Pham Hau

The lacquer is in good condition overall with no evidence of cracks or warping. Indications of light wear and handling, along with associated nicks and scuffs are evident along the edges due to the age of the piece. Under ultraviolet light inspection, there is no evidence of retouching.
"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 from the Ecole des Beaux-Arts de Hanoi under the prestigious tutelage of Joseph Inguimberty. Renowned to be one of the most important lacquer painters of Vietnam, the lacquer works of Pham Hau have consequently taken an important place in the country’s modern art history. The artist’s devotion to this medium was unrivalled, for his impressive repertoire conveys the true magnificence of Vietnamese landscape compositions.

Dated circa1939 during the apogee of the Golden Age of Vietnamese Paintings (1930 – 1945), View of Thay's Pagoda Landscape in the North of Vietnam is a significant seven-panel screen that offers a glimpse into the rich and complex culture of Vietnam. The open view of the majestic landscape from the "perspective cavalière (horse rider perspective)", combined with rare materials such as mother of pearl is immediately striking. Overlaying the translucent layers of lacquer colors creates an illusion of depth into the scenery. The depiction of the historical pagoda surrounded by the vermilion pond and a splendid array of vegetation invites the viewer into a utopia where peace and serenity reigns. A profusion of gold leaves are applied as the crowning glory to symbolize the country’s wealth and fertility. Fascinated by the beauty of the ancient pagoda, the artists executed three different compositions of the same subject, with the present screen being the largest in size. Thus, the present work is a true showing of Pham Hau’s unparalleled technical virtuosity, rendering the splendor and precision of Vietnamese lacquer art in its entirety.