Ngyuyen Phan Chanh 1892-1984 46,5 x 30,5 cm R. Two women by the river, 1938. Ink and gouache on silk. Signed, dated and stamped lower left. Framed. Collection of Prof. Dr Hermann Schröder (1902-1991), Aachen, and expanded by his family The artistwas born in Bat Tien hamlet, Trung Tiet commune, Thach Ha district, Ha Tinh province. Chanh, among the first students of the Indochina College of Fine Arts, now Hanoi University of Fine Arts, was one of the greatest Vietnamese painters of the last century. With a good command of folk art and an intense passion for the art, he was inspired by Eastern art after gaining access to Chinese silk paintings and Japanese silk paintings. He created his own style and techniques for painting on silk. Before he started work, Chanh washed the silk canvas in warm water. When the first layer of colours dried, he washed the painting again before adding new colours until he was satisfied with the work. In 1928, he became the first Vietnamese painter to have a painting reproduced on a postage stamp in France . It was titled Nguoi Di Cay (Transplanters in the Field). After winning a prize for his work in Paris in 1931, he built a career as a lecturer of fine arts. In 1996, he was posthumously awarded the Ho Chi Minh Prize, the noblest award for literary and fine-art work in Vietnam . Chanh left about 170 silk paintings and 52 sketches when he died, according to his family. Most of them are stored in museums and private collections throughout the world. His family owns a small number. His work has been displayed in France, Italy, the US, Japan, the former Czechoslovakia, Hungary, Romania, Poland and the former Soviet Union. In 1932, paintings such as O An Quan (Children Playing Games), Rua Rau Cau Ao (Washing Vegetables by a Pond), Len Dong (Mediumship) and Em Be Cho Chim An (Children Feeding Birds) were the first Vietnamese paintings introduced to a French audience in Illustrations magazine. French critics spoke highly of Nguyen Phan Chanh paintings: “Nguyen Phan Chanh had sharp eyes which observe tiny subtle details of Vietnamese people’s daily life”. Although he painted about various topics, he was known for his paintings of ordinary people and popular images in the northern region of Vietnam. Ngyuyen Phan Chanh 1892-1984 46,5 x 30,5 cm R. Zwei Frauen am Fluss, 1938. Tische und Gouache auf Seide. Unten links signiert, datiert und gestempelt. Sammlung Prof. Dr. Hermann Schröder (1902-1991), Aachen, und von seiner Familie erweitert Der Künstler wurde im Weiler Bat Tien, Gemeinde Trung Tiet, Bezirk Thach Ha, Provinz Ha Tinh, geboren. Chanh, einer der ersten Studenten des Indochina College of Fine Arts, der heutigen Hanoi University of Fine Arts, war einer der größten vietnamesischen Maler des letzten Jahrhunderts. Er beherrschte die Volkskunst und hatte eine große Leidenschaft für die Kunst. Nachdem er Zugang zu chinesischen Seidenmalereien und japanischen Seidenmalereien erhalten hatte, wurde er von der östlichen Kunst inspiriert. Er schuf seinen eigenen Stil und seine eigenen Techniken für die Seidenmalerei. Bevor er mit der Arbeit begann, wusch Chanh die Seidenleinwand in warmem Wasser. Wenn die erste Farbschicht getrocknet war, wusch er das Bild erneut und fügte neue Farben hinzu, bis er mit dem Werk zufrieden war. 1928 war er der erste vietnamesische Maler, dessen Gemälde auf einer Briefmarke in Frankreich abgebildet wurde. Es trug den Titel Nguoi Di Cay (Verpflanzte auf dem Feld). Nachdem er 1931 in Paris einen Preis für sein Werk erhalten hatte, machte er Karriere als Dozent für bildende Kunst. Im Jahr 1996 wurde ihm posthum der Ho-Chi-Minh-Preis verliehen, die höchste Auszeichnung für literarische und künstlerische Werke in Vietnam. Nach Angaben seiner Familie hinterließ Chanh bei seinem Tod etwa 170 Seidenbilder und 52 Skizzen. Die meisten von ihnen befinden sich in Museen und Privatsammlungen auf der ganzen Welt. Seine Familie besitzt eine kleine A
An ink and watercolor painting on silk depicting a portrait of a semi nude woman in flowers after Nguyen Phan Chanh, Vietnamese, 1892 to 1984. Signed and dated 96 by the artist, lower left. Framed. Nguyen Phan Chanh was recognized to make substantial contributions to Vietnamese silk paintings in the early 20th century throughout the history of Vietnamese Fine Arts. He laid the foundation for Vietnamese silk paintings with a consistent style throughout his career path. Asian Fine Art, Silk Paintings And Wall Decor Collectibles. One of a kind artwork.
