Lot 89. Property from a French Private Collection. Nguyễn Phan Chánh (1892-1984), Les Chanteuses de Campagne, signed Nguyen Phan Chanh and dated 1930 (lower left); signed and inscribed with a poem in Chinese and with the seal of the artist (upper left), oil on canvas, 90.5 x 102.5 cm. Executed in 1930. Lot Sold 1,020,000 EUR (Estimate 600,000 - 900,000 EUR) © Sotheby's 2024

Provenance: Acquired by the grandparents of the present owner in 1931, and thence by descent.

Literature: "The official organization report of École de Beaux-Arts at International Colonial exhibition in Paris", Victor Tardieu, INHA Victor Tardieu Archieve, 125/7.

Exhibited: École des Beaux-Arts de l'Indochine, Hanoi, 1930.
International Colonial exhibition, Paris, Bois de Vincennes, 1931.

Note: L’artiste ‘soupèse … une vision ancestrale avec les procédés traditionnels d’une subtile technique, tout en aplats, presque sans modelés. Nguyen Phan Chanh a créé la peinture indochinoise. Avant lui, elle n’existait pas. Cet élève de cinquième année, timide, sensible, d’abord persécuté par ses camarades, a fini par s’imposer à eux comme un maître.’
LÉANDRE VAILLAT, LE TEMPS, 30 JUILLET 1931

Executed in 1930, 'Les Chanteuses de Campagne' exemplifies Chánh's most sought-after period, from 1930 to 1935, capturing everyday moments with unparalleled intimacy. The painting portrays two women of modest means in a candid moment rooted in earthy tones. This composition, reflecting Chánh's focus on authentic action through aesthetic novelty, offers viewers a poignant glimpse into everyday life in early 20th-century Vietnam. Yet the artist approach his composition from a Western perspective with two dimensional outlines and simplified forms and palette, hence embracing the artistic precepts of modernity. Comparison can be made, for instance, with the art of the Nabis or the artistic manifest of the school of Pont-Aven in France in the late 19th century. On the other hand, the calligraphy to the left of the composition is a nostalgic nod to the artist's personal background and training in the Chinese literati painting tradition.

NGUYỄN PHAN CHÁNH

Born in a remote Vietnamese village in 1892, Nguyễn Phan Chánh defied conventional artistic paths, embarking on his creative journey at the age of 33 after a career as a primary school teacher. This unconventional start did not impede his rapid ascent to international renown as an artist who skillfully intertwined Eastern traditions with Western artistry.

Nguyễn Phan Chánh learned and taught Chinese writing early on in his career and would continue to practice the art throughout his life. At the Indochina School of Fine Arts in Hanoi, modelled after the prestigious École des Beaux-Arts in Paris, Chánh received transformative training that seamlessly blended East Asian silk and lacquer painting techniques with Western practices of life drawing and oil painting. This comprehensive curriculum was anchored in a rich art historical background encompassing the artistic traditions of China and India as well as Greek and Roman antiquity.

In 1929, Nguyễn Phan Chánh and his contemporaries seized a remarkable opportunity to exhibit their works at the Grand Palais in Paris during the Salon de l'art colonial. This prestigious showcase was made possible by Victor Tardieu, who represented the French arts section in Indochina and prepared for the 1931 International Colonial Exhibition at Vincennes. Tardieu's invitation to the school's early graduates, including Chánh, marked a pivotal moment in the artist's burgeoning career on the international stage.

While many of his younger peers, such as Lê Phổ, Mai Trung Thứ and Vũ Cao Đàm eventually found moved to Paris, Nguyễn Phan Chánh, who was nearly forty when he graduated the Ecole, felt compelled to stay in Vietnam. His approach was very distinct from that of his contemporaries, who were often depicting Vietnamese aristocracy and idealized family life themes. On the other hand, Phan Chánh identified more closely with the vernacular traditions and the literati heritage in the country, often including Chinese calligraphy in his works.

Deeply inspired by the rural world of his early life, Nguyễn Phan Chánh remained closely connected to the people, depicting familiar scenes with an intimate vision that earned him acclaim as a chronicler of traditional life.

Lot 94. Property from a French Private Collection. Lê Phổ (1907 - 2001), Fragrance of flowers, signed Le Pho and in Chinese and stamped with the artist's seal (upper right), gouache and ink on silk mounted on paper, 35 x 28 cm. Executed circa early 1940s. Lot Sold 288,000 EUR (Estimate 120,000 - 150,000 EUR) © Sotheby's 2024

The present lot is accompanied by a certificate of authenticity prepared by the artist's son, Alain Le Kim.

