黎譜

Galerie Van Loo, Brussels, February 1948

The work is in good condition overall as is the silk, which is free from runs. Upon very close inspection, there is evidence of thin media accretion on the baby's leg, but this does not detract from the quality of the work. No restoration has been detected under examination. Framed, under Plexiglas.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

One of the four prominent Vietnamese graduates of the École des Beaux-Arts who made a career in France, Le Pho produced an oeuvre that was a delicate fusion of Vietnamese themes and French artistic styles. Like several Vietnamese masters before him, he opted to display his talents on the historically significant Asian medium of silk. However, the artist gravitated to the style of post-impressionism, which inspired him during his time in France.

Maternite (Maternity) is an intimate work depicting a mother embracing her child. By portraying a classic image that connotes maternal love, Le Pho emphasizes the cherished bond between the pair. With downcast eyes and an arched back as motions to cradle her child, the nurturing mother exudes an element of serenity. The image of a nude in the backdrop augments the work with a sense community, kinship, tenderness and security. This particular work was meticulously painted, complete with lush foliage in the backdrop and a series of trees receding into the distance. The soft pigments used further evoke a feeling of tranquility, complementing the theme of motherhood.

Le Pho journeyed back to Vietnam after his French education, but returned once again in 1937, where he resided until his passing in 2001. Painted before the 1955 Vietnam War which ravaged the nation in hardship and turmoil, the present lot offers viewers a window into calmer times, an opportunity to vicariously experience the more halcyon and unadulterated days. Perhaps Le Pho chose to remain in France to continue to safeguard his untainted memories of his nation and immortalize the untouched beauty of old Vietnam through his nostalgic works.