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Kees VAN DONGEN (1877-1968) "The Poppy" Lithograph signed in the plate lower left, numbered 10/70 lower left countersigned lower right in blue pen. Never framed - very good condition 63 x 47 cm sheet FOR BIDDERS *** Storage fee after 15 days *** WE DO NOT DO PACKING OR SHIPPING - You have to contact us or send us a pre-paid packing ****** BIDDING EQUIVALENT TO ACCEPT OUR TERMS AND CONDITIONS OF SALE

A PAIR OF VENETIAN SCULPTURES, 17TH CENTURY PAIR OF SCULPTURES, VENICE, 17TH CENTURY in patinated bronze depicting Vulcan and Poseidon, both recognisable by their traditional attributes; h. cm 26.5 and h. cm 27 respectively, mounted on turned wooden bases, h. cm 11 Comparative literature R. Varese, Placchette e bronzi nelle Civiche Collezioni, exhibition cat. of Ferrara and Pomposa, Florence 1975, p. 113 n. 93

A PAIR OF GIROLAMO CAMPAGNA SCULPTURES, EARLY 17TH CENTURY PAIR OF SCULPTURES, GIROLAMO CAMPAGNA, EARLY 17TH CENTURY in patinated bronze depicting Meleager and Atalanta, sometimes also interpreted by critics as Endymion and Venus. The two figures, originally made to decorate chimney-pieces, are to be found in numerous public and private collections and can be related to the work of Girolamo Campagna (Verona 1549 - Venice 1625) on account of their similarities in execution and style, particularly in the treatment of the wide, outstretched planes, the formal rigidity of the poses and the rendering of the hair and feet; 50x12x13 cm and 51x15x11 cm respectively, mounted on quadrangular moulded bases in red marble and gilded bronze, h. 6.5 cm Comparative literature D. Banzato, F. Pellegrini , Bronzi e placchette dei Musei Civici di Padova , Padova 1989, pp.89-91, fig. 65

A PAIR OF FIGURES, VENETIAN WORKSHOP, EARLY 17TH CENTURY TWO FIGURES, VENETIAN WORKSHOP, EARLY 17TH CENTURY in patinated bronze on green marble bases depicting Mars and Minerva respectively. The attribution of these models has long been debated by critics, who have agreed to remain in the Venetian sphere at the turn of the 16th and 17th centuries, identifying the maker in the circle of Girolamo Campagna and Alessandro Vittoria respectively; h. 35.2 cm and 37 cm (the figures), on marble plinth bases 14.5x10.4x10.4 cm Provenance Bussandri Collection, Bassano del Grappa; Florence Taccani, Milan (declaration of 31/01/1984); Private collection Comparative literature R. Varese, Placchette e bronzi nelle Civiche Collezioni , (cat. of the Ferrara and Pomposa exhibition), Florence 1975, pp. 104-111 nn. 90-91

A PAIR OF SMALL NORTHERN EUROPE LIONS, 15TH CENTURY PAIR OF SMALL NORTHERN EUROPE LIONS, 15TH CENTURY brass, depicted seated on hind legs, 8.5x7.8x3.5 cm Provenance Alessandro Cesati, Milan; Private collection

A FLEMISH SCULPTURE, 15TH CENTURY SCULPTURE, FLANDERS, 15TH CENTURY in brass depicting Madonna and Child, the Virgin shown standing holding her robe with her right hand while holding the child with her left, 20.2x6.5x6.4 cm Provenance Alessandro Cesati, Milan; Private collection

A HORSE RIDING, FROM A GIAMBOLOGNA MODEL, LATE 17TH CENTURY HORSE RIDING, FROM A GIAMBOLOGNA MODEL, LATE 17TH CENTURY patinated bronze, 24x28x8 cm; mounted on a shaped and moulded yellow marble base, 9x22x29 cm Comparative literature D. Allen, L. Borsch, J.D. Draper, Italian Renaissance and Baroque Bronzes in The Metropolitan Museum of Art , New York 2022, pp. 339-344 nn. 118-119