Provenance: Acquired by the grandparents of the present owner in 1940s, and thence by descent.

Lot 95. Property from an Asian Private Collection. Mai Trung Thu (1906 – 1980), Portrait of a young blonde lady, signed MAI THU, stamped with the artist's seal (upper left), and with the symbol of la Maison de Savoie (lower right), gouache and ink on silk, 52,5 x 40,5 cm. Executed circa 1941. Lot Sold 120,000 EUR (Estimate 50,000 - 70,000 EUR) © Sotheby's 2024

The present lot will be included in the artist's forthcoming catalogue raisonné prepared by the artist's daughter, Mai Lan Phuong.

Provenance: French Private Collection, Mâcon
Quai des enchères, Mâcon, 2014
Private Asian Collection (acquired from the above).

Exhibited: Mai-Jeu «écho d'un Vietnam rêvé», Musée des Ursulines, Mâcon, 2021, cat. no. 53.

Note: After leaving Vietnam for France in 1937 and later joining the French army, Mai Trung Thứ began to paint a series of portraits of the famous local aristocrats while stationed in Macon in the 1940s. The "Macon period" was a turning point in his career. He abandoned oil painting to devote himself exclusively to the traditional medium of silk. Painted with a fluid, refined technique, this portrait of a young blonde lady testifies to Mai-Thu unrivaled talent for depicting feminine beauty and youth with delicacy. Mai Thu renders subtle shades of green, orange, brown, and yellow to create a sober tone typical of his early silk works and the delicate brushstrokes on the face of the lady showcase the artist’s considerable skills of verisimilitude. Portrait of a young blonde lady bears all the characteristics of Mai Thu’s silk works of the early period.

The present lot was exhibited at Écho d'un Vietnam Rêvé (Echo of a Dreamed Vietnam), the artist’s first retrospective, which was held by the Ursulines Museum, in Mâcon, in partnership with the Cernuschi Museum, Paris and overseen by Mai Trung Thu’s sole daughter Madame Lan Mai. This seminal exhibition and institutional recognition took place in 2021. In October 2024, The Musée Cernuschi Paris will organize an exhibition for a trio for Mai Trung Thứ, Lê Phổ and Vũ Cao Đàm. 

Lot 87. Mai Trung Thu (1906 – 1980), La fenêtre, signed MAI THU, dated 52 in Chinese and stamped with the artist's seal (lower left), titled (on the reverse), ink and gouache on silk, 30.5 x 20 cm. Executed in 1952. Lot Sold 84,000 EUR (Estimate 70,000 - 90,000 EUR) © Sotheby's 2024

Note: Executed in 1952, La fenêtre is a testament to Mai Trung Thứ's exceptional skill in using ink and gouache on silk. This medium bestows a soft and ethereal quality upon the work, emphasizing the artist's meticulous attention to detail. The young woman depicted is clad in a traditional áo dài, her graceful posture and serene expression embodying the tranquility and nobility of Vietnamese women.

The circular window in the painting, a common feature in ancient Vietnamese houses and temples, is known as a "moon gate" or "moon window." These architectural elements not only define Vietnamese structures but also frame the natural beauty of the outdoors, seamlessly blending indoor and outdoor spaces and underscoring the harmony between nature and human habitation. The woman's gentle touch on the potted plant symbolizes nurturing and growth, while the overall soft color palette creates an atmosphere of serenity and harmony.

La fenêtre shares a similar composition with another of Mai Trung Thứ's 1952 works, Woman by the Window, sold in our Hong Kong room, 6th April 2023, lot 770. Both pieces depict a woman in a tranquil pose by a window, reflecting the artist's profound understanding of the inner elegance and everyday beauty of women.

In the early 20th century, the lives of Vietnamese women were deeply rooted in tradition and family values. The áo dài, often worn by these women, not only showcased their grace but also symbolized cultural pride. Mai Trung Thứ's paintings capture the tranquility and elegance of women's daily lives, paying tribute to their resilience and inner strength. His work is a celebration of the quiet dignity and enduring spirit of Vietnamese women, rendered with a delicate and masterful touch that continues to resonate with audiences worldwide.

Sotheby's. Arts d'Asie, Paris, 14 june 2024