Le Pho

The work is in good condition overall, as is the silk, free from runs and holes. There is a faint rub to the silk (located on the woman's right arm), but paint layers are well-preserved and stable. Under ultraviolet light inspection, there is no evidence of restoration. 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."

An important work by Le Pho formed the subtlety of 20th century Vietnamese painting. One of his first achievements was to master the technique of silk. Placing a fine sheet of Japanese pongee silk on cardboard, Remy glue is then eliminated by pushing it through the edges of the silk, which is then dried overnight before gouache and ink is applied. Combing two foreign languages together, he honed the traditional and modern elements of Western and Eastern methods. Le Pho has focused two essential elements in his subject – woman and tea, which perfectly demonstrates the choreographic ritual of preparing and serving tea.

Few people are aware that tea originated from Vietnam, in the south of the Yangzi and was influenced by the Vietnamese to the Han Chinese civilization. Vast forests of wild tea trees have been discovered in Northern Vietnam, in Yen bai, Nghia, Lo district, and are believed to date from the Hoabinbein Mesolithic era. This fact demonstrates the strength and depth of the Vietnamese’s tea culture. There are numerous methods used by the Vietnamese to enjoy tea: soaking freshly picked tea leaves, handpicked dried buds, flavored lotus flowers, chrysanthemums and algae. Teas are often used for different purposes, for example, as a gift or accompany personal mediation. Even emotions are evoked in the process of understanding a poem and painting are often enhanced by drinking the right tea.

The figure is dressed in ao dai of subtle colors, expressing the Modernism of the de rigeur in the 1930’s and 1940’s in Vietnam. In the present work, a beautiful young lady is delicately pouring a cup of tea. She is seated gracefully on the floor, while holding a teapot, and carefully serving an equal amount of tea in each cup. Le Pho successfully articulates the charm and elegance through the softness of her complexion, gentle eyes and sophisticated gesture.

Elegant Lady Pouring Tea, is an excellent pattern of Le Pho’s expertise with the medium. With intricacy the artist resembled Eastern traditions in the use of Chinese calligraphy to outline his figures with a Western perception. Le Pho has employed soft and pastel-toned palettes into his silk paintings. Mastering the art of silk painting techniques, the artist expresses both the subtle pellucidity and brilliance in texture and contour.

"Le Pho has an innate sense of the grace in the gestures of women, of feminine charm adorned with flowers, and above all of a joyous luminosity. This innate sense shows that he is a painter who was born to paint and to re-establish order in nature, restoring created things to the place they should hold in the world, even though other painters of our time may find such efforts and such a philosophy displeasing."

Le Pho, Findlay Galleries Inc., 1996