life in the countryside, with two young girls selling tea while seated on the ground. One is handling a bowl containing tea leaves while the other is sitting in the background. The silk is presented in its original frame, similar to those that adorned the walls of the 1936 Salon de la Sadeai, which we know from photographs preserved in the Tardieu Fund archives at the INHA. From the beginning of his career, Lương Xuân Nhị chose to depict rural Vietnam. Thus, traditional subjects are rendered using modern techniques, with the artist blending Chinese, Vietnamese, and Western influences and using a soft and sober color palette 4. This work can be compared to L'Atelier de Broderie in terms of the delicacy of the subje

卢永祥（1914-2006 年） 两个卖茶的女孩，1936 年秋 绢本墨彩，右下方有签名，左上方有副签名、年代和标题。原画框 49.5 x 40.5 厘米 - 19 1/2 x 16 英寸。 丝绸上的水墨和色彩，右下方有签名，左上方有副签名、年代和标题。原画框 出处 法国河内私人收藏（1936 年至 1938 年在越南购得） 私人收藏，法国（从前者手中继承） 展览 可能是 SADEAI 沙龙，河内，1936 年 Lương Xuân Nhị 1914 年出生于河内。他于 1932 年进入印度支那美术学校第八班学习，1937 年以全班第一名的成绩毕业。即使在他的成长期，他的才华和作品也得到了认可：他在河内 Sadeai 1 展览会上获得银奖，1936 年获得金奖，1937 年获得 "特别奖"。 他的作品很快在法国展出。在 1937 年的世界博览会上，印度支那馆展出了他的 86 幅丝绸画。巴黎展览以应用艺术为主题，以商业为重点。典型的 "商店和作坊被展示出来、 由维克多-塔迪厄（Victor Tardieu）挑选的工匠在公众面前工作。2. 1942 年，卢翁-宣-聂（Lương Xuân Nhị）在西贡与黎-凡-乔（Lê Văn Đệ）、托-吴-瓦（Tô Ngọc Vân）、乔治-康（Georges Khánh）和崔凡-康（Trần Văn Cön）共同创建了安南艺术馆（Farta）3。 1 安南艺术与工业鼓励协会。 2 2025年，"亚洲艺术家在巴黎：新叙事 "研讨会，由新加坡国家美术馆和塞努斯奇博物馆共同举办，塞努斯奇博物馆，巴黎，2025年2月20日。 3 Charlotte Aguttes-Reynier, L'art moderne en Indochine, éditions In Fine, Paris, 2023, p. 261-262. 今天展示的作品日期为 1936 年秋。当时 Lương Xuân Nhị 正在印度支那美术学校完成学业。这幅画描绘的是乡村日常生活的经典题材：两个卖茶的少女席地而坐。其中一位正在处理装有茶叶的碗，另一位则坐在背景中。这幅绢画的原画框与 1936 年萨迪埃沙龙墙壁上的画框相似，我们之所以知道这幅绢画，要归功于塔迪厄基金会（Fonds Tardieu）在国家人类学和历史研究所（INHA）的档案中保存的照片。 Lương Xuân Nhị从一开始就选择描绘越南农村。通过这种方式，传统题材为现代技法服务，艺术家将中国、越南和西方的影响融合在一起，并使用柔和、沉稳的色调4。这幅作品可与《L'Atelier de Broderie》相媲美，在题材选择、色调和技法上都非常相似。 Lương Xuân Nhị 于 1914 年出生于河内。他于 1932 年进入印度支那美术学校第八班学习，1937 年以全班第一名的成绩毕业。他的才华和作品很早就得到了认可：他在河内 Sadeai 1 展览会上获得了银奖。 银奖，1936 年获金奖，1937 年获 "特别奖"。他的作品很快在法国展出。在 1937 年的世界博览会上，印度支那馆展出了他的 86 幅丝绸画。巴黎展览专门展出应用艺术，以商业为重点。传统的商店和作坊在此展出，其中 由维克多-塔迪厄（Victor Tardieu）挑选的工匠在众目睽睽之下工作。 2. 卢翁-宣-聂（Luơng Xuân Nhị）致力于传播严格而优秀的教育，于 1942 年在西贡与勒冯（Lê Văn Đệ）、托恩-瓦恩（Tô Ngọc Vân）、乔治-康（Georges Khánh）和崔范-康（Trần Văn Cön）共同创建了安南艺术学院（Farta）。 这里介绍的是1936年秋天的作品。当时，卢翁-宣-恩正在完成他在印度支那美术学校的学业。他描绘的是乡村日常生活中的经典场景，两个年轻女孩坐在地上卖茶。其中一位正在处理装有茶叶的碗，另一位则坐在背景中。这幅绢画以原装画框呈现，与 1936 年萨迪埃沙龙墙壁上的装饰画相似，我们可以从保存在 INHA 的 Tardieu 基金档案中的照片中了解到这一点。从他的职业生涯一开始，Lương Xuân Nhị 就选择描绘越南农村。因此，传统题材被现代技法所呈现，艺术家融合了中国、越南和西方的影响，并使用了柔和素雅的色调4。4. 这幅作品可与《L'Atelier de Broderie》相媲美。 Broderie 的细腻程度相提并论。

LƯƠNG XUÂN NHỊ (1914-2006)

LƯƠNG XUÂN NHỊ (1914-2006) Deux jeunes filles vendent du thé, automne 1936 Encre et couleurs sur soie, signée en bas à droite, contresignée, datée et titrée en haut à gauche. Dans son cadre d'origine 49,5 x 40,5 cm à vue - 19 1/2 x 16 in. on sight Ink and color on silk, signed lower right, countersigned, dated et titled upper left. In its original frame PROVENANCE Collection particulière, Hanoï puis France (acquis au Vietnam entre 1936 et 1938) Collection particulière, France (transmis par descendance du précédant) EXPOSITION Probablement Salon de la SADEAI, Hanoï, 1936 Lương Xuân Nhị est né à Hanoï en 1914. Il intègre la Promotion VIII de l’École des beauxarts de l’Indochine en 1932 et en sort major en 1937. Dès ses années de formation, son talent et sa production sont reconnus : il reçoit la médaille d'argent du salon de la Sadeai 1 d'Hanoï, la médaille d’or en 1936 et un « prix spécial » en 1937. Très rapidement, ses oeuvres sont présentées en France. À l’occasion de l’Exposition universelle de 1937, quatre-vingt-six peintures sur soie de l’artiste auraient en effet été exposées dans le pavillon de l’Indochine. L’Exposition parisienne, consacrée aux arts appliqués, a une orientation commerciale. Des boutiques et ateliers « typiques » sont alors présentés, dans lesquels des artisans – sélectionnés par Victor Tardieu – travaillent à la vue du public 2. Attaché à la transmission d’un enseignement d’exigence et d’excellence, Lương Xuân Nhị fonde à Saigon le Farta (Foyer de l’Art Annamite) en 1942 avec Lê Văn Đệ, Tô Ngọc Vân, Georges Khánh et Trần Văn Cẩn3. 1 Société Annamite d’Encouragement à l’Art et à l’Industrie. 2 2025, Symposium « Asian Artists in Paris : New Narratives », co-organisé par la National Gallery Singapore et le Musée Cernuschi, Musée Cernuschi, Paris, 20 février 2025. 3 Charlotte Aguttes-Reynier, L’art moderne en Indochine, éditions In Fine, Paris, 2023, p. 261-262. L’oeuvre aujourd’hui présentée est datée d’automne 1936. Lương Xuân Nhị est alors en train de terminer ses études à l’École des beaux-arts de l’Indochine. Il représente un sujet classique de la vie quotidienne à la campagne, deux jeunes filles qui vendent du thé, assises par terre. L’une manipule un bol contenant des feuilles de thé tandis que l’autre est assise en arrière-plan. La soie est présentée dans son encadrement d’origine semblable à ceux qui ornent les murs du Salon de la Sadeai de 1936 et dont nous avons connaissance grâce aux photographies conservées dans les archives du Fonds Tardieu à l’INHA. Lương Xuân Nhị fait le choix, dès le début de sa carrière, de représenter le Vietnam rural. Ainsi, le sujet traditionnel est mis au service d’une technique moderne, l’artiste mélangeant des influences chinoises, vietnamiennes et occidentales et utilisant une gamme chromatique douce et sobre4. Cette oeuvre peut être rapprochée de L’Atelier de Broderie par la délicatesse du choix du sujet, des tonalités et de la technique sont très proches. Lương Xuân Nhị was born in Hanoi in 1914. He joined the eighth class of the Indochina School of Fine Arts in 1932 and graduated at the top of his class in 1937. His talent and work were recognized early on: he received the silver medal at the Sadeai 1 exhibition in Hanoi, the gold medal in 1936, and a “special prize” in 1937. His works were quickly exhibited in France. At the 1937 World's Fair, eighty-six of the artist's silk paintings were exhibited in the Indochina pavilion. The Paris exhibition, dedicated to applied arts, had a commercial focus. Traditional shops and workshops were presented, in which artisans selected by Victor Tardieu worked in full view of the public 2. Committed to passing on a rigorous and excellent education, Lương Xuân Nhị founded the Farta (Foyer de l'Art Annamite) in Saigon in 1942 with Lê Văn Đệ, Tô Ngọc Vân, Georges Khánh, and Trần Văn Cẩn 3. The work presented here dates from the fall of 1936. Lương Xuân Nhị was then completing his studies at the School of Fine Arts in Indochina. He depicts a classic scene from everyday life in the countryside, with two young girls selling tea while seated on the ground. One is handling a bowl containing tea leaves while the other is sitting in the background. The silk is presented in its original frame, similar to those that adorned the walls of the 1936 Salon de la Sadeai, which we know from photographs preserved in the Tardieu Fund archives at the INHA. From the beginning of his career, Lương Xuân Nhị chose to depict rural Vietnam. Thus, traditional subjects are rendered using modern techniques, with the artist blending Chinese, Vietnamese, and Western influences and using a soft and sober color palette 4. This work can be compared to L'Atelier de Broderie in terms of the delicacy of the subje

0001_WFCYOi.jpg

0002_uhWlJE.jpg

0003_vDMGeR.jpg

ALIX AYMÉ (1894-1989) Prayer at the Temple, circa 1928 Oil on board, signed Alix de Fautereau lower left, numbered 32, 70 and 18 on the back 50 x 32.7 cm - 19 3/4 x 12 7/8 inches Oil on cardboard, bearing a signature Alix de Fautereau lower left, numbered 32, 70 and 18 on the back This work will be included by the Association des amis d'Alix Aymé under number HT88 in the artist's online catalog raisonné. A certificate may be issued at the purchaser's expense. PROVENANCE Private collection, South-East France (acquired directly from the artist's family). Alix Aymé, first married to Paul de Fautereau-Vassel, signed Alix de Fauterau between 1920 and 1928. Probably made in Yunnan Fou. Alix Aymé was a multi-disciplinary, travelling artist who never ceased to explore different artistic techniques. In France, she explores painting, drawing and wood engraving. La Prière au temple is a testimony to the artist's work in oils and to one of her many trips to Asia. A traveling and multidisciplinary artist, Alix Aymé has continuously explored artistic techniques. In France, she explores painting, drawing, and wood engraving. The Prière au temple is a testament to the artist's oil work and one of her many trips to Asia. Là một nghệ sĩ đa tài và đam mê du lịch, Alix Aymé không ngừng khám phá các kỹ thuật nghệ thuật khác nhau. Tại Pháp, bà thử nghiệm hội họa, ký họa và kỹ thuật khắc gỗ. Tác phẩm "The Prayer at the Temple" (Lời nguyện cầu trong đền) là một ví dụ cho các tác phẩm sơn dầu của bà, đồng thời phản ánh một trong nhiều chuyến đi của bà tới châu Á. ALIX AYMÉ A pupil of Maurice Denis, with whom she kept up a sustained correspondence throughout her career, Alix Aymé became fascinated with the Asian continent on her first trip in 1920, when she accompanied her husband on a mission to China for the French government. For over twenty years, she criss-crossed Laos, Cambodia and Vietnam. Her works are the result of a meeting between the style of the Nabis, whose influence she felt, and traditional Vietnamese painting, for which she developed an affection. She settled in Hanoi in 1933 with General Georges Aymé, her second husband. Initially a drawing teacher at the Lycée Albert Sarraut, in 1935 she became a teacher at the École des Beaux-Arts. at the Indochina School of Fine Arts. It was here that she contributed to the development of lacquer art training with Joseph Inguimberty.1 1 Charlotte Aguttes-Reynier, L'art moderne en Indochine, éditions In Fine, Paris, 2023, p. 168-178 A student of Maurice Denis, with whom she maintained a lively correspondence throughout her career, Alix Aymé developed a passion for Asia during her first trip there in 1920, when she accompanied her husband on a mission to China for the French government. She traveled extensively in Laos, Cambodia, and Vietnam for more than twenty years. Her works are a meeting point between the style of the Nabis, who influenced her, and traditional Vietnamese painting, which she grew to love. She moved to Hanoi in 1933 with General Georges Aymé, her second husband. Initially a drawing teacher at the Lycée Albert Sarraut, she became a teacher at the School of Fine Arts of Indochina in 1935. It was here that she contributed to the development of the art of lacquer with Joseph Inguimberty.1 Là học trò của Maurice Denis, người mà bà duy trì thư từ đều đặn suốt cả sự nghiệp nghệ thuật, Alix Aymé đã nảy sinh niềm đam mê với châu Á kể từ chuyến đi đầu tiên vào năm 1920, khi bà tháp tùng người chồng được chính phủ Pháp cử đi công tác tại Trung Quốc. Bà đã chu du khắp Lào, Campuchia và cả Việt Nam trong hơn hai mươi năm. Các tác phẩm của bà là sự giao thoa giữa phong cách Nabis mà bà chịu ảnh hưởng sâu sắc, và nghệ thuật truyền thống Việt Nam mà bà luôn yêu quý và trân trọng. Bà định cư tại Hà Nội vào năm 1933 cùng với tướng Georges Aymé, người chồng thứ hai của mình. Ban đầu, bà giảng dạy môn mỹ thuật tại trường trung học Albert Sarraut, sau đó, bà trở thành giáo viên tại Trường Mỹ thuật Đông Dương vào năm 1935. Chính tại đây, bà đã góp phần vào công cuộc giảng dạy nghệ thuật sơn mài cùng với Joseph Inguimberty.1

