Lot 294
  • 294

Le Pho

Estimate
300,000 - 500,000 HKD
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Description

  • Le Pho
  • Portrait Of A Lady
  • Signed in English and Chinese and stamped with a seal of the artist
  • Ink and gouache on silk mounted on paper
  • 32 by 23.5 cm.; 12 1/2 by 9 1/4 in.
  • Executed CIRCA 1938

Condition

The work is in good condition overall, as is the silk, which is free from runs and tears. There is light wear and handling around the edges of the painting. Upon close observation, there is evidence of a tiny spot of paint loss on the left margin and a few minor paint losses sprinkled on the face of the woman. There are faint horizontal bands of discoloration on the bottom portion, together with two small spots of discoloration on the torso. Examination under ultraviolet light shows no sign of restoration. 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."

Catalogue Note

"In [Le Pho's] works, elegant women with slender faces were deformed with the use of light brushwork. The influence of artists of the Ecole de Paris such as Modigliani can be seen [in his paintings too]. One can also find a similarity with Ukiyoe and Nihon-ga (Japanese-style painting) in the slender faces and outlines. Instead of pursuing a solid depiction of human figures or a realistic spatial construction with depth, he often aimed at creating an intimate mood by processing the background flat and decorative, while enveloping the whole work with delicate nuance of colors.”

Masahiro Ushiroshoji and Eikichi Tomiyama, 50 Years of Modern Vietnamese Paintings: 1925-75, The Sankei Shimbun, Japan, 2005, p. 207