A GERMAN PLAQUE, 17TH CENTURY PLAQUE, GERMANY, 17TH CENTURY Gilded bronze, circular in shape, depicting the encounter between the Queen of Sheba and Solomon; diameter 15.5 cm Comparative literature I. Weber, Deutsche, Niederlandisce und Franzosische Renaissanceplaketten 1500-1650 , vol. II, Munich 1975, plate 86 no. 300

A GERMAN SCULPTURE, 16TH CENTURY SCULPTURE, GERMANY, 16TH CENTURY carved wood, painted in polychrome and partially gilded depicting the Sorrowful Virgin, depicted standing with clasped hands praying and looking down sadly, cm 53x18x14

A TICINO OR LAKES AREA SCULPTURE, FIRST QUARTER 15TH CENTURY SCULPTURE, TICINO OR LAKES AREA, FIRST QUARTER 15TH CENTURY in wood carved in half-relief and painted in polychrome depicting Madonna and Child, the crowned Virgin is seated on a throne and holds her standing son on her left leg; 29.2x14x4.5 cm The work is accompanied by a critical file by Luca Mor

A PAIR OF VENETIAN LIONS, EARLY 17TH CENTURY PAIR OF LIONS, VENICE, EARLY 17TH CENTURY in carved and gilded wood, depicted crouching and with gaping jaws, 18x31x13 cm (each)

THE FOUR EVANGELISTS, WORKSHOP OF JACOB CORNELISZ COBAERT, ROME, 17TH CENTURY FOUR FIGURES, WORKSHOP OF JACOB CORNELISZ COBAERT, ROME, 17th CENTURY in patinated bronze on square marble bases depicting the Four Evangelists , according to the model recognised by Jennifer Montagu in the statues by Jacob Cornelisz Cobaert (Flanders c. 1630 - Rome 1615) placed to adorn the altar executed between 1587 and 1582 for the chapel of Cardinal Mathieu Cointrel in the Roman church of San Luigi dei Francesi. These bronze figures were often destined for the ornamentation of liturgical cabinets or furnishings, as for example well testified by the altarpiece attributed to him with gilded bronze sculptures, today preserved in the Sala Altoviti of Palazzo Venezia in Rome; h. 25.8 to 24.2 cm (the figures), on bases 2x12.5x11 cm Provenance Florence Taccani, Milan (declaration of 23/12/1983); Private collection Comparative literature P. Cannata , Museo Nazionale del Palazzo di Venezia. Bronze Sculptures , Rome 2011, pp. 140-150

A VENETIAN INKWELL, EARLY 17TH CENTURY INKWELL, VENETO, EARLY 17TH CENTURY patinated bronze depicting Samson and the lion, in which the animal's gaping mouth serves as an inkwell. The model of this group has in the past been variously attributed to different artists, from Pollaiolo to Titian Aspetti, to Anthony Radcliffe to Bernardino Danese, a 17th-century Roman bronzesmith, who noted similarities between the lion in the inkwell and the two lions adorning the pedestal of the bust of Paolo Giordano II Orsini in the Plymouth Museum. Even this attribution, however, did not definitively convince the critics, and in fact a specimen similar to ours, kept at the Metropolitan Museum in New York (inv. no. 1982.60.107), is listed with a generic attribution to an Italian artist of the 17th century; 19x17x13 cm. Provenance Florence Taccani (declaration of 23/12/1983), Milan; Private collection Comparative literature Y. Hackenbroch, Bronzes Other Metalwork and Sculpture in the Irwin Untermyer Collection, New York 1962, p. 16 fig. 47, table 44

A TUSCAN SCULPTURE, 16TH CENTURY SCULPTURE, TUSCANY, 16TH CENTURY wooden sculpture painted in polychrome depicting the bust of a young girl, portrayed frontally with her hair elegantly gathered on the nape of her neck by a white ribbon while wearing a red robe with a gilded border; it rests on a base with geometric decoration simulating inlays in various marbles, 46x38x17 cm

A ROMAN MEDITATION CROSS, EARLY 18TH CENTURY MEDITATION CROSS, ROME, EARLY 18TH CENTURY wood panelled in jasper and bordered in gilded bronze, with finely carved boxwood crucifix; finials and applications in gilded bronze; 61x32.2 cm overall; sculpture 34x17.8 cm

