L'Ecole Des Beaux Arts De L'Indochine

Indochine Hebdomadaire, Indochina Weekly No.6, February 1941, 5 pages.

The work is in good condition overall. Light wear and handling is evident on the panels due to the age, but does not detract from the quality of the screen.
"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."

The present lot, a majestic and rare six panel screen, serves as a glorious demonstration of the mastery of the Vietnamese Coromandel lacquer technique, an art form that demands a high level of technical skill and training. These wooden folding screens were coated in dark lacquer and incised with sharp tools. The decorative depressions were then painted with gold and other colors, and subsequently embellished with precious stones. Coromandel lacquer screens were a ubiquitous form of Chinese export ware and they suited the representation of linear designs.

Due to the contribution of Professor and painter Joseph Inguimberty and the assistance of Victor Tardieu and Evariste Jonchère, the Vietnamese artists of the School of Fine Arts in Hanoi have produced noteworthy lacquer screens between 1925 and 1945. Ultimately, they elevated this decorative artistry to the level of fine art.

The present lot portrays a magnificent image of the last emperor of Vietnam, Bao Dai, surrounded by an entourage of soldiers, civil mandarins and servants. The people standing in the sprawling palatial grounds dutifully face towards the emperor, who is the focal point of the work. The screen reveals the luxurious court life in the emperor’s palace in Hue, one that was reserved for rulers and their wives and concubines.