Pham Hau

The lacquer panels are in good condition overall. A faint angular protrusion is evident on the upper register of the panels, with some indications of minor wear and handling, along with associated unobtrusive nicks and chips are found along the edges and corners (which are not visible within frame). There is a faint indentation mark running horizontally across all panels (with a corresponding craquelure on the reverse), approximately 5 cm from the top and a mirror-image hairline crack about 5 cm from the bottom. There is a slight warp, resulting in a thin, hairline crack (vertical) on the panels. Panel 1: a 15 cm, two 5 cm vertical hairline cracks on the bottom register. Examination under ultraviolet light reveals indication of retouching on two spots on the upper left corner. Panel 2: a 10 cm vertical hairline crack on the middle of the upper register and a 5 cm hairline crack on the middle of the bottom edge. Examination under ultraviolet light reveals indication of retouching in the center of the panel and on the upper right margin. Panel 3: a 5 cm hairline crack on the right side of the bottom edge. Examination under ultraviolet light reveals a few spots of retouching on the bottom register. Panel 4: a 5 cm hairline crack on the left side of the bottom edge. Examination under ultraviolet light reveals a few spots of retouching on the upper right corner and a repair on a protruding banana leaf on the middle left margin. Panel 5: Examination under ultraviolet light reveals a spot of retouching on the middle left margin (on the roof), as well as a horizontal hairline retouching about 10 cm from the bottom.Panel 6: a vertical hairline crack runs on the upper register. Examination under ultraviolet light reveals retouching on the upper left corner and lower right corner. Framed.
"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."

Born in 1903 in the province of Ha Dong, Pham Hau graduated in 1934 after five years of his studies at the École des Beaux Arts de Hanoi. Under the tutelage of professor and painter Joseph Inguimberty, Pham Hau spent many of his days in the École's Lacquer Workshop, where he also became friends with the likes of To Ngoc Van, Tran Quang Tran, Nguyen Khang, Tran Van Can and Nguyen Gia Tri.

However, it was not until the 1940s that Pham Hau gained notoriety for the skilled lacquer technique that would eventually become his hallmark. Along with fellow Nguyen Gia Tri, École des Beaux Arts and veteran Inguimberty, the two artists brought public attention to their skilled and intricate works, and soon gained a reputation for being the Les Maitres Lacquers de Hanoi.

The Golden Age of Vietnamese Paintings (1930-1945), which came as a result of such artists, left remarkable and exquisite works of art that aimed to capture the essence of Vietnamese aesthetics. The classically styled, yet subtle new medium lacquer brought forth a revival. The Lacquer Revival itself became both an important movement and a new chapter in Modern Vietnamese art. One that inspired French visionaries and Vietnamese artists, while also becoming renowned globally as the specialty of Asian art in that era.

This six-screen lacquer panel, with its depiction of a traditional pagoda garden, engages the viewer to feel movement. It invites one into the old pagoda, the lacquer, in the hands of the painter captures serenity and elegance, and like Vietnamese poetry, flowing rhythmically to emphasize the depth and light of this unique work. With voluptuous gold applied on the grandiose banana trees with the fruit at the foreground, symbolize the country's wealth and fertility. Other traditional materials are also applied, such as silver, red, brown and insect wings to give a harmonious texture on the surface of the composition. A true showing of the artist's skill, signed with old engraved seal authenticating the masterpiece.

Pham Hau's pioneering vision made him one of his generation's best and his works are considered of limited numbers. This wonderful piece represents beauty, composition and perfection, which truely reflects the dexterity of Vietnamese Modern Paintings.