A TUSCAN GROUP, 18TH CENTURY GROUP, TUSCANY, 18TH CENTURY in patinated terracotta depicting three putti on a rock holding each other with a fish in their arms; 54.5x21x17 cm (complete with hexagonal moulded wooden base, 9.5x26x26 cm)

A SPANISH FIGURE, EARLY 17TH CENTURY FIGURE, SPAIN, EARLY 17TH CENTURY in pewter depicting the Infant Jesus , derived from a model by the Spanish sculptor Juan de Mesa (Cordoba 1583 - Seville 1627), h. 42 cm; on gilded moulded wooden base, 8x17 cm

A FRENCH SCULPTURE, 18TH CENTURY SCULPTURE, FRANCE, 18TH CENTURY in patinated terracotta depicting crouching dog, 22x50x36 cm

A TUSCAN RELIEF, 19TH CENTURY RELIEF, TUSCANY, 19th CENTURY in rectangular terracotta depicting Madonna and Child by Matteo Civitali, the Virgin seated on a throne with the Child on her lap, framed on either side by two pilasters with stylised leaves, 81x55x8.5 cm

A SPANISH SCULPTURE, 18TH CENTURY SCULPTURE, SPAIN, 18TH CENTURY in polychrome painted and silver-plated wood depicting St. George and the dragon, 69x34x19 cm

A NORTHERN ITALY RELIEF, 16TH CENTURY RELIEF, NORTHERN ITALY, 16TH CENTURY carved wood, gilded and partially painted in polychrome, rectangular in shape with an architectural structure affected by several orders of carving, depicts the apostles St. Peter, holding the keys in his right hand, and St. Andrew, holding a book in his left hand and a cross in his right, and in the background between the two a pair of trees, 65x143x9 cm

A NORTHERN ITALY VANITAS, 19TH CENTURY VANITAS, NORTHERN ITALY, 19TH CENTURY in white marble, mounted on a shaped and moulded black marble base, 28x16x18 cm (overall)

A FLORENTINE RENAISSANCE-STYLE BUST, 19TH CENTURY FLORENTINE RENAISSANCE-STYLE BUST, 19TH CENTURY in carved wood and painted in polychrome, depicting a male figure in military dress, 46x41x18 cm

A PAIR OF TUSCAN PUTTI, 17TH CENTURY PAIR OF TUSCAN PUTTI, TUSCANY, 17TH CENTURY in carved, lacquered and gilded wood, depicted genuflected on a cloud-shaped base; 33x15x12 cm

A NORTHERN ITALY BUST, 18TH CENTURY BUST, NORTHERN ITALY, 18TH CENTURY in white marble depicting a gentleman with moustache and gorget covered by a large cloak, on plinth base, 88x60x25 cm

A PAIR OF NORTHERN ITALY SCULPTURES, 18TH CENTURY TWO SCULPTURES, NORTHERN ITALY, 18TH CENTURY in carved stone depicting Allegory of Winter, respectively, an old man wrapped in a large cloak with a torch at his feet, cm 138x40x50, and an old man standing on a pillar, his body wrapped in a cloak with a hood edged with fur, cm 145x56x40

AN EMILIAN FIGURE, 18TH CENTURY FIGURE, EMILIA, 18TH CENTURY in polychrome terracotta depicting Mary Magdalene kneeling on the ground in the act of embracing a log, and beside her a small urn with lid; 18x17x14 cm

AN EMILIAN SCULPTURE, HALF 18TH CENTURY SCULPTURE, EMILIA, HALF OF THE 18th CENTURY in patinated terracotta depicting Moses, his right hand resting on the tablets of the law and his left hand holding a flap of his cloak, which covers his long robe with wide swirls marked by deep folds; 39x14.5x12 cm

A GENOESE SCULPTURE, 18TH CENTURY SCULPTURE, GENOA, 18TH CENTURY in polychrome wood depicting a female figure, her head covered by a veil and a large cloak draped over her left shoulder and arm; 63x28x21 cm

A PAIR OF VENETIAN CARVINGS, 18TH CENTURY PAIR OF CARVINGS, VENICE, 18TH CENTURY in carved and gilded wood depicting seated pages with crossed legs and arms over their heads, 12x18x12 cm

