Gia Tri NGUYEN (1908-1993)

Lot 59
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Estimation :
180000 - 220000 EUR
Result without fees
Result : 810 000EUR
Gia Tri NGUYEN (1908-1993)
Please notice that you will have to register before the sale and let a deposit if you want to bid on lot 59. Please send an email at Village girls among banana trees. Six-leaf polychrome and gold lacquered wood screen. Signed Giatri in the lower right corner of the right panel and dated 1937. Size per panel : 99,5 to 100 cm x 32,5 cm. Provenance: The great-aunt of the present owner, who lived in Indochina at the time and acquired it from the artist. The screen, made of lacquer with a black background, shows village women sitting on the ground next to large baskets, or carrying them suspended on sticks on their shoulders. These small figures are depicted in shades of reddish-brown and shades of beige and brown, and form a particular contrast with the large gold lacquered banana trees in the foreground, emerging in sharp relief. The decoration is completed by two cattle on the left, as well as thatched cottages and trees in the background. This screen is particularly interesting in two respects: the rather marked relief of the banana trees, rare in Giatri, as well as the unusual signature, where a large G integrates the following three letters, I-A-T. One cannot speak of NGUYEN GIATRI without mentioning the École Supérieure des Beaux-Arts de l'Indochine. This school, founded in Hanoi in 1925, was the starting point for the emergence of a unique artistic movement that stemmed from the French academic tradition and the Vietnamese artistic and craft tradition. A direct offshoot of the École Nationale Supérieure des Beaux-Arts de Paris, its objective was to attempt to reconcile Vietnamese traditions with a Western approach to art and the artist, in order to give birth to an art form specific to Vietnam, which had been heavily influenced by China for several centuries. Such was the objective of its first director, the painter Victor Tardieu (1870-1937), who became passionate about the country and its culture as soon as he arrived in 1921. His meeting with the young Vietnamese painter Nam Son was decisive. Both of them obtained the creation of the school in 1925, which proposed to the students a 5-year curriculum. During the 20 years of the school's existence, the successive classes gave Vietnam a large number of artists who acquired an international reputation and whose works nowadays reach a very high rating on the international art market.
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