黎譜

The work is in good condition overall. There is indication of two small holes on the silk on the upper left corner (curtain). Examination under ultraviolet light revealed light restoration on the upper right corner and scattered miniscule spots of foxing (particularly located on the left and right curtain and figure's hands), which are not visible to the naked eye. 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."

黎譜在1931年以河內美術學院管理人Victor Tardieu的助手身份陪同院長前往歐洲，並首次邂逅了聖母與聖嬰圖。其後他更到法國、意大利、德國、比利時等地方造訪無數教堂和寺院，為求目到神聖的宗教文物與藝術品。他的歐洲之旅啟發了他，並引導他深入探討各式各樣的主題和作畫技巧。在黎譜的詮譯下，聖母與聖子耶穌的神聖關係演變成為一位越南母親與自己的骨肉的人性化互動。

當黎譜於1934年決意辭去河內美術學院講師一職後，他已能把絲絹畫的技巧發揮得淋漓盡致。首先把纖細的日本繭綢絲紙平放在木板上，再把雷米膠從紙角開始推走移除，讓綢絲紙隔夜風乾，方採用水粉和油墨作畫。

在三十年代後期和四十年代初期期間完成的「母與子」（Lot 270）印證了黎譜對絲絹畫的熟能生巧。黎譜的畫風夾雜著傳統中國國畫的柔韌線條，然而人物的實質描繪卻滲透著西方味道。黎譜喜歡在絲絹上採用溫和柔和的色調，利用他對絲絹的知識，巧妙地呈現隱若通透豐富的輪廓與質感。

黎譜用油墨和水粉顏料所演繹的聖母與聖子可被視為他最引人入勝的主題，這些作品珍罕而獨特，且每一幅都獨一無二與眾不同。黎譜一系列作品裡多樣化的母性印象演繹表達了這位畫家對母愛的著迷，亦因此他的每一幅畫作都包含了獨特的靈魂和關係，吸引觀眾去關注留意畫中細節。神聖，母愛，希望，西方文化渲染以及印度籍身份，這些主題一層又一層包裹著黎譜的「母與子」，使它成為黎譜越南當代藝術最令人矚目的一件作品。