A ROMAN RELIEF, 17TH CENTURY RELIEF, ROME, 17th CENTURY in patinated oval terracotta depicting St. Jerome in the desert accompanied by a lion and three winged cherubs. On the reverse ancient inscription in brown ink Francesco Fiamingho / 1686 ; cm 30,5x26

A FRENCH SCULPTURE, LATE 18TH CENTURY SCULPTURE, FRANCE, LATE 18TH CENTURY terracotta bust of a child on plinth base, 30x13x14 cm

A SMALL ROMAN ACEPHALOUS BUST, 19TH CENTURY ACEPHALOUS BUST, ROME, 19TH CENTURY in porphyry, depicts elegantly draped female torso, on circular moulded base in green marble, 28.5x24x8 cm overall

A CENTRAL ITALY SCULPTURE, 19TH CENTURY SCULPTURE, CENTRAL ITALY, 19TH CENTURY in polychrome painted glazed earthenware depicting a dog sitting on its hind legs, on a moulded pedestal base, 43x31x22 cm

A CENTRAL ITALY SCULPTURE, FIRST HALF 18TH CENTURY SCULPTURE, CENTRAL ITALY, FIRST HALF 18TH CENTURY in patinated terracotta depicting Diana the huntress, the goddess of the hunt depicted in motion with her quiver on her shoulder and accompanied by her dog, modelled on the work by Bernardino Cametti (Rome 1669 - 1736) preserved in the Bode Museum in Berlin; 178x88x85 cm

A SCULPTURE, 20TH CENTURY SCULPTURE, 20TH CENTURY in polychrome marble depicting Dante, the supreme poet portrayed standing, dressed according to the fashion of the time, with headdress, tunic, tabard and a large red cape that he holds closed at the waist with his right hand while with his left holds a book, 69x24x22 cm

A ROMAN RELIEF, 19TH CENTURY RELIEF, ROME, XIX CENTURY in square terracotta depicting the Emperor Caracalla portrayed in profile within a circular reserve, 41x41 cm; mounted within ebonised wooden frame, 56.5x56.5 cm

A NORTHERN ITALY SCULPTURE, EARLY 19TH CENTURY SCULPTURE, NORTHERN ITALY, EARLY 19TH CENTURY in white marble depicting a female bust, portrayed frontally and characterised by complex hairstyle, on circular moulded base, 57.5x28x21 cm

503. Attributed to Nguyen Phan Chanh Breastfeeding her infant at dawn circa 1979 signed and dated Ng Phan Chanh 9-1972 (lower left) ink and colours on silk signed and dated Ng Phan Chanh 9-1972 (lower left) ink and colour on silk 68.5 x 47.5 cm (27 x 18 3/4 in) Provenance Italian private collection, acquired in Hanoi circa 1979 The original painting Nursing a Baby at Dawn by Nguyen Phan Chanh, dated 1971, is currently in the Hanoi Museum. During wartime, the museum commissioned copies of artworks to protect the originals from damage, often marked with a museum stamp. Other copies, executed by the artists themselves or by other artists of the period, are now found in the art market. These historical copies hold significant value, unlike modern reproductions. Several versions of this painting have been offered at auction, including examples offered by Christie's in 2018, by Sotheby's in 2006, and by Nagel in 2005, all three were considered to be by Nguyen Phan Chanh by these auction houses. The piece in this sale was acquired by an Italian private collector, who visited Vietnam while working for an Italian textile dyeing machinery company. During his trip, he visited an artist's studio in Hanoi and purchased this painting for approximately 800 USD. Given the existence of other known versions, this work is determined to be one of the historical copies attributed to the artist, dated to the time of its sale to the current owner.