阿里克斯-艾梅（1894-1989） 圣殿祈祷》，约 1928 年 木板油画，左下方有签名 Alix de Fautereau，背面有编号 32、70 和 18 50 x 32.7 厘米 - 19 3/4 x 12 7/8 英寸 纸板油画，左下方有签名 Alix de Fautereau，背面有编号 32、70 和 18 这件作品将由艾利克斯-艾梅之友协会收录在艺术家的在线目录中，编号为 HT88。可出具证书，费用由买方承担。 出处 法国东南部私人收藏（直接从艺术家家族购得） 阿利克斯-艾梅（Alix Aymé），第一任妻子为保罗-德-福特罗-瓦塞尔（Paul de Fautereau-Vassel），1920 年至 1928 年间署名阿利克斯-德-福特罗。可能制作于云南富。 作为一名旅行家和多学科艺术家，阿利克斯-艾梅从未停止过对不同艺术技巧的探索。在法国，她探索了绘画、素描和木雕。La Prière au temple》是艺术家油画作品的见证，也是她多次亚洲之行的见证。 作为一名多领域的旅行艺术家，阿利克斯-艾梅不断探索艺术技巧。在法国，她探索绘画、素描和木雕。Prière au temple》是艺术家油画作品的见证，也是她多次亚洲之行的见证之一。 艾利克斯-艾梅（Alix Aymé）的作品被称为 "亚洲的油画"。你可以在你的 "禱告 "中說："我願意......我願意......"，也可以說："我願意......"。在 "圣殿祈祷"（L'ời nguyện cầu trong đền）一书中，我们选择了 "在圣殿祈祷"（L'ời nguyện cầu trong đền），而在 "在圣殿祈祷"（L'ời nguyện cầu trong đền）一书中，我们选择了 "在圣殿祈祷"（L'ời nguyện cầu trong đền）。 阿里克斯-艾梅 阿利克斯-艾梅是莫里斯-丹尼斯（Maurice Denis）的学生，在她的职业生涯中一直与丹尼斯保持着定期通信。1920 年，阿利克斯-艾梅陪同丈夫为法国政府出使中国，这是她的第一次旅行，从此她对亚洲大陆产生了浓厚的兴趣。她在老挝、柬埔寨和越南旅行了二十多年。她的作品是纳比斯风格与越南传统绘画风格交汇的结果，她感受到了纳比斯风格的影响，并对越南传统绘画产生了深厚的感情。1933 年，她随第二任丈夫乔治-艾梅将军移居河内。起初，她在阿尔伯特-萨劳（Albert Sarraut）中学担任素描教师，1935 年成为美术学院教师。 1935年，她在印度支那美术学校担任教师。正是在这里，她与约瑟夫-英金贝蒂（Joseph Inguimberty）一起为漆器培训的发展做出了贡献1。 1 Charlotte Aguttes-Reynier，《印度支那的现代艺术》，éditions In Fine，巴黎，2023 年，第 168-178 页。 阿利克斯-艾梅是莫里斯-丹尼斯（Maurice Denis）的学生，在她的艺术生涯中一直与丹尼斯保持着频繁的书信往来。1920 年，阿利克斯-艾梅陪同丈夫为法国政府出使中国，这是她的第一次亚洲之行。在长达二十多年的时间里，她在老挝、柬埔寨和越南进行了广泛的旅行。她的作品是纳比斯风格和越南传统绘画风格的交汇点，纳比斯对她产生了影响，而她则对越南传统绘画情有独钟。1933 年，她随第二任丈夫乔治-艾梅将军移居河内。她最初在阿尔贝-萨劳特中学担任绘画教师，1935 年成为印度支那美术学校的教师。正是在这里，她与约瑟夫-英金贝蒂（Joseph Inguimberty）一起为漆艺的发展做出了贡献1。 在莫里斯-丹尼斯（Maurice Denis）的教导下，她开始了自己的艺术生涯、阿利克斯-艾梅（Alix Aymé）于1920年出生，他的父亲是一名医生，母亲是一名护士。在老挝、柬埔寨和越南都有自己的网站。在越南，我们的企业被称为 "Nabis"，而在越南，我们的企业被称为 "Luôn yêu quý和Trân trọng......"（"Luôn yêu quý和Trân trọng......"）。自1933年起，乔治-艾梅（Georges Aymé）开始在河内定居。阿尔伯特-萨劳（Albert Sarraut）于1935年去世。1935 年，约瑟夫-英格姆伯蒂（Joseph Inguimberty）被任命为该校校长。

ALIX AYMÉ (1894-1989)

ALIX AYMÉ (1894-1989) Prière au temple, circa 1928 Huile sur carton, porte une signature rapportée Alix de Fautereau en bas à gauche, numérotée 32, 70 et 18 au dos 50 x 32,7 cm - 19 3/4 x 12 7/8 inches Oil on cardboard, bearing a signature Alix de Fautereau lower left, numbered 32, 70 and 18 on the back Cette oeuvre sera incluse par l'Association des amis d'Alix Aymé sous le numéro HT88 au catalogue raisonné en ligne de l'artiste. Un certificat pourra être délivré à la charge de l'acquéreur. PROVENANCE Collection particulière, sud-est de la France (acquis directement auprès de la famille de l'artiste) Alix Aymé, ayant épousé en premières noces Paul de Fautereau-Vassel, signe entre 1920 et 1928 Alix de Fauterau. Probablement réalisé à Yunnan Fou. Ar tiste voyageuse et pluridisciplinaire, Alix Aymé n'a cessé d'explorer des techniques artistiques. En France, elle explore la peinture, le dessin et le bois gravé. La Prière au temple est un témoignage du travail à l'huile de l'artiste et de l'un de ses nombreux voyages en Asie. A traveling and multidisciplinary artist, Alix Aymé has continuously explored artistic techniques. In France, she explores painting, drawing, and wood engraving. The Prière au temple is a testament to the artist's oil work and one of her many trips to Asia. Là một nghệ sĩ đa tài và đam mê du lịch, Alix Aymé không ngừng khám phá các kỹ thuật nghệ thuật khác nhau. Tại Pháp, bà thử nghiệm hội họa, ký họa và kỹ thuật khắc gỗ. Tác phẩm “La Prière au temple” (Lời nguyện cầu trong đền) là một ví dụ cho các tác phẩm sơn dầu của bà, đồng thời phản ánh một trong nhiều chuyến đi của bà tới châu Á. ALIX AYMÉ Élève de Maurice Denis, avec qui elle entretient une correspondance soutenue durant toute sa carrière, Alix Aymé se prend de passion pour le continent asiatique lors d’un premier voyage en 1920 où elle accompagne son mari missionné en Chine par le gouvernement français. Elle sillonne le Laos, le Cambodge ou encore le Vietnam pendant plus de vingt ans. Ses oeuvres sont le lieu de la rencontre entre le style des Nabis, dont elle subit l’influence, et de la peinture traditionnelle vietnamienne pour laquelle elle se prend d’affection. Elle s’installe à Hanoï en 1933 avec le général Georges Aymé, son second mari. Dans un premier temps professeur de dessin au lycée Albert Sarraut, elle devient en 1935 enseignante à l’École des beaux-arts de l’Indochine. C’est ici qu’elle contribue au développement de l’apprentissage de l’art de la laque avec Joseph Inguimberty.1 1 Charlotte Aguttes-Reynier, L’art moderne en Indochine, éditions In Fine, Paris, 2023, p. 168-178 A student of Maurice Denis, with whom she maintained a lively correspondence throughout her career, Alix Aymé developed a passion for Asia during her first trip there in 1920, when she accompanied her husband on a mission to China for the French government. She traveled extensively in Laos, Cambodia, and Vietnam for more than twenty years. Her works are a meeting point between the style of the Nabis, who influenced her, and traditional Vietnamese painting, which she grew to love. She moved to Hanoi in 1933 with General Georges Aymé, her second husband. Initially a drawing teacher at the Lycée Albert Sarraut, she became a teacher at the School of Fine Arts of Indochina in 1935. It was here that she contributed to the development of the art of lacquer with Joseph Inguimberty.1 Là học trò của Maurice Denis, người mà bà duy trì thư từ đều đặn suốt cả sự nghiệp nghệ thuật, Alix Aymé đã nảy sinh niềm đam mê với châu Á kể từ chuyến đi đầu tiên vào năm 1920, khi bà tháp tùng người chồng được chính phủ Pháp cử đi công tác tại Trung Quốc. Bà đã chu du khắp Lào, Campuchia và cả Việt Nam trong hơn hai mươi năm. Các tác phẩm của bà là sự giao thoa giữa phong cách Nabis mà bà chịu ảnh hưởng sâu sắc, và nghệ thuật truyền thống Việt Nam mà bà luôn yêu quý và trân trọng. Bà định cư tại Hà Nội vào năm 1933 cùng với tướng Georges Aymé, người chồng thứ hai của mình. Ban đầu, bà giảng dạy môn mỹ thuật tại trường trung học Albert Sarraut, sau đó, bà trở thành giáo viên tại Trường Mỹ thuật Đông Dương vào năm 1935. Chính tại đây, bà đã góp phần vào công cuộc giảng dạy nghệ thuật sơn mài cùng với Joseph Inguimberty.1

0001_ueDeWH.jpg

0002_KyCfqA.jpg

0003_wbSqyY.jpg

0004_ngSzrc.jpg

LÊ PHỔ (1907-2001) The Bath, circa 1938 Ink, gouache and colors on silk, signed upper left 61 x 45.5 cm à vue - 24 x 17 7/8 in. on sight Ink, gouache and colors on silk, signed upper left A certificate of inclusion in the artist's catalog raisonné currently being prepared by Charlotte Aguttes-Reynier for the Association des Artistes d'Asie à Paris will be given to the purchaser. PROVENANCE Private collection, Paris (acquired circa 1938 and since inherited). Son of the viceroy of Tonkin, Lê Phổ was born in 1907 in Hadong, northern Vietnam. He showed a keen interest in the arts from an early age, and in 1925 entered the Indochina School of Fine Arts. During his formative years in Hanoi, he met his two principal masters, the Frenchmen Victor Tardieu and Joseph Inguimberty, who were to play a major role in shaping his style. his style. In 1931, on the occasion of the colonial exhibition organized in the Bois de Vincennes, he undertook a two-year trip to Europe. He visited France, Belgium, the Netherlands and Italy, and developed a passion for Renaissance art, Western religious painting and modern painting. In 1933, he returned to Hanoi to teach drawing. A year later, during a trip to Beijing, he deepened his knowledge of traditional Chinese painting thanks to art collectors and enthusiasts. In 1937, Lê Phổ settled permanently in Paris. He began exhibiting his works, with subjects of women, children, bouquets of flowers and an oriental technique that would make him famous in Algeria and France... He marveled at museums and also took an interest in the work of painters he met, such as Bonnard or Matisse. His reputation took a further boost in 1963, when he signed an agreement with Findlay Gallery to be exhibited in North America. From then on, he became one of the most renowned Vietnamese painters of the 20th century. Lê Phổ and the lesson of the Italian Renaissance Hanoi-trained artist Lê Phổ first discovered France in 1931, when Victor Tardieu chose him as an assistant for the Colonial Exhibition in Vincennes. The young graduate took advantage of his stay to explore museums and immerse himself in the work of the great masters. He was captivated by the primitives and the Italian Renaissance, and this trip left its mark on his work. Lê Phổ returned to Paris in 1937. He represented his master Victor Tardieu, as artistic director of the "Indochina" section of the Universal Exhibition set up on the Ile aux Cygnes. He never returns to Vietnam1. The Bath was painted shortly afterwards, probably around 1938. In this delicate silk, the artist depicts a mother drying her child after a swim, while in the background, a young woman washes a sheet in the stream. Lê Phổ transposes onto silk the lessons of the Italian Renaissance that he had encountered a few years earlier: a play of diagonals organizes the space between water and land. Lê Phổ also retained the lessons of pyramidal of pyramidal composition, which Raphael used extensively in his Virgins with Child (ill. 1). It is to this motif of the Virgin and Child that Lê Phổ refers with Le bain: the work can, for example, be compared to Perugino's Virgin and Child, painted in the 1515s (ill. 2). The Virgin stands upright, while Christ stands in a contrapposto position contrapposto position, just like the child in Lê Phổ's silk. Particular attention is paid to the treatment of the cloth drapes surrounding the child. The latter reuses the red color of the Virgin's garment. Composing and recomposing an image The background, meanwhile, contrasts with the influence of the Italian Renaissance since Lê Phổ doesn't opt for a classical perspective, but instead uses flat tints to give an almost vertical appearance. The pontoon is a motif that the artist represents on several occasions, notably as the main subject: with Mother Drying Her Child around 1935 (ill. 3) or Young Woman at the Water's Edge (ill. 4). In his art, Lê Phổ skilfully combines recurring motifs with diverse influences. Exhibiting in Paris From 1931 onwards, Lê Phổ regularly exhibited his work in Paris, particularly at the Salon des Artistes Français, the Agindo2, the Salon des artistes indépendants and the Salon des Tuileries. It was probably at one of these exhibitions that Le bain was acquired by the ancestors of the current owners. In 1939, Raymond Lécuyer, a journalist with Le Figaro, wrote of an exhibition in Paris that featured Le bain: "Trois artistes indochinois, Nous avions aux Indépendants...

