Nguyen Gia Tri

The lacquer is in good condition. Examination under ultraviolet light reveals no indication of retouching. Close observations detects a few minor chips of the eggshell inlay, although not obvious, in the first panel. There are a few minor chips on the edges (verso) of the panels - not visible from the frontal view.
"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."

In the history of modern Vietnamese paintings, Nguyen Gia Tri is revered as a legend. His devotion to the art of lacquer was unrivalled, dedicated his time in perfecting the technique, succeeded in making use of this old, subtle material and revolutionizes it into a technique used in the modern era. His lacquer works of art have always been used as references for artists, art lovers, both local and abroad.

Born in 1908 in Ha Tay province (North Vietnam), in a family whose forebears were craftsmen and purveyor of textile embroideries for the Vietnamese Imperial Court. Nguyen Gia Tri enrolled at the Hanoi School of Fine Arts in 1929. Director Victor Tardieu and Professor Joseph Inguimberty spotted his talents early on through his works and recognize the potential of the young student.

Joseph Inguimberty created a lacquer category and later integrated it as an official course in the art school. Nguyen Gia Tri, together with his fellow contemporaries Pham Hau, To Ngoc Van, Nguyen Khang, Tran Van Can delved into this medium; with Gia Tri manifesting a special interest, devoting entirety to the research on this traditional Asian material. The gifted artist together with his favourite medium began a life long art creating journey.

Nguyen Gia Tri graduated in 1936, despite leaving the school after four years of studies because of political reasons against the French colonial authorities. He was persuaded to come back to finish the course by Victor Tardieu and graduated together with Tran Van Can, another important Vietnamese artist.

He started an art studio in Hanoi, where many of his assistants and students were also students from the Hanoi School of Fine Arts. The period between 1937 and 1944 were recognized as the best period of the artist. His creations were noted in art fairs in Hanoi, where collectors were high ranking officials in Indochina. The artist's lacquer paintings once adorned the salon of the French Governor of Indochina Palace in Hanoi. He achieved his legendary status in France too; with outstanding quality and exemplary beauty in his creations leading him to be recognized as the master of lacquer paintings and works of art. The status remained intact today.

In retrospect, this period can be considered the golden age of Vietnamese lacquer paintings. The rare artworks, mostly dealing with Vietnamese landscapes and characters, wrote a new chapter in history for Vietnamese 20th century art.

The present Lot was executed in 1939, during the golden period of Nguyen Gia Tri's career. The quintessence of the artist and the preference in using exotic material such as gold, silver and mother of pearl were apparent. Usage of a more traditional material like brown cockroach wings provided an enchanted vision of the whole composition. His polished techniques in getting the lacquer pumice laid were excellent, creating a flat shining surface.

The innovative use of egg shells seen on the architectural elements, such as roofs of pagoda and houses were skilfully assembled. Egg shells were carefully charred and expertly placed in order to obtain the different shades and depth effects. Elegant drawing of trees and mountain in the background illustrated the richness and magnificence of Vietnamese culture.
 
Numerous characters can be seen in front of the pagoda, food vendors, playing children, going about the daily routine offers a traditional scene from the past. The artist's allegorical approach may be seen as his dream for the future of Vietnam, scenes full of rhythm, joy and colours.