504. * AR Vu Cao Dam (French-Vietnamese, 1908-2000) The Chrysanthemums circa 1949 signed Vu Cao Dam (lower right) gouache on silk signed Vu Cao Dam (lower right) gouache on silk 53.5 x 45 cm (21 x 17 3/4 in) Provenance New England private collection The work has been authenticated by Yannick Vu-Jakober, daughter of Vu Cao Dam. According to her, this beautiful silk painting by her father dates back to around 1949. The scarcity and rationing of metals during World War II constituted a significant challenge for artists seeking to procure materials for sculptural projects. The economic difficulties in France further exacerbated this issue, prompting artists such as Vu Cao Dam to seek more affordable and marketable alternatives, for example, silk painting. This shift in medium addressed practical concerns and provided an opportunity for artistic innovation. In the late 1930s, Vu Cao Dam, along with fellow Vietnamese artists Le Pho and Mai Trung Thu, began to focus extensively on silk painting. They showcased their collective works in Paris and in other locations, garnering considerable recognition. Their goal was to reinvigorate Indochinese painting while preserving its integral attributes. By incorporating elements of Western painting, they achieved a balanced synthesis that appeared both natural and seamless. Vu Cao Dam was a Vietnamese painter and sculptor who undertook his studies at the École des Beaux-Arts de l'Indochine in Hanoi before relocating to France. His work is distinguished by a harmonious fusion of traditional Vietnamese motifs and Western techniques. His silk paintings are particularly noted for their exquisite and refined quality. The use of silk as a medium enabled him to create a soft, luminous effect, thereby enhancing the ethereal and poetic nature of the subjects depicted. His colour palette typically features gentle, muted tones, which imbues his work with an overall sense of serenity and elegance. This painting titled Chrysanthemums by Vu Cao Dam portrays a striking arrangement of white chrysanthemum flowers set against a deep, muted background. Against this backdrop, the prominent, feathery petals of the chrysanthemum blooms stand out, emphasising their natural beauty and delicate structure that is emblematic of the flower. The leaves are rendered in various shades of green with touches of brown, further adding depth and contrast to the composition. Vu Cao Dam's silk paintings from the early 1950s are held in high regard for their delicate and intricate beauty. This chrysanthemum painting provides an excellent testament of Vu Cao Dam's capacity to draw inspiration from traditional Vietnamese art and culture, whilst embracing a modernist style. The result is a work of art that evinces both timelessness and a contemporary flair, showcasing the artist's technical skill and his profound appreciation for the natural world. This painting serves not only to exemplify the artistic ability of Vu Cao Dam, but also his talent for evoking tranquillity and sophistication though his work.

505. * AR Vu Cao Dam (French-Vietnamese, 1908-2000) Young lovers in the garden 1969 oil on canvas signed and dated vu cao dam 69 (lower right) oil on canvas signed and dated vu cao dam 69 (lower right) 35 x 27 cm (13 3/4 x 10 5/8 in) Provenance Findlay Galleries, US, acquired directly from the artist circa 1969 During the late 1960s, Vu Cao Dam experienced a transformative period in his artistic career while collaborating with the Findlay Galleries in the United States. This collaboration coincided with his residence in the idyllic South of France, specifically in the charming village of Saint-Paul-de-Vence. The picturesque setting not only provided him with a serene environment but also influenced his evolving artistic style. During this time, Vu Cao Dam's work began to reflect an increasingly liberal and expressive use of oil colours, seamlessly blending intense tones and artistic styles derived from Western art. His interactions with prominent artists such as Pierre Bonnard and Marc Chagall further enriched his creative vision. Vu Cao Dam's distinctive style is a harmonious fusion of Eastern and Western artistic techniques. He skilfully employed a vibrant palette, incorporating shades of blue, pink, lilac, yellow, and white to create visually captivating compositions. For finer details such as the depiction of eyes and hair, black paint is predominantly used, adding depth and contrast to his works. His paintings often drew inspiration from the rich tapestry of Vietnamese poetry, including notable works such as Chinh Phụ Ngâm by Đặng Trần Côn and Kim Vân Kiều by Nguyễn Du, infusing his art with cultural and literary significance. This painting Young Lovers in the Garden, created in 1969, is a quintessential example of Vu Cao Dam's artistic prowess during this period. The artwork portrays a serene and intimate scene featuring two figures dressed in traditional Vietnamese attire. The figure of a lady, seated gracefully in the foreground, is adorned in a light pink áo dài, exuding elegance and tranquillity. Behind her a male figure, dressed in blue, appears to be offering protection and affection. The abstract background of the painting evokes the lush and vibrant essence of a garden in full bloom. Vu Cao Dam's masterful use of soft, harmonious colours and delicate brushstrokes creates a tranquil and contemplative atmosphere. The figures, representing young lovers, are depicted with a profound sense of tenderness and connection, capturing the essence of their emotional bond. This painting exemplifies the artist's remarkable ability to blend traditional Vietnamese themes with modernist techniques, resulting in a work that is both culturally rich and artistically innovative. Through Young Lovers in the Garden, Vu Cao Dam invites viewers to experience a moment of serene beauty and intimate connection, reflecting his unique artistic vision and the harmonious fusion of diverse influences.