Lê PHổ (1907-2001) 浴池》，约 1938 年 丝绸上的水墨、水粉和色彩，左上方有签名 61 x 45.5 cm à vue - 24 x 17 7/8 in. 丝绸上的水墨、水粉和色彩，左上方有签名 夏洛特-阿古特斯-雷尼耶（Charlotte Aguttes-Reynier）目前正在为巴黎亚洲艺术家协会（Association des Artistes d'Asie à Paris）编写该艺术家的作品目录，并将向买家出具目录收录证书。 出处 私人收藏，巴黎（1938 年左右购入，后由后代继承） Lê Phổ 是越南北部总督的儿子，1907 年出生于越南北部的哈东。他从小就对艺术表现出浓厚的兴趣，并于 1925 年进入印度支那美术学校学习。在河内受训的几年中，他遇到了两位主要的大师，法国人维克多-塔迪厄和约瑟夫-英金贝蒂，这两位大师对他风格的形成起到了重要作用。 他的风格1931 年，在万森森林举办殖民地展览之际，他开始了为期两年的欧洲之旅。他访问了法国、比利时、荷兰和意大利，对文艺复兴艺术、西方宗教绘画和现代绘画产生了浓厚的兴趣。1933 年，他回到河内教授绘画。一年后，在一次北京之旅中，由于收藏家和艺术爱好者的帮助，他加深了对中国传统绘画的了解。1937 年，Lê Phổ 定居巴黎。他开始展出自己的作品，以妇女、儿童、花束和东方技法为主题，这使他在阿尔及利亚和法国声名鹊起。 他对博物馆赞叹不已，对他遇到的画家的作品也很感兴趣，如博纳尔和马蒂斯。 马蒂斯。1963 年，他与芬德利画廊签订了在北美展出的协议，从此声名鹊起。从此，他成为二十世纪最负盛名的越南画家之一。 Lê Phổ 与课程 在河内接受培训的艺术家 Lê Phổ 于 1931 年首次来到法国，当时维克多-塔迪厄（Victor Tardieu）选择他作为万森殖民地展览的助手。这位年轻的毕业生利用逗留期间参观博物馆，沉浸在大师们的作品中。他被原始人和意大利文艺复兴所吸引，这次旅行在他的作品中留下了深刻的烙印。1937 年，Lê Phổ 回到巴黎。他代表他的大师维克多-塔迪厄（Victor Tardieu）、 他代表他的大师维克多-塔迪厄（Victor Tardieu），担任在 Ile aux Cygnes 举行的世界博览会印度支那展区的艺术总监。他再也没有回到越南1。这幅《浴》可能是在 1938 年左右绘制的。在这幅精致的丝绸 画家描绘了一位母亲在给洗完澡的孩子擦干身体，背景是一位年轻女子在溪流中清洗床单。Lê Phổ 将他几年前接触到的意大利文艺复兴时期的经验移植到丝绸上：对角线的游戏组织了水与陆地之间的空间。Lê Phổ 还借鉴了金字塔构图的经验。 拉斐尔在他的《圣母子》（图 1）中大量使用了金字塔构图法。Lê Phổ 的《沐浴》正是以圣母和圣婴为主题：例如，该作品可与 1515 年代绘制的佩鲁吉诺的《圣母和圣婴》进行比较（图 2）。圣母是直立的，而基督是以反姿势站立的 就像 Lê Phổ 的丝绸画中的孩子一样。特别值得注意的是围绕圣婴的布幔的处理。后者重新使用了圣母服装的典型红色。 组合和重新组合图像 背景则与意大利文艺复兴时期的影响形成鲜明对比。 Lê Phổ 并没有采用古典的透视法，而是采用了几乎垂直的平面色调。浮桥是画家多次表现的主题，尤其是作为主要主题：1935 年左右的《晾干孩子的母亲》（图 3）或《水边的年轻女子》（图 4）。在他的艺术作品中，Lê Phổ 巧妙地将反复出现的主题与各种影响结合起来。 在他的艺术作品中，Lê Phổ 巧妙地将重复出现的主题与各种影响结合在一起。 巴黎展览 从 1931 年起，黎菲ổ 经常在巴黎展出他的作品，尤其是在法国艺术家沙龙、阿金多沙龙2 、独立艺术家沙龙和杜乐丽沙龙。可能就是在这些展览中，Le bain 被现在的主人的祖先购得。1939 年，《费加罗报》记者雷蒙德-莱库耶 (Raymond Lécuyer) 撰文介绍了在巴黎举办的一次展览："三位印第安艺术家，我们向印第安人致敬"（Trois artistes indochinois, Nous avions aux Indépendants）。

LÊ PHỔ (1907-2001)

LÊ PHỔ (1907-2001) Le bain, circa 1938 Encre, gouache et couleurs sur soie, signée en haut à gauche 61 x 45,5 cm à vue - 24 x 17 7/8 in. on sight Ink, gouache and colors on silk, signed upper left Une attestation d'inclusion au catalogue raisonné de l'artiste actuellement en préparation par Charlotte Aguttes-Reynier pour l'association des Artistes d'Asie à Paris sera remise à l'acquéreur. PROVENANCE Collection particulière, Paris (acquis vers 1938 et transmis par descendance depuis) Fils du vice-roi du Tonkin, Lê Phổ est né en 1907 à Hadong, au nord du Viêt Nam. Il présente jeune un vif intérêt pour les arts et intègre en 1925 l’École des beaux-arts de l’Indochine. Durant ces années de formation à Hanoï, il rencontre ses deux principaux maîtres, les Français Victor Tardieu et Joseph Inguimberty, qui participeront largement à l’accomplissement de son style. En 1931, à l’occasion de l’exposition coloniale qui est organisée dans le bois de Vincennes, il entreprend un voyage de deux ans en Europe. Il parcourt la France, la Belgique, les Pays-Bas et l’Italie et il se passionne pour l’art de la Renaissance, la peinture religieuse occidentale, ainsi que la peinture moderne. En 1933, il revient à Hanoï et enseigne le dessin. Un an plus tard, lors d’un voyage à Pékin, il approfondit sa connaissance de la peinture traditionnelle chinoise grâce aux collectionneurs et amateurs d’art. En 1937, Lê Phổ s’installe définitivement à Paris. Il commence à exposer ses oeuvres avec des sujets de femmes, d’enfants, de bouquets de fleurs et une technique orientale qui feront sa notoriété en Algérie, en France… Il s’émerveille dans les musées et s’intéresse également aux travaux des peintres qu’il rencontre, tels Bonnard ou Matisse. Sa réputation prend un nouvel élan à partir de 1963, quand il signe un accord avec la galerie Findlay pour être présenté en Amérique du Nord. Dès lors, il devient l’un des peintres vietnamiens les plus renommés du XXe siècle. Lê Phổ et la leçon de la Renaissance italienne L’artiste Lê Phổ, formé à Hanoï, découvre une première fois la France en 1931, lorsque Victor Tardieu le choisit comme assistant pour l’Exposition coloniale à Vincennes. Le jeune diplômé met ce séjour à profit pour explorer les musées et s’imprégner du travail des grands maîtres. Il est subjugué par les primitifs et la Renaissance italienne et ce voyage marquera son oeuvre. C’est en 1937 que Lê Phổ revient à Paris. Il représente son maître Victor Tardieu, souffrant, en tant que directeur artistique de la section « Indochine » de l’Exposition universelle installée sur l’île aux Cygnes. Il ne retournera plus au Vietnam1. L’oeuvre Le bain est peinte peu après, probablement vers 1938. Dans cette délicate soie, l’artiste représente une mère qui sèche son enfant après une baignade, tandis qu’en arrièreplan, une jeune femme lave un drap dans le cours d’eau. Lê Phổ transpose sur soie les leçons de la Renaissance italienne auxquelles il s’est confronté quelques années plus tôt : un jeu de diagonales organise l’espace entre l’eau et la terre. Lê Phổ retient également la leçon de la composition pyramidale, notamment très utilisée par Raphaël pour ses Vierges à l’Enfant (ill. 1). C’est à ce motif de la Vierge à l’Enfant que Lê Phổ fait référence avec Le bain : l’oeuvre peut, par exemple, être rapprochée de la Vierge à l’Enfant du Pérugin, peinte dans les années 1515 (ill. 2). La Vierge se tient droite et le Christ est debout dans une position en contrapposto, nu, tout comme l’enfant dans la soie de Lê Phổ. Une attention particulière est portée au traitement des drapés des linges qui entourent l’enfant. Ce dernier réutilise la couleur rouge propre au vêtement de la Vierge. Composer et recomposer une image L’arrière-plan, quant à lui, contraste avec l’influence de la Renaissance italienne puisque Lê Phổ ne fait pas le choix d’une perspective classique, mais plutôt d’aplats donnant un aspect quasiment vertical. Le ponton est un motif que l’artiste représente à plusieurs reprises, notamment en tant que sujet principal : avec la mère séchant son enfant vers 1935 (ill. 3) ou la Jeune femme au bord de l’eau (ill. 4). Dans son art, Lê Phổ croise donc avec talent des motifs récurrents avec diverses influences. Exposer à Paris Dès 1931, Lê Phổ expose régulièrement ses oeuvres à Paris, particulièrement au Salon des Artistes Français, à l’Agindo2, au Salon des artistes indépendants ou encore au Salon des Tuileries. C’est probablement à l’une de ses expositions que Le bain est acquise par les ancêtres des actuels propriétaires. En 1939, Raymond Lécuyer, journaliste pour Le Figaro, écrit à propos d’une exposition qui le présente à Paris : « Trois artistes indochinois, Nous avions aux Indépendants

0001_OnVjDZ.jpg

0002_hgzwgc.jpg

0003_MgyrOg.jpg

0004_DXhbnl.jpg

0005_XXIyII.jpg

0006_ImFwpM.jpg

MAI TRUNG THỨ (1906-1980) Woman styling her hair, 1954 Ink and colors on silk, signed and dated lower left. In its original frame made by the artist. 14.8 x 9.7 cm - 5 7/8 x 3 7/8 in. Ink and color on silk, signed and dated lower left. In its original frame. A certificate of inclusion in the artist's catalog raisonné currently being prepared by Charlotte Aguttes-Reynier for the Association des Artistes d'Asie à Paris will be given to the purchaser. We would like to thank the Mai-Thu committee for kindly providing us with the information needed to corroborate the provenance of these six silk paintings (lots 11 to 16). PROVENANCE Collection of LL. AA. RR. the Duke and Duchess of Windsor Private collection, France (donated by previous owners and held for over 40 years) These six original silk paintings were selected by Mai-Thu to illustrate, using the reproduction process, Pham Van Ky's collection of silk poems published in Paris, Éditions Euros, 1961.

麦琼杜（1906-1980） 做头发的女人，1954 年 丝绸上的水墨和色彩，左下方有签名和年代。 装在艺术家制作的原画框中 14.8 x 9.7 厘米 - 5.7/8 x 3.7/8 英寸。 丝绸上的水墨和色彩，左下方有签名和日期。装在原画框中。 夏洛特-阿古特斯-雷尼耶（Charlotte Aguttes-Reynier）目前正在为巴黎亚洲艺术家协会（Association des Artistes d'Asie à Paris）编写该艺术家的作品目录，买方将获得目录收录证书。 我们感谢 Mai-Thu 委员会友好地向我们提供了证实这六幅丝绸画（拍品编号 11 至 16）出处所需的信息。 出处 LL.AA.RR.温莎公爵夫妇收藏 法国私人收藏（由其前辈捐赠并持有 40 多年） 这六幅绢画原作由 Mai-Thu 挑选，以复制工艺为 Pham Van Ky 于 1961 年在巴黎 Éditions Euros 出版的绢上诗集作插图。

MAI TRUNG THỨ (1906-1980)

MAI TRUNG THỨ (1906-1980) Femme se coiffant, 1954 Encre et couleurs sur soie, signée et datée en bas à gauche. Dans son cadre d'origine réalisé par l'artiste 14,8 x 9,7 cm - 5 7/8 x 3 7/8 in. Ink and color on silk, signed and dated lower left. In its original frame. Une attestation d'inclusion au catalogue raisonné de l'artiste actuellement en préparation par Charlotte Aguttes-Reynier pour l'association des Artistes d'Asie à Paris sera remise à l'acquéreur. Nous remercions le comité Mai-Thu qui nous a aimablement communiqué les éléments permettant de corroborer la provenance de ces six peintures sur soie (lots 11 à 16). PROVENANCE Collection de LL. AA. RR. le Duc et la Duchesse de Windsor Collection particulière, France (offert par les précédents et détenu depuis plus de 40 ans) Ces six peintures sur soie originales furent sélectionnées par Mai-Thu pour illustrer, grâce au procédé de reproduction, le recueil de poèmes sur soie de Pham Van Ky publié à Paris, Éditions Euros, 1961.