An ink and watercolor painting on silk depicting a portrait of a Young girl washing fruits after the original 1950 painting by Nguyen Phan Chanh, Vietnamese, 1892 to 1984. Signed and inscribed with Calligraphy and an iron red seal, upper right. Framed. Nguyen Phan Chanh was recognized to make substantial contributions to Vietnamese silk paintings in the early 20th century throughout the history of Vietnamese Fine Arts. He laid the foundation for Vietnamese silk paintings with a consistent style throughout his career path. Asian Fine Art, Silk Paintings And Wall Decor Collectibles. One of a kind artwork.
Property from a French Private Collection Nguyễn Phan Chánh (1892-1984) Les Chanteuses de Campagne signed Nguyen Phan Chanh and dated 1930 (lower left); signed and inscribed with a poem in Chinese and with the seal of the artist (upper left) oil on canvas Executed in 1930. 90.5 x 102.5 cm, 35½ by 4⅜ in. __________________________________________________________________________ Collection particulière française Nguyễn Phan Chánh (1892-1984) Les Chanteuses de Campagne signée Nguyen Phan Chanh et datée 1930 (en bas à gauche); signée et inscrite avec un poème en chinois et avec un cachet de l'artiste (en haut à gauche) huile sur toile Peinte en 1930. __________________________________________________________________________ 法國私人收藏 阮潘正 (1892-1984) 鄉間之吟 款識 Nguyen Phan Chanh 1930（左下） 只云公禮霓袁曲，誰錄村頭歸林聲。 庚午仲秋，鴻南筆。（左上） 鈐印︰「鴻南」 油畫畫布 一九三零年作
Nguyen Phan Chanh, (Vietnamese, 1892 - 1984), an ink and color painting on silk, "To Play O An Quan." This work emerged from Nyugen's study of the everyday winter lives of villagers in Kim Lien village in Hanoi. Here young girls are intent upon their game of 'O An Quan' played with marbles. Signed with Chinese characters. Matted and framed. Note: Nguyen Phan Chanh was recognized to make substantial contributions to Vietnamese silk paintings in the early 20th century throughout the history of Vietnamese Fine Arts. He laid the foundation for Vietnamese silk paintings with a consistent style throughout his career path.
Attributed to Nguyen Phan Chanh, Vietnamese, 1892 to 1984, an ink and color painting on silk depicting an interior scene with a man and a cage with a bird. Signed and inscribed with Calligraphy, stamped, to the right. Matted and framed. Nguyen Phan Chanh was recognized to make substantial contributions to Vietnamese silk paintings in the early 20th century throughout the history of Vietnamese Fine Arts. He laid the foundation for Vietnamese silk paintings with a consistent style throughout his career path. Asian Fine Art, Silk Paintings And Wall Decor Collectibles. One of a kind artwork.
Nguyen Phan Chanh, Vietnamese, 1892 to 1984, an ink and color painting on silk, The Sorcerer. Signed upper left. Matted and framed. Note: Nguyen Phan Chanh was recognized to make substantial contributions to Vietnamese silk paintings in the early 20th century throughout the history of Vietnamese Fine Arts. He laid the foundation for Vietnamese silk paintings with a consistent style throughout his career path. Asian Fine Art, Silk Paintings And Wall Decor Collectibles.
Nguyen Phan Chanh, Vietnamese, 1892 to 1984, an ink and color painting on silk, The Sorcerer. Signed upper left. Matted and framed. Note: Nguyen Phan Chanh was recognized to make substantial contributions to Vietnamese silk paintings in the early 20th century throughout the history of Vietnamese Fine Arts. He laid the foundation for Vietnamese silk paintings with a consistent style throughout his career path. Asian Fine Art, Silk Paintings And Wall Decor Collectibles.
Nguyen Phan Chanh (1892-1984) Retour au village 1955 signed Ng. Phan-Chanh, dated 8-1955; inscribed, signed and dated 24-3-1959 on the reverse ink and colour on silk laid on board 85 x 63 cm (33 1/2 x 24 3/4 in)
NGUYEN PHAN CHANH (1892-1984) Retour au village 1955 signée Ng. Phan-Chanh, datée 8-1955 (en bas à droite); signé, inscrit et daté 24-3-1959 (au revers) encre et couleurs sur soie marouflée sur carton 85 x 63 cm (33 1/2 x 24 3/4 in.)
