NGUYEN VAN TY | Ladies in a Garden

Tokyo, "Exposition De L'Art Modern Indochinois (Exhibition of Indochinese Modern Art)", 1943 

The work is in good condition overall as viewed. Upon very close observation, there is evidence of wear and handling along with associated paint losses predominantly around the edges and corners of the panels. Vertical craquelures are visible on the bottom half of the leftmost panel. Soft hairline craquelures are visible on the white half moon motifs of the woman's dress (third panel from the left) and the top section of the last panel from the left. Tiny areas of paint losses are evident on the middle section of the forth panel from the left. Examination under ultraviolet light shows no sign of restoration.
"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."

A magnificent six-panel lacquer masterpiece by Nguyen Van Ty, Ladies in a Garden stands as a testament to the innovative art in Vietnam in the early 1940s. In addition to his aptitude in making lacquer works, Van Ty was also greatly proficient in oil painting, silk painting and woodblock printing. With the advent of Vietnam’s Golden Age in lacquer art (1930 to 1945), Van Ty is renowned for his contribution as a pioneer in the paradigm shift of repurposing lacquer and taking the art form to a new direction. For centuries, lacquer art had only existed in Vietnam as a form of decorative art, primarily on objects such as bowls and ornamental boxes. However, in the early 1930s, the École des Beaux Arts de l'Indochine (Indochina School of Fine Art) in Hanoi played a vital role in the emergence of lacquer art as a form of Vietnamese fine art. Van Ty was noted as an exceptional student at this institute, which generated a group of many other notable Vietnamese lacquer masters, including the likes of Nguyen Gia Tri and Pham Hau. During his tutelage under French artist Joseph Inguimberty, Van Ty was exposed to European painting techniques that informed his mature aesthetic. In the process, Van Ty also adopted the 19^th century practice of painting en plein air (painting outdoors). As evident in the present lot, Van Ty utilizes a vanishing point as the elements in the composition recede into the distance, adding a sense of perspective to the work.

Rarely does one come across such a comprehensive, multi-panel work by Nguyen Van Ty. The painted panels unfold a striking scene of Vietnamese ladies lounging in a lush garden, cheerfully interacting with each other and taking leisurely strolls. There is a sense of rapport between the ladies, who are comfortable in the presence of one another. The women are adorned in cascading Áo Dàis, with a myriad patterns and colors, draping their forms. The image is peppered with a curated selection of verdure, including Lady’s Palm and lotuses, which symbolizes purity of the mind, body and spirit in Vietnamese culture.

Produced during the zenith of lacquer art in Vietnam, Ladies in a Garden serves as an exceptional manifestation of the Vietnamese lacquer technique. Iridescent golds illuminates the larger part of the picture plane, contrasted with variegated reds and blues. It is important to note that the use of blue was a remarkably feat of originality at the time, as the color was scarcely used in lacquer art. The maestro was deeply dedicated to his craft, and his commitment to the laborious processes of lacquer transcended the perceived possibilities of the medium.