506. 506AR Le Pho (Vietnamese-French, 1907-2001) Maternity with flowers circa 1955 signed Le Pho and in Chinese (lower right) oil on silk pasted on isorel signed Le Pho and in Chinese (lower right) oil on silk laid on masonite 60 x 92 cm (23 5/8 x 36 1/4 in) Affixed with Galerie Romanet label inscribed Le Pho - N°425 I.88, titled and dimension (reverse) Provenance French private collection Le Pho's artistic career can be divided into three distinct phases: the early period (1925-1945), the Romanet era (1946-1962), and the Findlay phase (post-1963). The early period traces his evolution from the École Supérieure des Beaux-Arts de l'Indochine in Hanoi to the 1940s in Paris. The Romanet and Findlay phases, named after the galleries which represented him at the time, constitute a significant portion of his life in Paris. This painting, Maternité aux fleurs, dates from the Romanet period, during which Le Pho continued to paint on silk, employing gouache and oil paints to enhance texture and vibrancy. His palette shifted to more luminous hues, his brushwork became more delicate, and he moved away from the stark, well-defined contours of his initial works towards a more liberated, impressionistic approach. This painting is a captivating display of his signature style, which merges Eastern motifs with Western painting techniques. It features three figures-two women and a child-dressed in traditional Vietnamese attire, creating a sense of cultural authenticity. The child, positioned behind the bouquet, adds a touch of innocence to the scene. Placed at the centre of the composition, a table with a large bouquet of yellow tulips and white blossoms stands in vibrant contrast to the figures' clothing. The background blends bright yellow and green brushstrokes, evoking a lush, floral setting, perhaps a garden, which complements the serenity of the figures, who seem to be in a state of peaceful coexistence with these natural surroundings. The bright colour provide a warm, inviting atmosphere, while the texture of the thick paint adds depth and richness to the visual experience. This large painting is a testament to Le Pho's ability to convey beauty and emotion through his unique artistic influences.

510. * AR Le Pho (Vietnamese-French, 1907-2001) Yellow and orange tulips 1975 signed Le Pho and in Chinese (lower right) oil on canvas signed le Pho and in Chinese (lower right) oil on canvas 100 x 73 cm (39 1/2 x 28 3/4 in) Provenance Findlay Galleries, US, acquired directly from the artist circa 1975 From 1964, Le Pho's artistic trajectory during the Findlay gallery period, encompass a distinctive fusion of post-Impressionist influences and his own distinctive artistic vision. In the late 1950s, Le Pho returned to oil painting, which allowed him to explore light through rapid, layered brushstrokes. This technique became a defining feature of his work during the Findlay period. During this stage of his career, Le Pho's style was significantly influenced by the post-Impressionists and the Nabis, which attracted the attention of American gallerist Wally Findlay. Wally Findlay was a prominent figure in the North American art scene, widely promoting Le Pho's work and its European references to a receptive audience. During his collaboration with Findlay, Le Pho produced a significant number of paintings featuring bouquets. His female figures, frequently depicted in gardens, appeared to serve primarily as a backdrop for the flowers. Still lifes featuring bouquets became a central focus of his work. These arrangements, sometimes presented in Asian vases, were meticulously composed with vibrant colours. Additionally, Le Pho expanded the scale of his canvases during this period, enabling a comprehensive exploration of the depth and nuances inherent in his subjects. The expansive size of these canvases provides an ideal setting for his vibrant floral compositions, enhancing the visual impact and allowing viewers to appreciate the intricate details and lively colours. The general tone of these works deviates from that of his 1940s palette. While his colours remain joyful, they lean heavily towards yellow in various shades, creating a warm, sunny ambience. This distinctive use of yellow became known as 'Le Pho's yellow'. Le Pho's 'Bouquet' paintings from the Findlay period are characterised by their realistic yet elegant expression. Celebrated for their vibrant colours, the finesse of the flowers, the sophistication of the details, the rhythm of the lines, and the symbolic meaning of the images reflect a balance between the wisdom of Eastern and Western civilisations. His work during this period not only resonated with the North American audience but also cemented his reputation as a master of floral compositions within the art world.