0001_BxQxEl.jpg

0002_CoQLao.jpg

MAI TRUNG THỨ (1906-1980) AND PHẠM VĂN KÝ (1910-1992) Poem on silk, 1961 Collection of eight poems by Phạm Văn Ký illustrated with eight silk reproductions by Mai Trung Thứ. In a black silk black silk and a black hardboard slipcase, bears no. 492/550. Éditions Euros, Paris, Ateliers L'Ibis and imprimerie Daragnès, Paris, 1961 Dimensions of reproductions: - Largest: 18 x 12.4 cm - 7 1/8 x 4 7/8 in. - Smallest: 12.8 x 10.1 cm - 5 x 4 in. Collection of eight poems by Phạm Văn Ký illustrated with eight silk reproductions by Mai Trung Thứ. In a black silk cover and black hardback slipcase, bears no. 492/550. Éditions Euros, Paris, Ateliers L'Ibis and imprimerie Daragnès, Paris, 1961 BIBLIOGRAPHY FOR A RELATED WORK Mai-Thu, écho d'un Vietnam rêvé, catalog of the exhibition at the Musée des Ursulines in Mâcon, in partnership with the Musée Cernuschi. Musée Cernuschi, 2021, cat.67, repr. p. 96. This lot is not part of the Windsor collection. Lô này không nằm trong bộ sưu tập Windsor. This lot is not part of the Windsor collection.

mai trung thứ（1906-1980 年）和 phạm văn ký（1910-1992 年） 丝绸上的诗，1961 年 Phạm Văn Ký 的八首诗集，配有 Mai Trung Thứ 绘制的八幅丝绸复制品插图。黑色丝绸封面 黑色丝绸封面，黑色精装套盒，编号 492/550。 Éditions Euros，巴黎，Ateliers L'Ibis 和 imprimerie Daragnès，巴黎，1961 年。 复制品尺寸： - 最大：18 x 12.4 厘米 - 7.1/8 x 4.7/8 英寸。 - 最小：12.8 x 10.1 厘米 - 5 x 4 英寸。 Phạm Văn Ký 的八首诗集，配有 Mai Trung Thứ 绘制的八幅丝绸复制品。黑色丝绸封面，黑色精装套盒，编号 492/550。 Éditions Euros，巴黎，Ateliers L'Ibis 和 imprimerie Daragnès，巴黎，1961 年 相关作品书目 Mai-Thu，écho d'un Vietnam rêvé》，马孔乌苏里内博物馆展览目录，与 博物馆合作举办的展览目录，2021 年，cat.67，重印本第 96 页。 此拍品不属于温莎收藏。 温莎收藏。 本拍品不属于温莎藏品。

MAI TRUNG THỨ (1906-1980) ET PHẠM VĂN KÝ (1910-1992)

MAI TRUNG THỨ (1906-1980) ET PHẠM VĂN KÝ (1910-1992) Poème sur soie, 1961 Recueil de huit poèmes de Phạm Văn Ký illustré de huit reproductions sur soie de Mai Trung Thứ. Sous une couverture de soie noire et un emboîtage de carton rigide noir, porte le n° 492/550. Éditions Euros, Paris, Ateliers L'Ibis et imprimerie Daragnès, Paris, 1961 Dimensions des reproductions : - La plus grande : 18 x 12,4 cm - 7 1/8 x 4 7/8 in. - La plus petite : 12,8 x 10,1 cm - 5 x 4 in. Collection of eight poems by Phạm Văn Ký illustrated with eight silk reproductions by Mai Trung Thứ. In a black silk cover and black hardback slipcase, bears no. 492/550. Éditions Euros, Paris, Ateliers L'Ibis and imprimerie Daragnès, Paris, 1961 BIBLIOGRAPHIE POUR UNE OEUVRE EN RAPPORT Mai-Thu, écho d'un Vietnam rêvé, catalogue de l'exposition au Musée des Ursulines à Mâcon, en partenariat avec le Musée Cernuschi, 2021, cat.67, repr. p. 96. Ce lot ne fait pas partie de la collection Windsor. Lô này không nằm trong bộ sưu tập Windsor. This lot is not part of the Windsor collection.

0001_pdwqDE.jpg

0002_PMnRIa.jpg

0003_FHdZzK.jpg

VŨ CAO ĐÀM (1908-2000) * Cavalier, 1990 Oil on paper mounted on canvas, signed and dated lower right. In its original frame. 46 x 55 cm - 18 1/8 x 21 5/8 in. Oil on paper mounted on canvas, signed and dated lower right. In its original frame. A certificate of inclusion in the artist's catalog raisonné currently being prepared by Charlotte Aguttes-Reynier for the Association des Artistes d'Asie à Paris will be given to the purchaser. PROVENANCE: Private collection, Switzerland (probably acquired in the South of France in the 1990s) Private collection, Switzerland (by descent from the previous owner).

Vũ Cao đàm (1908-2000) * 骑手，1990 年 布面纸上油画，右下方有签名和年代。 原装画框。 46 x 55 厘米 - 18 1/8 x 21 5/8 英寸。 纸上油画，裱在画布上，右下方有签名和年代。装在原画框中。 夏洛特-阿古特斯-雷尼耶（Charlotte Aguttes-Reynier）目前正在为巴黎亚洲艺术家协会（Association des Artistes d'Asie à Paris）编写该艺术家的作品目录，买方将获得目录收录证书。 出处： 私人收藏，瑞士（可能于 20 世纪 90 年代在法国南部购得） 私人收藏，瑞士（从前者继承）。

VŨ CAO ĐÀM (1908-2000)

VŨ CAO ĐÀM (1908-2000) * Cavalier, 1990 Huile sur papier marouflé sur toile, signée et datée en bas à droite. Dans son cadre d'origine. 46 x 55 cm - 18 1/8 x 21 5/8 in. Oil on paper mounted on canvas, signed and dated lower right. In its original frame. Une attestation d'inclusion au catalogue raisonné de l'artiste actuellement en préparation par Charlotte Aguttes-Reynier pour l'association des Artistes d'Asie à Paris sera remise à l'acquéreur. PROVENANCE: Collection particulière, Suisse (probablement acquise dans le sud de la France dans les années 1990) Collection particulière, Suisse (par descendance du précèdent).

0001_FCwIGd.jpg

0002_GiBQph.jpg

MAI TRUNG THỨ (1906-1980) Sleeping children, 1943 Ink and colors on silk, signed and dated upper right, titled on the back 35.4 x 26.9 cm - 14 x 10 5/8 in. Ink and color on silk, signed and dated upper right, titled on the back. A certificate of inclusion in the artist's catalog raisonné currently being prepared by Charlotte Aguttes-Reynier for the Association des Artistes d'Asie à Paris will be given to the purchaser. PROVENANCE: Galerie L'Art Vivant, Casablanca, circa 1944 Private collection, Algeria, mid-1940s Private collection, France (through family inheritance from previous owner).

麦庄（1906-1980） 熟睡的孩子，1943 年 丝绸上的水墨和色彩，右上方有签名和年代，背面有标题 35.4 x 26.9 cm - 14 x 10 5/8 in. 丝绸上的水墨和色彩，右上方有签名和年代，背面有标题。 夏洛特-阿古特斯-雷尼耶（Charlotte Aguttes-Reynier）目前正在为巴黎亚洲艺术家协会（Association des Artistes d'Asie à Paris）编写该艺术家的作品目录，买方将获得目录收录证书。 出处： 卡萨布兰卡 L'Art Vivant 画廊，约 1944 年 私人收藏，阿尔及利亚，20 世纪 40 年代中期 私人收藏，法国（从前者家族继承）。

MAI TRUNG THỨ (1906-1980) Enfants endormis, 1943 Encre et couleurs sur soie, signée et datée en haut à droite, titrée au dos 35,4 x 26,9 cm - 14 x 10 5/8 in. Ink and color on silk, signed and dated upper right, titled on the back Une attestation d'inclusion au catalogue raisonné de l'artiste actuellement en préparation par Charlotte Aguttes-Reynier pour l'association des Artistes d'Asie à Paris sera remise à l'acquéreur. PROVENANCE Galerie L'Art Vivant, Casablanca, circa 1944 Collection privée, Algérie, milieu des années 1940 Collection privée, France (par transmission familiale du précédent) Enfants endormis est une soie typique du travail de Mai Trung Thứ au début des années 1940, lors des expositions données en Algérie et également à Casablanca. Acquise à la Galerie L'Art Vivant et transmise familialement par la suite, cette soie illustre deux écoliers, représentés dans une composition pyramidale. Ici, les jeunes garçons se sont endormis alors qu’ils étudiaient. Aux pieds de celui vêtu de blanc se trouve un cahier sur lequel est noté son nom : Chen Wen Qin. La maîtrise et le travail de la ligne permettent de rendre les drapés des vêtements avec une grande précision. Mai Trung Thứ immortalise ici ses souvenirs scolaires avec tendresse et humour. Born in 1906 near Haiphong, Mai Trung Thứ attended the French high-school in Hanoi. Like Lê Phổ, Vũ Cao Đàm and Le Van De, he was in the first year of students at the École des Beaux-Arts d’Indochine, founded and directed by the painter Victor Tardieu. Invited to take part in the 1931 Paris Colonial Exhibition, Mai Trung Thứ discovered and fell in love with France, where he settled in the late 30’s and stayed until he died. Although strongly influenced by the teachings of Tardieu and Joseph Inguimberty, he is the one of his comrades who retained the deepest-rooted sense of Vietnamese identity. He soon abandoned oils for gouache and ink on silk: typical Asian techniques that enabled him to develop a style richly reminiscent of traditional Chinese and Vietnamese art. Although an independent artist, he remained politically committed and concerned about the future of his country. “Những đứa trẻ say ngủ" là một bức tranh lụa tiêu biểu cho các tác phẩm của Mai Trung Thứ vào đầu những năm 1940 khi ông tham gia các triển lãm ở Algérie và Casablanca. Được mua tại Phòng trưng bày L'Art Vivant và sau đó được truyền lại qua các thế hệ trong gia đình, bức tranh lụa này vẽ về hai cậu học sinh trong một bố cục hình kim tự tháp. Ở đây, các cậu bé đã ngủ quên khi đang học. Dưới chân của cậu bé mặc đồ trắng là một cuốn vở, trên đó có ghi tên: Chen Wen Qin. Tài năng và kỹ thuật vẽ đường nét cho phép hoạ sĩ thể hiện các nếp gấp trên trang phục một cách chính xác. Mai Trung Thứ đã lưu giữ lại những kỷ niệm học đường của mình bằng sự dịu dàng và hài hước.

0001_XITFmq.jpg

0002_Egtiol.jpg

0003_MHeTDW.jpg

0004_dMtTGi.jpg

0005_EqOBsl.jpg

0006_EFKYOA.jpg

0007_cmJqEG.jpg

0008_JzIUrn.jpg

LÊ QUỐC LỘC (1918-1987) Banana trees on the banks of the Red River, 1943 Lacquer with gold highlights, screen in six panels, signed and dated lower right 99.5 x 196 cm - 39 1/8 x 77 1/8 in. Lacquer with gold highlights, six panel screen, signed and dated lower right. PROVENANCE: Private collection, Saigon (acquired before 1946) Private collection, France (descended from previous owner). Teaching lacquerware techniques at the Indochina School of Fine Arts Victor Tardieu's interest in the art of lacquering began as soon as the school was founded in Hanoi. For him, this technique had a role to play in the revival of Vietnamese art. As early as 1929, he planned to install a "Lacquer Salon" in the pavilion dedicated to Indochina at the 1931 Colonial Exhibition. Joseph Inguimberty, joined by Alix Aymé, then took lacquer teaching in new directions. In 1938, Évariste Jonchère succeeded Victor Tardieu as director of the school, and enrolled the lacquerware course in the fine arts section, giving this technique new artistic recognition. Giảng dạy kỹ thuật sơn mài tại Trường Cao đẳng Mỹ thuật Đông Dương Nghệ thuật sơn mài đã thu hút sự quan tâm của Victor Tardieu ngay từ khi ông mới sáng lập Trường Mỹ thuật tại Hà Nội. Đối với ông, kỹ thuật sơn mài đóng một vai trò quan trọng trong công cuộc canh tân nghệ thuật Việt Nam. Ngay từ năm 1929, ông đã dự kiến thiết lập một "Phòng trưng mài sơn mài" trong khu triển lãm Đông Dương tại Triển lãm Thuộc địa năm 1931 Việc giảng dạy sơn mài sau đó được Joseph Inguimberty và Alix Aymé tiếp nối, những người đã nỗ lực dẫn dắt học trò trên những nẻo đường còn chưa được khai phá. Năm 1938, Évariste Jonchère kế nhiệm Victor Tardieu trong vai trò Hiệu trưởng Trường, và chính thức đưa bộ môn sơn mài vào chương trình đào tạo mỹ thuật, giúp cho kỹ thuật này được công nhận như một lĩnh vực nghệ mới. Teaching lacquer techniques at the School of Fine Arts in Indochina The art of lacquer caught Victor Tardieu's attention as soon as the school was founded in Hanoi. He believed that this technique had a role to play in the revival of Vietnamese art. In 1929, he planned to set up a "Lacquer Salon" in the pavilion dedicated to Indochina at the 1931 Colonial Exhibition. The teaching of lacquer was then taken up by Joseph Inguimberty, joined by Alix Aymé, who were keen to take their students in new and unexplored directions. Évariste Jonchère succeeded Victor Tardieu in 1938 as director of the school and included lacquer in the fine arts curriculum, giving this technique new artistic recognition. The lacquer technique and the Art Deco movement: a technical and artistic dialogue between Paris and Hanoi When he produced this screen in 1943, Lê Quốc Lộc had just completed his training in the lacquer section of the École des Beaux-Arts as part of the Class XII (1938 - 1943). Several slightly different versions of this décor are known, including two also dated 1943. That same year, Lê Quốc Lộc opened a lacquer workshop in Hanoi. At the time, he was considered one of the great Vietnamese lacquerers. He produced a variety of decorative objects and furniture, such as the armoire previously sold at Aguttes. With this folding screen, Lê Quốc Lộc demonstrates his attraction to the Art Deco aesthetic. The work of Jean Dunand (1877 - 1942), a master in the field since 1912 in Paris, can be cited as a direct influence. Trained in Paris by Japanese master lacquerer Seizo Sugawara, Jean Dunand made this technique one of the hallmarks of the Art Deco style. His art travels far and wide, thanks in particular to the sublime decorations the artist has created for the liners that sail from Marseille to Haiphong. For example, Dunand worked alongside Jacques-Émile Ruhlmann (1879 - 1933) to decorate the Île-de-France 3 liner in 1927, and the Normandie in 1931. A panel preserved at the Musée des Arts Décoratifs was part of the La Chasse ensemble decorating the first-class smoking room of the Normandie liner. Lê Quốc Lộc's style is a perfect exercise in simplified plant motifs, contrasting flat tints and gold highlights.

李克（1918-1987） 红河岸边的香蕉树，1943 年 漆面镶金，六幅屏风，右下方有签名和年代 99.5 x 196 cm - 39 1/8 x 77 1/8 in. 金漆，六幅屏风，右下方有签名和年代。 出处：私人收藏，西贡（购入 私人收藏，西贡（1946 年前购入） 法国私人收藏（从前者手中继承）。 在印度支那美术学校教授漆艺 维克多-塔迪厄（Victor Tardieu）对漆艺的兴趣始于学校在河内成立之初。对他来说，漆艺对越南艺术的复兴功不可没。 1929 年，他计划在 1931 年殖民地博览会的印度支那馆内设立一个 "漆艺沙龙"。随后，约瑟夫-英甘伯蒂（Joseph Inguimberty）与阿利克斯-艾梅（Alix Aymé）一起接管了漆器教学工作，带领学生们向新的方向发展。 1938 年，埃瓦里斯特-琼舍（Évariste Jonchère）接替维克多-塔迪厄（Victor Tardieu）担任学校校长，并将漆器课程纳入美术部分，使这一技艺获得了新的艺术认可。 曹氏漆器博物馆 Victor Tardieu先生在他的网站上发表了他的文章。Đối是一个在越南的国家。 1929年、1931年，他的父亲约瑟夫-英甘伯蒂（Joseph Inguimberty）和母亲阿利克斯-艾梅（Alix Aymé）被任命为 "越南的新领导人"、我们的计划是要在一个安全的环境下进行，我们的计划是要在一个安全的环境下进行，我们的计划是要在一个安全的环境下进行。 1938年，埃瓦里斯特-琼歇（Évariste Jonchère）与维克多-塔迪厄（Victor Tardieu）在 "琼歇计划 "中相识、在此，我们向您介绍，在我们的网站上，您可以找到很多关于我们的信息。 在印度支那美术学校教授漆器技艺 维克多-塔迪厄（Victor Tardieu）在河内创办学校之初就注意到了漆艺。他认为，漆艺对越南艺术的复兴具有重要作用。1929 年，他计划在 1931 年殖民地博览会印度支那馆内设立一个 "漆艺沙龙"。随后，约瑟夫-英甘伯蒂（Joseph Inguimberty）和阿利克斯-艾梅（Alix Aymé）开始从事漆艺教学工作，他们热衷于带领学生探索新的方向。 1938 年，埃瓦里斯特-琼歇（Évariste Jonchère）接替维克多-塔迪厄（Victor Tardieu）担任学校校长，并将漆艺纳入美术课程，使漆艺获得了新的艺术认可。 漆艺与装饰艺术运动：巴黎与河内之间的技术与艺术对话 Lê Quốc Lộc于1943年创作了这幅屏风，当时他刚刚完成在巴黎高等美术学院漆艺系接受的第十二期（1938-1943年）培训。 目前已知的这幅装饰画有几个略有不同的版本，其中有两个版本的日期也是 1943 年。同年，Lê Quốc Lộc 在河内开设了一家漆器作坊。 当时，他被认为是越南最伟大的漆匠之一。他制作了各种装饰品和家具，如之前在 Aguttes 出售的衣柜。 Lê Quốc Lộc 通过这件折叠屏风展示了他对装饰艺术美学的喜爱。让-杜南（Jean Dunand，1877 - 1942 年）的作品对他产生了直接的影响。 让-杜南在巴黎接受了日本漆艺大师菅原清三的培训，他的这一技艺成为装饰艺术风格的标志之一。他的艺术作品流传甚广，尤其是他为马赛至海防的邮轮创作的精美装饰。1927 年，杜南与雅克-埃米尔-鲁尔曼（Jacques-Émile Ruhlmann，1879 - 1933 年）合作装饰了法兰西岛 3 号邮轮，1931 年装饰了诺曼底号邮轮。保存在法国装饰艺术博物馆的一块画板是装饰诺曼底号邮轮头等舱吸烟室的 La Chasse 组合的一部分。 诺曼底号 "邮轮头等舱吸烟室的装饰。 Lê Quốc Lộc 的风格是对天赋的完美诠释，采用简化的植物图案、对比强烈的纯色和金色高光。

LÊ QUỐC LỘC (1918-1987)

LÊ QUỐC LỘC (1918-1987) Bananiers au bord du fleuve Rouge, 1943 Laque à rehauts d'or, paravent en six panneaux, signé et daté en bas à droite 99,5 x 196 cm - 39 1/8 x 77 1/8 in. Lacquer with gold highlights, six panels screen, signed and dated lower right. PROVENANCE: Collection particulière, Saigon (acquis avant 1946) Collection particulière, France (transmis par descendance du précédent). Enseigner la technique de la laque à l’École des beaux-arts de l’Indochine L’art de la laque retient l’at tention de Victor Tardieu dès la création de l’École à Hanoï. Pour lui cette technique doit jouer un rôle dans le renouveau de l’art vietnamien. Il prévoit d’ailleurs, dès 1929, d’installer un « Salon de laque » dans le pavillon dédié à l’Indochine lors de l’Exposition coloniale de 1931. L’enseignement de la laque est ensuite porté par Joseph Inguimberty, rejoint par Alix Aymé, qui s’attachent à emmener leurs élèves vers des directions encore inexplorées. Évariste Jonchère succède à Victor Tardieu en 1938 à la direction de l’École et inscrit le cours de laque en section beaux-arts, offrant à cette technique une nouvelle reconnaissance artistique. Giảng dạy kỹ thuật sơn mài tại Trường Cao đẳng Mỹ thuật Đông Dương Nghệ thuật sơn mài đã thu hút sự quan tâm của Victor Tardieu ngay từ khi ông mới sáng lập Trường Mỹ thuật tại Hà Nội. Đối với ông, kỹ thuật sơn mài đóng một vai trò quan trọng trong công cuộc canh tân nghệ thuật Việt Nam. Ngay từ năm 1929, ông đã dự kiến thiết lập một “Phòng trưng mài sơn mài” trong khu triển lãm Đông Dương tại Triển lãm Thuộc địa năm 1931 Việc giảng dạy sơn mài sau đó được Joseph Inguimberty và Alix Aymé tiếp nối, những người đã nỗ lực dẫn dắt học trò trên những nẻo đường còn chưa được khai phá. Năm 1938, Évariste Jonchère kế nhiệm Victor Tardieu trong vai trò Hiệu trưởng Trường, và chính thức đưa bộ môn sơn mài vào chương trình đào tạo mỹ thuật, giúp cho kỹ thuật này được công nhận như một lĩnh vực nghệ thuật mới. Teaching lacquer techniques at the School of Fine Arts in Indochina The art of lacquer caught Victor Tardieu's attention as soon as the school was founded in Hanoi. He believed that this technique had a role to play in the revival of Vietnamese art. In 1929, he planned to set up a “Lacquer Salon” in the pavilion dedicated to Indochina at the 1931 Colonial Exhibition. The teaching of lacquer was then taken up by Joseph Inguimberty, joined by Alix Aymé, who were keen to take their students in new and unexplored directions. Évariste Jonchère succeeded Victor Tardieu in 1938 as director of the school and included lacquer in the fine arts curriculum, giving this technique new artistic recognition. La technique de la laque et le mouvement Art déco : un dialogue technique et artistique entre Paris et Hanoï Lorsqu’il réalise ce paravent, en 1943, Lê Quốc Lộc vient de terminer sa formation dans la section laque de l’École des beaux-arts au sein de la Promotion XII (1938 - 1943). Plusieurs versions de ce décor, légèrement différentes, sont connues, dont deux également datées de 1943. C’est cette même année que Lê Quốc Lộc ouvre un atelier de laques à Hanoï. Il est alors considéré comme l’un des grands laqueurs vietnamiens. Il réalise divers objets de décoration et de mobilier par exemple l’armoire vendue précédemment chez Aguttes. Avec ce paravent, Lê Quốc Lộc démontre de son attrait pour l’esthétique Art déco. Le travail de Jean Dunand (1877 - 1942), maître en la matière depuis 1912 à Paris, peut être cité comme influence directe. En effet, Jean Dunand, formé à Paris auprès du maître laqueur japonais Seizo Sugawara, a fait de cette technique l’un des marqueurs du style Art déco. Son art voyage, notamment grâce aux sublimes décors que l’artiste a disposé dans les paquebots qui relient notamment Marseille à Haiphong. Dunand a participé par exemple à la décoration du paquebot Île-de-France 3 aux côtés de Jacques-Émile Ruhlmann (1879 - 1933) en 1927, ou encore du Normandie en 1931. Un panneau conservé au Musée des arts décoratifs faisait partie de l’ensemble La Chasse qui décorait le fumoir de la première classe du paquebot Normandie. Lê Quốc Lộc se livre ici à un parfait exercice de style et exécute avec talent ces motifs végétaux aux formes simplifiées et ces aplats contrastés et ces rehauts d’or.

0001_ZXpSnX.jpg

0002_zkiusD.jpg

0003_UvPEcP.jpg

0004_gjUdRU.jpg

MAI TRUNG THỨ (1906-1980) Mother and children, 1955 Ink and colors on silk, signed and dated upper left. In its original frame made by the artist. 24 x 17.5 cm x 9 1/2 x 6 7/8 in. Ink and color on silk, signed and dated upper left. In its original frame made by the artist. A certificate of inclusion in the artist's catalog raisonné currently being prepared by Charlotte Aguttes-Reynier for the Association des Artistes d'Asie à Paris will be given to the purchaser. PROVENANCE: Galerie Mignon-Massard, Nantes, April 1956 Private collection, France (acquired at the previous exhibition and passed down through the family since then). Maternal tenderness is one of Mai Trung Thứ's favorite themes. Here, a mother gazes tenderly at her son, whom she is holding, seated on her lap, while her daughter, behind her, hands a piece of fruit to her little brother. The bright colors bring a lot of cheerfulness to this composition. Tình mẫu tử là một trong những chủ đề yêu thích của Mai Trung Thứ. Trong tác phẩm này, một người mẹ đang dịu dàng nhìn đứa con trai đang ngồi trong lòng mình, trong khi bé gái phía sau đưa trái cây cho em trai. Những gam màu rực rỡ tươi sáng khiến cho bố cục trở nên sinh động và vui tươi. Motherly tenderness is one of Mai Trung Thứ's favorite themes. Here, a mother gazes tenderly at her son, whom she is holding on her lap, while her daughter, behind her, offers a piece of fruit to her little brother. The bright colors bring a lot of cheerfulness to this composition.

麦琼杜（1906-1980 年） 母亲和孩子，1955 年 丝绸上的水墨和色彩，左上方有签名和年代。 装在艺术家制作的原画框中 24 x 17.5 厘米 x 9 1/2 x 6 7/8 英寸。 丝绸上的水墨和色彩，左上方有签名和日期。装在艺术家制作的原画框中。 夏洛特-阿古特斯-雷尼耶（Charlotte Aguttes-Reynier）目前正在为巴黎亚洲艺术家协会（Association des Artistes d'Asie à Paris）编写该艺术家的作品目录，买方将获得目录收录证书。 出处： 米尼翁-马萨尔画廊，南特，1956 年 4 月 私人收藏，法国（在上届展览上购得，此后由家族传承）。 母性的温柔是 Mai Trung Thứ 最喜欢的主题之一。在这幅作品中，一位母亲温柔地看着坐在自己腿上的儿子，而她的女儿则在身后递给弟弟一个水果。明亮的色彩为这幅作品增添了许多欢快的气氛。 Tình mêu tử là một trong nhng chủ đề yêu thích của Mai Trung Thứ.从现在开始，你可以从你的工作中找到你的乐趣，你也可以从你的生活中找到你的乐趣，你也可以从你的工作中找到你的乐趣。它是一个能让人感觉到它的存在，并能让人感觉到它的存在的汉字，它是一个能让人感觉到它的存在，并能让人感觉到它的存在的汉字。 母亲的温柔是 Mai Trung Thứ 最喜欢的主题之一。在这幅画中，母亲温柔地注视着抱在膝上的儿子，而她身后的女儿则向弟弟递上一块水果。明亮的色彩为这幅作品增添了许多欢快的气氛。

MAI TRUNG THỨ (1906-1980) Mère et enfants, 1955 Encre et couleurs sur soie, signée et datée en haut à gauche. Dans son cadre d'origine réalisé par l'artiste 24 x 17,5 cm x 9 1/2 x 6 7/8 in. Ink and color on silk, signed and dated upper left. In its original frame made by the artist. Une attestation d'inclusion au catalogue raisonné de l'artiste actuellement en préparation par Charlotte Aguttes-Reynier pour l'association des Artistes d'Asie à Paris sera remise à l'acquéreur. PROVENANCE: Galerie Mignon-Massard, Nantes, avril 1956 Collection particulière, France (acquis à l'exposition précédente et transmis familialement depuis). La tendresse maternelle est l’un des thèmes de prédilection de Mai Trung Thứ. Ici, une mère regarde tendrement son fils qu’elle tient, assis sur ses genoux, tandis que sa fille, derrière elle tend un fruit à son petit frère. Les couleurs vives apportent beaucoup de gaieté à cette composition. Tình mẫu tử là một trong những chủ đề yêu thích của Mai Trung Thứ. Trong tác phẩm này, một người mẹ đang dịu dàng nhìn đứa con trai đang ngồi trong lòng mình, trong khi bé gái phía sau đưa trái cây cho em trai. Những gam màu rực rỡ tươi sáng khiến cho bố cục trở nên sinh động và vui tươi. Motherly tenderness is one of Mai Trung Thứ's favorite themes. Here, a mother gazes tenderly at her son, whom she is holding on her lap, while her daughter, behind her, offers a piece of fruit to her little brother. The bright colors bring a lot of cheerfulness to this composition.