507. 507AR Vu Cao Dam (French-Vietnamese, 1908-2000) Poppy 1976 signed, dated and dedicated (lower right) For Jacqueline with my affectionate thoughts Vu Cao Dam 1976 gouache on paper signed, dated and dedicated (lower right) gouache on paper 63 x 49 cm (24 3/4 x 19 1/4 in)

519. Attributed to Nguyen Gia Tri Battle of Bach Dang in the 13th century circa 1955 lacquer on wood panel lacquer on wood panel 100.5 x 160 cm (39 5/8 x 63 in) Biennale Internazionale d'Arte di Venezia (1956) label affixed on the reverse. Provenance Vietnamese private collection, commissioned from Nguyen Gia Tri circa 1955 (by repute) European private collection, acquired from the above circa 1975 Important French private collection, acquired from the above by the present owner circa 2000 This lot comes with a printed card, issued by 'Quê Me & the Committee for Human Rights in Vietnam', France, where the painting is reproduced, the caption notes the title Battle of the River Bach Dang in the XIIIth century, lacquer by Nguyen Gia Tri, Vietnamese Artist. The Battle of Bạch Đằng in 1288 was a pivotal maritime encounter between Đại Việt (modern-day Vietnam) and the Yuan dynasty (Mongol Empire). Prince Trần Quốc Tuấn (1228-1300), also known as Trần Hưng Đạo, led the Vietnamese forces in a strategic and innovative campaign. The underwater stakes placed in the Bạch Đằng River proved an effective trap for the Yuan fleet, resulting in its annihilation. This decisive victory for Đại Việt led to the capture of numerous ships and the neutralisation or detention of thousands of Yuan soldiers, effectively ending Kublai Khan's ambitions to conquer the region. The battle is celebrated as a testament to Trần Hưng Đạo's military brilliance and remains a significant source of national pride in Vietnam, inspiring various artistic creations. History provides factual accounts of past occurrences which, when translated into the visual medium, present challenges for artists. It is essential to possess the requisite technical skills, historical and cultural knowledge, and attention to detail regarding plot, setting, characters, props, and costumes. This lacquer painting, entitled Battle of the River Bạch Đằng in the 13th century, features a sophisticated and intricate composition, characterised by the continuous interweaving of shapes and lines, and provides a detailed and accurate representation of the climactic naval confrontation, showcasing a multi-layered composition and intricate details. In the scene, the Yuan troops, identifiable by their green attire, fall into a trap set by Hưng Đạo during high tide. As the tide recedes, the Yuan fleet encounters wooden stakes embedded in the riverbed, visible in the foreground, which immobilise their ships. A fleet of Vietnamese junks, manned by red-clad warriors with flags bearing the dragon emblem of the Trần dynasty, then destroys the trapped Yuan warships, resulting in a significant number of Yuan soldiers being killed or drowned after jumping into the river. In the right foreground, two muscular figures in loincloths represent Yết Kiêu (1242-1303) and his comrade. Yết Kiêu, one of Hưng Đạo's most talented generals, was renowned for his exceptional swimming skills. He played a crucial role in the battle, earning the title of Trần Dynasty's First Commander of the Water Army for his ability to sabotage enemy vessels by drilling into them under the cover of night. The figures and motifs in this painting, consistent with historical records, confirm its representation of the famous naval battle on the Bạch Đằng River in the 13th century. It demonstrates the artist's mastery in creating large-scale scenes and a profound understanding of national history. The book by art critic Nguyễn Hải Yến, Hội họa Hà Nội - Những kí ức còn lại, China, 2010, p.123, includes recounts by artist Bùi Quang Ngọc. During a visit to Nguyễn Gia Trí's wife in February 1992, she revealed that in 1956-1957, Ngô Đình Diệm invited Nguyễn Gia Trí to create a series of historical lacquer paintings, spanning from ancient to modern times, for 7 million Vietnamese Dong. Although Nguyễn Gia Trí initially sketched paintings from the Hồng Bàng to Mai Hắc Đế periods, he eventually declined the project due to a lack of interest and the substantial sum of money involved. Subsequently, Diệm commissioned five paintings for one and a half million dongs, including Địa linh hoán tượng, Trận Bạch Đằng, Hai Bà Trưng, Sen tàn, and Nửa trừu tượng. According to Bùi Quang Ngọc's recollection, there were indisputably sketches and at least one painting commissioned by Ngô Đình Diệm bearing the title Battle of Bạch Đằng, created by Nguyễn Gia Trí during the period spanning 1956 to 1957. The painting Battle of the River Bạch Đằng in the 13th century is a powerful symbol of national heroism and the indomitable spirit of the Vietnamese people, who have a long history of resilience in the face of foreign invasion. This work, likely executed by Nguyễn Gia Trí, demonstrates a profound understanding of national history and conveys a powerful message of patriotism and self-reliance. The precise and flawless execution of form, style, and details showcases the artist's skill. The dynamic composition and expressive style, combined with meticulous attention to detail, serve to illuminate the artist's vision and mastery. Bonhams Cornette de Saint Cyr would like to thank Bùi Hoàng Anh - Art Director from Viet Art View for her research and contribution to this article.