0001_RCbwML.jpg

0002_JOXyLy.jpg

0003_PzPMvO.jpg

LÊ PHỔ (1907-2001) The Letter, circa 1944 Ink and colors on silk, signed upper left, titled on the back. In its original frame from the Romanet period. 35.5 x 29.3 cm - 14 x 11 1/2 in. Ink and color on silk, signed upper left, titled on reverse. In its original frame typical from the Romanet period. A certificate of inclusion in the artist's catalog raisonné currently being prepared by Charlotte Aguttes-Reynier for the Association des Artistes d'Asie à Paris will be given to the purchaser. PROVENANCE: Galerie d'art Pasteur, Algiers-Oran, Algeria Private collection, Algiers (acquired before 1950) Private collection, France (transferred from previous owner in 1990). Art dealer André Romanet discovered Lê Phổ' work in 1941 when works by the artist were presented by Galerie Lorenceau in Vichy. André Romanet met the artist and became his gallery owner. Owner of the Galerie d'Art Pasteur in Algiers and another gallery in Oran, he organized two exhibitions: the first in 1942, showing works by Lê Phổ and Mai Trung Thứ, and the second in 1944, adding works by Vũ Cao Đàm. The letter was acquired at this time, in Algeria, and passed down through the family ever since. Nhà buôn tranh André Romanet lần đầu tiên biết đến các sáng tác của Lê Phổ vào năm 1941, khi một số tác phẩm của ông được trưng bày tại phòng tranh Lorenceau, Vichy. Ngay sau đó, Romanet đã gặp gỡ nghệ sĩ và trở thành người đại diện chính thức của ông. Là chủ nhân của Phòng tranh Nghệ thuật Pasteur tại Alger và một phòng tranh khác ở Oran, ông đã tổ chức hai cuộc triển lãm: triển lãm đầu tiên năm 1942 giới thiệu tác phẩm của Lê Phổ và Mai Trung Thứ| và triển lãm thứ hai năm 1944, có thêm các tác phẩm của Vũ Cao Đàm. Bức tranh đã được mua trong giai đoạn này tại Algeria, và được lưu giữ trong gia đình qua nhiều thế hệ. The merchant André Romanet discovered Lê Phổ's work in 1941 when some of his pieces were exhibited by the Lorenceau Gallery in Vichy. André Romanet then met the artist and became his gallery owner. Owner of the Galerie d'Art Pasteur in Algiers and another gallery in Oran, he organized two exhibitions: the first in 1942, showing works by Lê Phổ and Mai Trung Thứ, and the second in 1944, adding works by Vũ Cao Đàm. La lettre was acquired during this period in Algeria and has been in the family ever since.

Lê PHổ (1907-2001) 信，约 1944 年 绢本彩色水墨画，左上方有签名，背面有标题。 装在 Romanet 时期的原画框中。 35,5 x 29,3 厘米 - 14 x 11 1/2 英寸。 丝绸上的水墨和色彩，左上方有签名，背面有标题。装在罗曼内特时期的典型原画框中。 夏洛特-阿古特斯-雷尼耶（Charlotte Aguttes-Reynier）目前正在为巴黎亚洲艺术家协会（Association des Artistes d'Asie à Paris）编写该艺术家的作品目录，买方将获得目录收录证书。 出处：巴斯德艺术画廊 巴斯德艺术画廊，阿尔及尔-奥兰，阿尔及利亚 私人收藏，阿尔及尔（1950 年前购入） 私人收藏，法国（1990 年从前者手中转让）。 1941 年，当 Lê Phổ 的作品在维希的 Lorenceau 画廊展出时，艺术经纪人 André Romanet 发现了他的作品。André Romanet 随后结识了这位艺术家，并成为他的画廊老板。 他是阿尔及尔的 Galerie d'Art Pasteur 和奥兰的另一家画廊的所有人，他组织了两次展览：第一次是在 1942 年，展出了 Lê Phổ 和 Mai Trung Thứ 的作品；第二次是在 1944 年，增加了 Vũ Cao Đàm 的作品。这封信是在此期间在阿尔及利亚获得的，此后一直在家族中流传。 安德烈-罗曼内（André Romanet）从1941年开始在维希的洛伦索（Lorenceau）工作。在过去的几年里，Romanet 的用户数量不断增加，而且还在不断扩大。阿尔及尔的巴斯德和奥兰的 "奥兰"（Oran），都是由 "奥兰"（Oran）的 "巴斯德"（Pasteur）转过来的，而不是由 "奥兰"（Oran）的 "巴斯德"（Pasteur）转过来的：1942年，Lê Phổ 和 Mai Trung Thứ；1944年，Vủ Cao Đàm。从阿尔及利亚到阿尔及利亚，从阿尔及利亚到阿尔及利亚，从阿尔及利亚到阿尔及利亚。 商人 André Romanet 于 1941 年发现了 Lê Phổ 的作品，当时他的一些作品在维希的 Lorenceau 画廊展出。André Romanet 随后结识了这位艺术家，并成为他的画廊老板。他是阿尔及尔的 Galerie d'Art Pasteur 和奥兰的另一家画廊的所有人，他组织了两次展览：第一次是在 1942 年，展出了 Lê Phổ 和 Mai Trung Thứ 的作品；第二次是在 1944 年，增加了 Vũ Cao Đàm 的作品。La lettre》是这一时期在阿尔及利亚获得的，此后一直由家族收藏。

LÊ PHỔ (1907-2001) La lettre, circa 1944 Encre et couleurs sur soie, signée en haut à gauche, titrée au dos. Dans son cadre d'origine de la période Romanet. 35,5 x 29,3 cm - 14 x 11 1/2 in. Ink and color on silk, signed upper left, titled on reverse. In its original frame typical from the Romanet period. Une attestation d'inclusion au catalogue raisonné de l'artiste actuellement en préparation par Charlotte Aguttes-Reynier pour l'association des Artistes d'Asie à Paris sera remise à l'acquéreur. PROVENANCE: Galerie d'art Pasteur, Alger-Oran, Algérie Collection particulière, Alger (acquis avant 1950) Collection particulière, France (transmis du précédent en 1990). Le marchand André Romanet découvre le travail de Lê Phổ en 1941 lorsque des oeuvres de ce dernier sont présentées par la galerie Lorenceau à Vichy. André Romanet rencontre alors l’artiste et devient son galeriste. Propriétaire de la galerie d’Art Pasteur à Alger et d’une autre galerie à Oran, il organise deux expositions : une première en 1942, où il montre les oeuvres de Lê Phổ et Mai Trung Thứ, et une seconde en 1944 où il ajoute des oeuvres de Vũ Cao Đàm. La lettre a été acquise à cette période, en Algérie, et transmise familialement depuis. Nhà buôn tranh André Romanet lần đầu tiên biết đến các sáng tác của Lê Phổ vào năm 1941, khi một số tác phẩm của ông được trưng bày tại phòng tranh Lorenceau, Vichy. Ngay sau đó, Romanet đã gặp gỡ nghệ sĩ và trở thành người đại diện chính thức của ông. Là chủ nhân của Phòng tranh Nghệ thuật Pasteur tại Alger và một phòng tranh khác ở Oran, ông đã tổ chức hai cuộc triển lãm: triển lãm đầu tiên năm 1942 giới thiệu tác phẩm của Lê Phổ và Mai Trung Thứ| và triển lãm thứ hai năm 1944, có thêm các tác phẩm của Vũ Cao Đàm. Bức tranh đã được mua trong giai đoạn này tại Algeria, và được lưu giữ trong gia đình qua nhiều thế hệ. The merchant André Romanet discovered Lê Phổ's work in 1941 when some of his pieces were exhibited by the Lorenceau Gallery in Vichy. André Romanet then met the artist and became his gallery owner. Owner of the Galerie d'Art Pasteur in Algiers and another gallery in Oran, he organized two exhibitions: the first in 1942, showing works by Lê Phổ and Mai Trung Thứ, and the second in 1944, adding works by Vũ Cao Đàm. La lettre was acquired during this period in Algeria and has been in the family ever since.

0001_RDlQJA.jpg

0002_wkSnvu.jpg

0003_YFIKuC.jpg

MAI TRUNG THỨ (1906-1980) Reverie, 1942 Ink and colors on silk, signed and dated upper left, titled on back 29.2 x 22.5 cm - 11 1/2 x 8 7/8 in. Ink and color on silk, signed and dated upper left, titled on reverse. A certificate of inclusion in the artist's catalog raisonné currently being prepared by Charlotte Aguttes-Reynier for the Association des Artistes d'Asie à Paris will be given to the purchaser. PROVENANCE: Galerie d'art Pasteur, Algiers-Oran, Algeria Private collection, France (acquired in Algeria around 1942) Private collection, France (by descent from previous owner) EXHIBITION: 1942, Algeria, Algiers, Galerie d'Art Pasteur, Romanet, Exhibition Maï Thu, Le Pho, Vu Cao Dam, Peintures Indochinoises. Mai Trung Thứ exhibited Rêverie in 1942 in Algiers, thanks to the Parisian gallery owner André Romanet, whom he had met in 1941 at an exhibition of his work given in Vichy by Galerie Lorenceau. Romanet decided to present the work of Mai Trung Thứ and that of his comrade Lê Phổ at the Galerie d'Art Pasteur in Algiers, then in Oran. He makes arrangements with the General Governorship to facilitate the organization of this exhibition. It is a great honor to bring together today on our walls, La lettre by Lê Phổ and Rêverie by Mai Trung Thứ, more than 80 years after their first joint presentation on the walls of the gallery in Algiers. Mai Trung Thứ trưng bày tác phẩm "Rêverie" (Mơ mộng) vào năm 1942 tại Alger, nhờ vào sự hỗ trợ của ông chủ phòng tranh André Romanet mà ông đã có dịp gặp gỡ vào năm 1941, tại một triển lãm cá nhân được tổ chức ở Vichy bởi phòng tranh Lorenceau. Romanet sau đó đã quyết định giới thiệu các tác phẩm của Mai Trung Thứ và người bạn đồng môn Lê Phổ tại phòng tranh Pasteur ở Alger, rồi sau đó là ở Oran. Ông đã đạt được thỏa thuận với Ngài Toàn quyền Algeria để có thể tổ chức triển lãm này. Thật là một vinh dự lớn lao khi ngày hôm nay, tại đây, chúng tôi lại có thể cùng trưng bày hai tác phẩm: "The Letter" (Bức thư) của Lê Phổ và "Reverie" (Mơ mộng) của Mai Trung Thứ, hơn 80 năm sau lần đầu hai tác phẩm được ra mắt tại phòng tranh Alger. Mai Trung Thứ exhibited Rêverie in Algiers in 1942, thanks to Parisian gallery owner André Romanet, whom he had met in 1941 during an exhibition of his work at the Lorenceau Gallery in Vichy. Romanet decided to present the work of Mai Trung Thứ and his friend Lê Phổ at the Galerie d'Art Pasteur in Algiers, then in Oran. He made arrangements with the governorate general to facilitate the organization of this exhibition. It is a great honor to bring together today, on our walls, Lê Phổ's La lettre and Mai Trung Thứ's Rêverie, more than 80 years after they were first exhibited together in the Algiers gallery.

麦庄杜（1906-1980） 遐想，1942 年 绢上墨彩，左上方有签名和年代，背面有标题 29,2 x 22,5 厘米 - 11 1/2 x 8 7/8 英寸（1.5 厘米）。 丝绸上的水墨和色彩，左上方有签名和年代，背面有标题。 夏洛特-阿古特斯-雷尼耶（Charlotte Aguttes-Reynier）目前正在为巴黎亚洲艺术家协会（Association des Artistes d'Asie à Paris）编写该艺术家的作品目录，买方将获得目录收录证书。 出处：巴斯德艺术画廊 巴斯德艺术画廊，阿尔及尔-奥兰，阿尔及利亚 法国私人收藏（1942 年左右购于阿尔及利亚） 私人收藏，法国（由前拥有者继承） 展览： 1942 年，阿尔及利亚，阿尔及尔，巴斯德艺术画廊，罗马内，Maï Thu、Le Pho、Vu Cao Dam、Peintures Indochinoises 展览会。 Mai Trung Thứ 于 1942 年在阿尔及尔展出了《Rêverie》，这要归功于巴黎画廊老板 André Romanet，他于 1941 年在维希举办的 Lorenceau 画廊作品展上结识了 Romanet。 Romanet 决定在当时位于奥兰的阿尔及尔巴斯德艺术画廊展出 Mai Trung Thứ 和他的战友 Lê Phổ 的作品。他与省长做出了安排，为举办这次展览提供了便利。 Lê Phổ 的作品《La lettre》和 Mai Trung Thứ 的作品《Rêverie》在阿尔及尔画廊的墙壁上首次联合展出已经过去了 80 多年，今天能在我们的墙壁上展出，我们深感荣幸。 Mai Trung Thứ 于 1942 年初在阿尔及尔的 "Rêverie" (Mơ mộng)画作、1941年，安德烈-罗曼内特（André Romanet）在维希政府的支持下，开始了他的新生活。 螘委蟽伪喂 Lorenceau. Romanet sau đó định giới thiệu các tác phám của Mai Trung Thứ và nười bạn mên Lê Phổ tại phòng tranh Pasteur ở Alger, rồi sauđó là ở Oran.你可以在阿尔及利亚的任何地方找到你的 "Ngài Toàn"。 这是个好听的名字，但它也有一个缺点，就是容易被人误解：信"(Bức thư) 是 Lê Phổ 的作品，"遐想"(Mơ mộng)是 Mai Trung Thứ 的作品。 Mai Trung Thứ于1942年在阿尔及尔展出了《Rêverie》，这要归功于巴黎画廊老板André Romanet，他于1941年在维希的Lorenceau画廊举办作品展时认识了André Romanet。 Romanet 决定在当时位于奥兰的阿尔及尔巴斯德艺术画廊展出 Mai Trung Thứ 和他的朋友 Lê Phổ 的作品。他与省长进行了安排，为举办这次展览提供了便利。 Lê Phổ 的作品《La lettre》和 Mai Trung Thứ 的作品《Rêverie》在阿尔及尔画廊首次同台展出已经过去了 80 多年，今天能在我们的墙上展出，我们深感荣幸。

MAI TRUNG THỨ (1906-1980) Rêverie, 1942 Encre et couleurs sur soie, signée et datée en haut à gauche, titrée au dos 29,2 x 22,5 cm - 11 1/2 x 8 7/8 in. Ink and color on silk, signed and dated upper left, titled on reverse. Une attestation d'inclusion au catalogue raisonné de l'artiste actuellement en préparation par Charlotte Aguttes-Reynier pour l'association des Artistes d'Asie à Paris sera remise à l'acquéreur. PROVENANCE: Galerie d'art Pasteur, Alger-Oran, Algérie Collection particulière, France (acquise en Algérie vers 1942) Collection particulière, France (par descendance du précèdent) EXPOSITION: 1942, Algérie, Alger, Galerie d'Art Pasteur, Romanet, Exposition Maï Thu, Le Pho, Vu Cao Dam, Peintures Indochinoises. Mai Trung Thứ expose Rêverie en 1942 à Alger, grâce au galeriste parisien André Romanet qu’il a rencontré en 1941 à l’occasion d’une exposition de son travail donnée à Vichy par la galerie Lorenceau. Romanet décide alors de présenter le travail de Mai Trung Thứ et celui de son camarade Lê Phổ à la galerie d’Art Pasteur à Alger, puis à Oran. Il s’entend avec le gouvernorat général pour faciliter l’organisation de cette exposition. C’est un grand honneur de réunir aujourd’hui sur nos cimaises, La lettre de Lê Phổ et Rêverie de Mai Trung Thứ, plus de 80 ans après leur première présentation commune sur les murs de la galerie algéroise. Mai Trung Thứ trưng bày tác phẩm “Rêverie” (Mơ mộng) vào năm 1942 tại Alger, nhờ vào sự hỗ trợ của ông chủ phòng tranh André Romanet mà ông đã có dịp gặp gỡ vào năm 1941, tại một triển lãm cá nhân được tổ chức ở Vichy bởi phòng tranh Lorenceau. Romanet sau đó đã quyết định giới thiệu các tác phẩm của Mai Trung Thứ và người bạn đồng môn Lê Phổ tại phòng tranh Pasteur ở Alger, rồi sau đó là ở Oran. Ông đã đạt được thỏa thuận với Ngài Toàn quyền Algeria để có thể tổ chức triển lãm này. Thật là một vinh dự lớn lao khi ngày hôm nay, tại đây, chúng tôi lại có thể cùng trưng bày hai tác phẩm: “La lettre” (Bức thư) của Lê Phổ và “Rêverie” (Mơ mộng) của Mai Trung Thứ, hơn 80 năm sau lần đầu hai tác phẩm được ra mắt tại phòng tranh Alger. Mai Trung Thứ exhibited Rêverie in Algiers in 1942, thanks to Parisian gallery owner André Romanet, whom he had met in 1941 during an exhibition of his work at the Lorenceau Gallery in Vichy. Romanet decided to present the work of Mai Trung Thứ and his friend Lê Phổ at the Galerie d'Art Pasteur in Algiers, then in Oran. He made arrangements with the governorate general to facilitate the organization of this exhibition. It is a great honor to bring together today, on our walls, Lê Phổ's La lettre and Mai Trung Thứ's Rêverie, more than 80 years after they were first exhibited together in the Algiers gallery.

0001_rKXMNh.jpg

0002_jpVgZQ.jpg

0003_BxrsTN.jpg

0001_QTDjmR.jpg

0002_DoUMiC.jpg

0003_SKJfPw.jpg

VŨ CAO ĐÀM (1908-2000) * Young Vietnamese Woman, circa 1960 Oil on canvas, signed lower right. In its original frame 55 x 46 cm - 21 5/8 x 18 1/8 in. Oil on canvas, signed lower left. In its original frame. A certificate of inclusion in the artist's catalog raisonné currently being prepared by Charlotte Aguttes-Reynier for the Association des Artistes d'Asie à Paris will be given to the purchaser. PROVENANCE: Private collection, Paris Private collection, Canada (by descent from the previous owner). For once, in this delicate portrait, Vũ Cao Đàm depicts the features of a family friend. He concentrates on the face, its features and expression. The woman's gaze is distant and frank, with a slight smile. Trái với phong cách sáng tác thường thấy, trong tác phẩm này, Vũ Cao Đàm đã khắc họa chân dung một người bạn thân thiết của gia đình. Ông tập trung vào khuôn mặt, đường nét và biểu cảm của nhân vật. Người phụ nữ mang một ánh nhìn xa xăm nhưng thẳng thắn cùng nụ cười nhẹ trên môi. For once, in this delicate portrait, Vũ Cao Đàm depicts the features of a family friend. He focuses on her face, her features, and her expression. This woman has a distant, frank gaze and a slight smile.

Vũ Cao đàm (1908-2000) * 越南年轻女子，约 1960 年 布面油画，右下方有签名。原画框 55 x 46 厘米 - 21 5/8 x 18 1/8 英寸。 布面油画，左下方有签名。装在原画框中。 夏洛特-阿古特斯-雷尼耶（Charlotte Aguttes-Reynier）目前正在为巴黎亚洲艺术家协会（Association des Artistes d'Asie à Paris）编写该艺术家的作品目录，将向买家提供目录收录证书。 出处：私人收藏，巴黎 私人收藏，巴黎 私人收藏，加拿大（从前者继承）。 在这幅精致的肖像画中，Vũ Cao Đàm描绘了一位家庭朋友的特征。他专注于面部、五官和表情。女子的目光疏远而坦率，微微含笑。 曹孟德说："我的亲朋好友都是我的好朋友，他们都是我的好朋友。在此情况下，您可以在您的网站上找到关于"''''''''"的信息。Ngưi phụ nương mang một ánh nhìn xa xăm nhưng thẳng thắn cùng nụ cưiờ nhẹ trên môi。 在这幅精致的肖像画中，Vũ Cao Đàm 这一次描绘了一位家庭朋友的特征。他重点描绘了她的脸庞、五官和表情。这位女士的目光遥远而坦诚，面带微笑。

VŨ CAO ĐÀM (1908-2000) * Jeune femme vietnamienne, circa 1960 Huile sur toile, signée en bas à droite. Dans son cadre d'origine 55 x 46 cm - 21 5/8 x 18 1/8 in. Oil on canvas, signed lower left. In its original frame. Une attestation d'inclusion au catalogue raisonné de l'artiste actuellement en préparation par Charlotte Aguttes-Reynier pour l'association des Artistes d'Asie à Paris sera remise à l'acquéreur. PROVENANCE: Collection particulière, Paris Collection particulière, Canada (par descendance du précédent). Une fois n’est pas coutume, dans ce délicat portrait, Vũ Cao Đàm représente les traits d’une amie de la famille. Il se concentre sur le visage, ses traits et son expression. Cette femme arbore un regard lointain et franc, avec un léger sourire. Trái với phong cách sáng tác thường thấy, trong tác phẩm này, Vũ Cao Đàm đã khắc họa chân dung một người bạn thân thiết của gia đình. Ông tập trung vào khuôn mặt, đường nét và biểu cảm của nhân vật. Người phụ nữ mang một ánh nhìn xa xăm nhưng thẳng thắn cùng nụ cười nhẹ trên môi. For once, in this delicate portrait, Vũ Cao Đàm depicts the features of a family friend. He focuses on her face, her features, and her expression. This woman has a distant, frank gaze and a slight smile.

0001_tFGOoS.jpg

0002_HnWUqg.jpg

0003_UsPMal.jpg

TRẦN VĂN HÀ (1911-1974) Cavalcade Lacquer, eggshell and looted mother-of-pearl, one panel, signed lower right 51.5 x 105.5 cm - 20 1/4 x 40 1/2 in. Lacquer, eggshell and mother-of-pearl, one panel, signed lower right. PROVENANCE: Private collection, France (family heirloom for nearly 50 years).

崔文勋（1911-1974） 车队 漆、蛋壳和螺钿，单幅，右下方有签名 51,5 x 105,5 厘米 - 20 1/4 x 40 1/2 英寸（1911-1974 年 漆、蛋壳和螺钿，单幅，右下方有签名。 出处：法国私人收藏（保存在法国博物馆）： 法国私人收藏（家族收藏近 50 年）。

TRẦN VĂN HÀ (1911-1974)

TRẦN VĂN HÀ (1911-1974) Cavalcade Laque, coquilles d'oeufs et nacre pillée, un panneau, signé en bas à droite 51,5 x 105,5 cm - 20 1/4 x 40 1/2 in. Lacquer, eggshell and mother-of-pearl, one panel, signed lower right. PROVENANCE: Collection particulière, France (conservé familialement depuis près de 50 ans).

0001_EjUCiu.jpg

SURROUNDINGS OF THE VIETNAMESE SCHOOL OF FINE ARTS Village on the edge of rice fields Lacquer with gold and mother-of-pearl highlights, one panel, signed Gian and dated 1949 lower left 43.8 x 60.1 cm - 17 1/4 x 23 5/8 in. Lacquer with gold and mother-of-pearl highlights, one panel, with a signature Gian and a date lower left. PROVENANCE: Private collection, France.

越南美术学校周边环境 稻田边的村庄 漆面，金色和螺钿装饰，单幅，左下方有 Gian 和 1949 年签名 43,8 x 60,1 厘米 - 17 1/4 x 23 5/8 英寸 漆金和螺钿装饰，单幅，左下方有 Gian 的签名和日期。 出处：法国私人收藏： 法国私人收藏。

ENTOURAGE DE L'ÉCOLE DES BEAUX-ARTS DU VIETNAM

ENTOURAGE DE L'ÉCOLE DES BEAUX-ARTS DU VIETNAM Village en bord de rizières Laque à rehauts d'or et de nacre pillée, un panneau, porte une signature Gian et une date 1949 en bas à gauche 43,8 x 60,1 cm - 17 1/4 x 23 5/8 in. Lacquer with gold and mother-of-pearl highlights, one panel, with a signature Gian and a date lower left. PROVENANCE: Collection particulière, France.

0001_bjgJFp.jpg

NGUYỄN SAO (1915-2006) The Lotus Woman, 1971 Lacquer with gold and silver highlights, one panel, signed and dated lower right, titled on the back 81.3 x 60.2 cm - 32 x 23 3/4 in. Lacquer with gold and silver highlights, one panel, signed and dated lower right, titled on the back. PROVENANCE: Private collection, France (kept in the family for nearly 50 years).

吴永绍（1915-2006） 荷花女子》，1971 年 漆金银装饰，单幅，右下方有签名和年代，背面有标题 81,3 x 60,2 cm - 32 x 23 3/4 in. 金银亮漆，单幅，右下方有签名和年代，背面有标题。 出处：法国私人收藏（保存在法国博物馆）： 法国私人收藏（家族收藏近 50 年）。

NGUYỄN SAO (1915-2006)

NGUYỄN SAO (1915-2006) La femme aux lotus, 1971 Laque à rehauts d'or et d'argent, un panneau, signé et daté en bas à droite, titré au dos 81,3 x 60,2 cm - 32 x 23 3/4 in. Lacquer with gold and silver highlights, one panel, signed and dated lower right, titled on the back. PROVENANCE: Collection particulière, France (conservé familialement depuis près de 50 ans).

0001_RMCfxa.jpg

ALIX AYMÉ (1894-1989) On the banks of the Perfume River in Hué, 1928 Watercolor, gouache and pastel on paper, signed lower left 24.5 x 31.5 cm - 9 5/8 x 12 3/8 in. Watercolor, gouache and pastel on paper, signed lower left. This work will be included by the Association des amis d'Alix Aymé, under number D133, in the artist's online catalog raisonné. A certificate may be issued at the purchaser's expense. PROVENANCE: Private collection of the artist's family Private collection, South-East France (acquired from previous owner).

阿里克斯-艾梅（1894-1989 年） 惠城香水河畔，1928 年 纸面水彩、水粉和粉彩，左下方有签名 24.5 x 31.5 厘米（9.5/8 x 12.3/8 英寸）。 纸上水彩、水粉和粉彩，左下方有签名。 这件作品将由艾利克斯-艾梅之友协会（Association des amis d'Alix Aymé）收入该艺术家的在线目录，编号为 D133。可出具证书，费用由买方承担。 出处： 艺术家家族私人收藏 私人收藏，法国东南部（从前者手中购得）。

ALIX AYMÉ (1894-1989) Sur les bords de la rivière des Parfums à Hué, 1928 Aquarelle, gouache et pastel sur papier, signée en bas à gauche 24,5 x 31,5 cm - 9 5/8 x 12 3/8 in. Watercolor, gouache and pastel on paper, signed lower left Cette œuvre sera incluse par l'Association des amis d'Alix Aymé sous le numéro D133 au catalogue raisonné en ligne de l'artiste. Un certificat pourra être délivré à la charge de l'acquéreur. PROVENANCE Collection particulière, sud-est de la France Acquis directement auprès de la famille de l'artiste

0001_jobOHx.jpg

0002_nwTFfM.jpg

0003_erlmYt.jpg

0004_vYhcqi.jpg

0005_nnZpGV.jpg

ALIX AYMÉ (1894-1989) Michel reading Ink and pencil on rice paper, signed apocryphally lower right 49 x 59,5 cm à vue - 19 1/4 x 23 3/8 in. on sight Ink and pencil on rice paper, with an apocryphal signature lower right. This work will be included by the Association des amis d'Alix Aymé, under number D94, in the artist's online catalog raisonné. A certificate may be issued at the purchaser's expense. PROVENANCE: Private collection of the artist's family Private collection, South-East France (acquired from previous owner).