524. 524W Bui Huu Hung (Vietnamese, born 1957) Golden Light 2007 signed Bui Huu Hung (lower left) lacquer on wooden panel signed Bui Huu Hung (lower left) lacquer on wood panel 122 x 122 cm (48 x 48 in) The work's authenticity is verified by a certificate of authenticity issued by Apricot Gallery and dated 22 October 2007. Provenance Apricot Gallery, Ho Chi Minh City, Vietnam Acquired from the above by the present owner in 2007 European private collection In the field of contemporary Vietnamese art, Bui Huu Hung stands as a beacon of both tradition and modernity. Born in 1957 in the cultural heart of Vietnam, Hanoi, Hung began his artistic journey at the age of 18, drawn to the ancient allure of lacquer painting. His search for authenticity led him to experience and engage with diverse aspects of Vietnam's rural life, where he immersed himself in the heritage of this intricate art form. Following his military service in 1978, Hung's quest for artistic excellence led him to the prestigious École des Beaux-Arts. There he refined and mastered the techniques of lacquer painting. The artist's use of gold foil in his paintings is not merely decorative. It imbues his work with a dynamic play of light, bringing textures and colours to life with a radiant glow. This technique, coupled with his innovative use of space, gives his subjects an ethereal quality, as if they existed beyond the temporal world. Bui Huu Hung's art is a bridge between the past and the present, a fusion of time-honoured methods and contemporary sensibilities. Through his paintings, he not only preserves the legacy of Vietnamese lacquer painting but also redefines it, ensuring its relevance in the world of modern art.

520. Huynh Phuong Dong (Vietnamese, 1925-2015) In the village signed and dated Huynh Dong 88 (lower right) lacquer on wooden panel signed and dated Huynh Dong 88 (lower right) lacquer on wood panel 60 x 40 cm x 2 Provenance Important French private collection, acquired directly from the artist Huynh Phuong Dong was born in Binh Hoa-Gia Dinh (now Ho Chi Minh City) in 1925 and graduated from the Gia Dinh Fine Arts School in 1945. He then joined the army during the First Indochina War (1946-1954). After the victory at Dien Bien Phu in 1954, he continued his studies at the Hanoi Fine Arts College from 1957 to 1963. Over the course of the final three decades of Vietnam's protracted struggle for independence, Huynh Phuong Dong engaged in numerous brutal battles across a range of battlefields during the resistance wars against the French and the Americans. These conflicts resulted in considerable human and material losses, including the sacrifices of his comrades for the sake of national salvation. As a soldier and painter, Huynh Phuong Dong gained renown as a combat artist, chronicling the heroic and tragic moments of war in his sketches. These works have since become invaluable historical treasures. Following the conclusion of the Vietnam War, Huynh Phuong Dong continued to create art that reflected the duality of the conflict and the subsequent period of peace. His post-war works often focused on themes of reconstruction, peace, and the daily lives of the Vietnamese people. He remained an active figure in the art community, dedicating himself to teaching and mentoring young artists whilst continuing to create notable works.