阿里克斯-艾梅（1894-1989） 米歇尔阅读 宣纸上的墨水和铅笔，右下方有启示性签名 49 x 59,5 厘米 - 19 1/4 x 23 3/8 英寸（见图 宣纸上的墨水和铅笔，右下方有天书签名。 这件作品将由艾利克斯-艾梅之友协会（Association des amis d'Alix Aymé）收入该艺术家的在线目录，编号为 D94。可出具证书，费用由买方承担。 出处： 艺术家家族私人收藏 私人收藏，法国东南部（从前者手中购得）。

ALIX AYMÉ (1894-1989) Michel lisant Encre et crayon sur papier de riz, porte une signature apocryphe en bas à droite 49 x 59,5 cm à vue - 19 1/4 x 23 3/8 in. on sight Ink and pencil on rice paper, with an apocryphal signature lower right Cette œuvre sera incluse par l'Association des amis d'Alix Aymé sous le numéro D94 au catalogue raisonné en ligne de l'artiste. Un certificat pourra être délivré à la charge de l'acquéreur. PROVENANCE Collection particulière, sud-est de la France Acquis directement auprès de la famille de l'artiste

0001_zYgQGN.jpg

0002_JFdTva.jpg

0003_wQltFZ.jpg

0004_dPUGZg.jpg

0005_qoKgIE.jpg

ALIX AYMÉ (1894-1989) Young woman Ink and colors on paper, monogrammed lower right 40 x 31 cm à vue - 15 3/4 x 12 1/4 in. on sight Ink and color on paper, monogrammed lower right. This work will be included by the Association des amis d'Alix Aymé, under number D21, in the artist's online catalog raisonné. A certificate may be issued at the purchaser's expense. PROVENANCE: Private collection of the artist's family Private collection, South-East France (acquired from previous owner).

阿利克斯-艾梅（1894-1989） 年轻女子 纸上墨彩，右下方有花押 40 x 31 cm à vue - 15 3/4 x 12 1/4 in. 纸上墨水和色彩，右下方有花押。 这件作品将由艾利克斯-艾梅之友协会（Association des amis d'Alix Aymé）收录在艺术家的在线目录中，编号为 D21。可出具证书，费用由买方承担。 出处： 艺术家家族私人收藏 私人收藏，法国东南部（从前者手中购得）。

ALIX AYMÉ (1894-1989) Jeune femme Encre et couleurs sur papier, monogrammée en bas à droite 40 x 31 cm à vue - 15 3/4 x 12 1/4 in. on sight Ink and color on paper, monogramed lower right Cette œuvre sera incluse par l'Association des amis d'Alix Aymé sous le numéro D21 au catalogue raisonné en ligne de l'artiste. Un certificat pourra être délivré à la charge de l'acquéreur. PROVENANCE Collection particulière, sud-est de la France Acquis directement auprès de la famille de l'artiste

0001_IvbiBJ.jpg

0002_oAENDV.jpg

0003_UQNjYC.jpg

0004_tWYHOb.jpg

ENTOURAGE OF BÙI XUÂN PHÁI (1920-1988) Hanoi Street Oil on isorel, signed lower right 16.3 x 23 cm - 6 3/8 x 9 in. Oil on hardboard, with a signature lower right. PROVENANCE: Private collection, Belgium.

Bùi XUân PHái（1920-1988 年）的随行人员 河内的街道 等色油画，右下方有签名 16.3 x 23 厘米 - 6.3/8 x 9 英寸。 硬板油画，右下方有签名。 出处：比利时私人收藏： 比利时私人收藏。

ENTOURAGE DE BÙI XUÂN PHÁI (1920-1988)

ENTOURAGE DE BÙI XUÂN PHÁI (1920-1988) Rue d'Hanoi Huile sur isorel, porte une signature en bas à droite 16,3 x 23 cm - 6 3/8 x 9 in. Oil on hardboard, with a signature lower right. PROVENANCE: Collection particulière, Belgique.

0001_zIJNma.jpg

ENTOURAGE OF BÙI XUÂN PHÁI (1920-1988) Rue d'Hanoi, 1982 Oil on isorel, signed and dated lower left 29 x 42 cm - 11 3/8 x 16 1/2 in. Oil on hardboard, with a signature and a date lower left. PROVENANCE: Private collection, Belgium.

Bùi XUân PHái（1920-1988 年）的随行人员 河内的街道, 1982 年 油画，左下方有签名和年代 29 x 42 cm - 11 3/8 x 16 1/2 in. 硬板油画，左下方有签名和日期。 出处：比利时私人收藏： 比利时私人收藏。

ENTOURAGE DE BÙI XUÂN PHÁI (1920-1988) Rue d'Hanoi, 1982 Huile sur isorel, porte une signature et une date en bas à gauche 29 x 42 cm - 11 3/8 x 16 1/2 in. Oil on hardboard, with a signature and a date lower left. PROVENANCE: Collection particulière, Belgique.

0001_gGDcvE.jpg

ENTOURAGE OF BÙI XUÂN PHÁI (1920-1988) Couple, 1986 Oil on isorel, signed and dated upper right 19.5 x 16 cm - 7 5/8 x 6 1/4 in. Oil on hardboard, with a signature and date top right. PROVENANCE: Private collection, Belgium.

Bùi XUân PHái（1920-1988 年）的随行人员 夫妇，1986 年 等色油彩，右上方有签名和年代 19.5 x 16 厘米 - 7.5/8 x 6.1/4 英寸（19.5 x 16 厘米）。 硬板油画，右上方有签名和日期。 出处：比利时私人收藏： 比利时私人收藏。

ENTOURAGE DE BÙI XUÂN PHÁI (1920-1988) Couple, 1986 Huile sur isorel, porte une signature et une date en haut à droite 19,5 x 16 cm - 7 5/8 x 6 1/4 in. Oil on hardboard, with a signature and date top right. PROVENANCE: Collection particulière, Belgique.

0001_CJdFAo.jpg

ENTOURAGE OF BÙI XUÂN PHÁI (1920-1988) Woman combing her hair, January 1, 1968 Gouache on paper, signed and dated upper left 52.2 x 59.5 cm - 20 1/2 x 23 3/8 in. Gouache on paper, with a signature and date top left PROVENANCE: Private collection, Belgium.

Bùi XUân PHái（1920-1988）的随行人员 梳头的女子，1968 年 1 月 1 日 纸上水粉画，左上方有签名和年代 52,2 x 59,5 厘米 - 20 1/2 x 23 3/8 英寸（1920-1988 年 纸上水粉，左上方有签名和日期 出处：比利时私人收藏： 私人收藏，比利时。

ENTOURAGE DE BÙI XUÂN PHÁI (1920-1988) Femme se coiffant, 1er janvier 1968 Gouache sur papier, porte une signature et une date en haut à gauche 52,2 x 59,5 cm - 20 1/2 x 23 3/8 in. Gouache on paper, with a signature and date top left PROVENANCE: Collection particulière, Belgique.

0001_TvsbMY.jpg

TRAN DUY (1920-2014) Landscape of Tam Coc, Bich Dong, Hoa Lu, Ninh Binh, April 5, 1992 Ink and colors on silk, signed, dated and localized lower left 47 x 65 cm - 18 1/2 x 25 5/8 in. Ink and color on silk, signed, dated and localized lower left PROVENANCE Private collection, Belgium

tran duy（1920-2014 年） 宁平省华路市碧洞潭椰风景，1992 年 4 月 5 日 丝绸上的水墨和色彩，左下方有签名、年代和局部标注 47 x 65 cm - 18 1/2 x 25 5/8 in. 丝绸上的水墨和色彩，左下方有签名、年代和局部标注 出处 比利时私人收藏

TRAN DUY (1920-2014)

TRAN DUY (1920-2014) Paysage de Tam Coc, Bich Dong, Hoa Lu, Ninh Binh, 5 avril 1992 Encre et couleurs sur soie, signée, datée et localisée en bas à gauche 47 x 65 cm - 18 1/2 x 25 5/8 in. Ink and color on silk, signed, dated and localised lower left PROVENANCE Collection particulière, Belgique

0001_jCLOGC.jpg

AN HAI PHAM (born 1967) Untitled, 2010 Oil on canvas, signed and dated lower right 25 x 25 cm - 9 27/32 x 9 27/32 in. Oil on canvas, signed and dated lower right PROVENANCE Collection Jean-Philippe Guéant, France (check to see if the name "appos" can be written on the back)

安海滨（生于 1967 年） 无题，2010 年 布面油画，右下方有签名和年代 25 x 25 cm - 9 27/32 x 9 27/32 in. 布面油画，右下方有签名和年代 出处 Jean-Philippe Guéant 藏品，法国（请查看背面是否注明此名称）

AN HAI PHAM (né en 1967)

43- AN HAI PHAM (né en 1967)~ Sans titre, 2010~ Huile sur toile, signée et datée en bas à droite~ 25 x 25 cm - 9 27/32 x 9 27/32 in.~ ~ Oil on canvas, signed and dated lower right ~ ~ PROVENANCE ~ Collection Jean-Philippe Guéant, France (vérifier si on peut indiquer ce nom appos" au dos)

0001_PlUcRR.jpg

LÊ MINH (b. 1937) Waiting for the fish to return, 1961 Oil on isorel, signed lower right 44 x 79.5 cm - 17 3/8 x 31 1/4 in. Oil on hardboard, signed lower left EXHIBITION Exhibition on the occasion of the Fête nationale, Musée des beaux-arts, Saïgon, September 1961 PROVENANCE Thomas J. Boyd Collection, USA Private collection, France

黎明（1937 年出生） 等待鱼儿归来，1961 年 等色油画，右下方有签名 44 x 79.5 厘米 - 17 3/8 x 31 1/4 英寸 硬板油画，左下方有签名 展览 1961年9月塞贡美术馆民族节展览 出处 托马斯-J-博伊德收藏，美国 私人收藏，法国

LÊ MINH (né en 1937)

LÊ MINH (né en 1937) En attendant le retour des poissons, 1961 Huile sur isorel, signée en bas à droite 44 x 79,5 cm - 17 3/8 x 31 1/4 in. Oil on hardboard, signed lower left EXPOSITION Exposition à l'occasion de la Fête nationale, Musée des beaux-arts, Saïgon, septembre 1961 PROVENANCE Collection Thomas J. Boyd, État-Unis Collection particulière, France

0001_ETKegU.jpg

After Mai Trung Thu (1906-1980) Classroom, 1960 Print, Braun S. A., Paris, no. 39434 26 x 76 cm à vue - 10 1/4 x 30 in. on sight Print, edited by Braun S. A., Paris, no. 39434 PROVENANCE Private collection, France

追随梅仲秋（1906-1980 年） 班级，1960 年 版画，Braun S.A.，巴黎，编号 39434 26 x 76 cm à vue - 10 1/4 x 30 in. 版画，Braun S. A. 编辑，巴黎，编号 39434A.编辑，巴黎，编号 39434 出处 法国私人收藏

D'après Mai Trung Thu (1906-1980)

D'après Mai Trung Thu (1906-1980) La classe, 1960 Impression, édition Braun S. A., Paris, n° 39434 26 x 76 cm à vue - 10 1/4 x 30 in. on sight Print, edited by Braun S. A., Paris, no. 39434 PROVENANCE Collection particulière, France

0001_Zmrnbz.jpg

After Mai Trung Thu (1906-1980) Spring| Summer Two prints on paper 28 x 13 cm each - 11 x 5 1/8 in. each Two prints on paper PROVENANCE Private collection, France

追随麦仲秋（1906-1980 年） 春；夏 两幅纸上版画 各 28 x 13 厘米 - 11 x 5 1/8 英寸 两幅纸上版画 出处 法国私人收藏

D'après Mai Trung Thu (1906-1980) Le printemps | L'été Deux impressions sur papier 28 x 13 cm chacune - 11 x 5 1/8 in. each Two prints on paper PROVENANCE Collection particulière, France

0001_fwhEAD.jpg

0002_GvYiWR.jpg

TRAN DUY (1920-2014) Street in Hoi An, 1992 Ink and colors on silk, signed and dated lower right 31 x 46.5 cm - 12 1/4 x 18 1/4 in. Ink and color on silk, signed and dated lower right

tran duy（1920-2014 年） 会安的街道，1992 年 丝绸上的水墨和色彩，右下方有签名和年代 31 x 46.5 厘米 - 12 1/4 x 18 1/4 英寸（1920-2014 年 丝绸上的水墨和色彩，右下方有签名和年代

TRAN DUY (1920-2014) Rue de Hoi An, 1992 Encre et couleurs sur soie, signée et datée en bas à droite 31 x 46,5 cm - 12 1/4 x 18 1/4 in. Ink and color on silk, signed and dated lower right

0001_sXIxeu.jpg

After Wu Guanzhong (1919-2010) Black swans Ink and gouache on paper, signed lower right 49.5 x 49 cm - 19 1/2 x 19 1/4 in. Ink and gouache on paper, with a signature lower right PROVENANCE Private collection, France

吴冠中（1919-2010）之后 黑天鹅 纸本水墨，右下方有签名 49.5 x 49 厘米 - 19 1/2 x 19 1/4 英寸 纸本水墨，右下方有签名 出处 法国私人收藏

D'après Wu Guanzhong (1919-2010)

D'après Wu Guanzhong (1919-2010) Cygnes noirs Encre et gouache sur papier, porte une signature en bas à droite 49,5 x 49 cm - 19 1/2 x 19 1/4 in. Ink and gouache on paper, with a signature lower right PROVENANCE Collection particulière, France

0001_PocjEK.jpg

Vous cherchez peut-être

Oups

Auction

Document to download

Ask for a free and confidential estimate

Estimate your good

Results

To activate your new personal space, please enter the email address you use to correspond with Aguttes or on aguttes.com. You will then receive an email allowing you to define your password.

Asian Painters: China & Vietnam

Filters