/!\ /!\ /!\ Pour enchérir sur ce lot, il sera exigé un dépôt de garantie de 2.000 euros - Merci de prendre contact avec la maison de vente /!\ /!\ /!\ /!\ /!\ /!\ To bid on this lot, a deposit of 2,000 euros is required - Please contact the auction house /!\ /!\ /!\ Jeune fille lavant les fruits Encre et gouache sur soie Signé en haut à droite H. 54 cm - L. 41,5 cm
/!\ /!\ /!\ Pour enchérir sur ce lot, il sera exigé un dépôt de garantie de 2.000 euros - Merci de prendre contact avec la maison de vente /!\ /!\ /!\ /!\ /!\ /!\ To bid on this lot, a deposit of 2,000 euros is required - Please contact the auction house /!\ /!\ /!\ La baigneuse Encre et gouache sur soie Signé en bas à droite H. 56,5 cm - L. 37 cm Salissures, manques et traces d'humidité, vitre brisée, mauvais état général
NGUYEN PHAN CHANH (1892-1984) La Marchande de canne à sucre (The Sugarcane Cutter) ink and gouache on silk laid on paper 60 x 50.5 cm. (23 5/8 x 19 7/8 in.)
NGUYEN PHAN CHANH (1892-1984) Les Couturières (Seamstresses at Work) ink and gouache on silk in its original Gadin frame 65.5 x 88 cm. (25 3/4 x 34 5/8 in.)
NGUYEN PHAN CHANH (1892-1984) La femme dans la rizière (The Woman in the Rice Field) signed and dated 'Ng ph. Chanh 1936' and signed 'Hong Nan' in Chinese (lower left); inscribed in Chinese '1936 Summer Painted by Nguyen Phan Chanh Hong Nan' (middle left) ink and gouache on silk 56 x 37 cm. (22 x 14 5/8 in.) Painted in 1936 one seal of the artist
NGUYEN PHAN CHANH (VIETNAM, 1892-1984) Le Jeu des Cases Gagnantes (Playing 'Go') signed with pen name 'Hong Nan' and dated in Chinese 'Year 1931' (upper left); inscribed in Chinese (upper middle); ‘Hong Nan’ in Chinese (upper right) ink and gouache on silk 64 x 88 cm. (25 1/4 x 34 5/8 in.) Painted in 1931 two seals of the artist
NGUYEN PHAN CHANH (VIETNAM, 1892-1984) Jeune fille au perroquet (Young Girl with Parrot) inscribed in Chinese (upper right); signed and dated 'Ng phan-Chanh 1933' (lower right); signed again in Chinese (lower left) ink and gouache on silk in the original Gadin frame 82 x 49 cm. (32 1/4 x 19 1/4 in.) Painted in 1933 one seal of the artist
NGUYEN PHAN CHANH (1892-1984) Quatre esquisses de personnages et paysages Aquarelle et crayon sur papier. Date_s en haut a_ droite de 1938 Signe_s en bas a_ gauche avec cachet (Accidents, manques, contre-colle_ sur papier, encadre_e sous verre) Dim. : 37 x 14 cm.
NGUYEN PHAN CHANH (VIETNAM, 1892-1984) Enfant à l'oiseau (Child with Bird) ink and gouache on silk in the original Gadin frame 65 x 50 cm. (25 5/8 x 19 5/8 in.)
NGUYEN Phan Chanh (1892-1984) L’acupunctrice - 1931 Encre et gouache sur soie Signé, cachets (3) et daté "juillet 1931" 66 x 53,5 cm Description et analyse : Une acupunctrice, vêtue d’une voile noir et assise à même le sol, insère une aiguille dans l’épiderme d’une autre femme, dos nu et retournée. La peinture présente trois cachets identiques, lesquels sont composés de trois caractères lus "Hong Nam" renvoyant à son nom d’artiste. Cette signature est également écrite à l’encre noire en haut à gauche de l’œuvre. Dans la partie supérieure droite, on retrouve la signature de l’artiste ainsi que son nom et prénom (lus "Ruan Panzheng") dans le premier groupe de caractères le plus à gauche. Dans le groupe de caractères le plus à droite, la date de l’œuvre "Xin Wei Nian Xiang Yue", littéralement "juillet 1931". Les trois cachets sont identiques à ceux figurant sur d’autres peintures de l’artiste datées de la même période (années 30). La datation (juillet 1931) peut être corroborée par sa provenance, l’un des premiers propriétaires connus de l’œuvre étant le Docteur Adrien Le Roy des Barres décédé en 1945. La datation peut enfin être confirmée par son analyse stylistique : cette peinture est typique du style de Nguyen Phan Chanh à cette époque ; elle dépeint une scène quotidienne, l’acupuncture, en recourant à un jeu de lumière et d’ombre reposant sur l’utilisation d’une gamme de bruns en aplat. Un fond plus clair sert à isoler les caractères principaux, de profil et de dos, comme pour préserver leur anonymat, suggérer leur modestie. Provenance : - Docteur Adrien Le Roy des Barres (1872-1945), puis par descendance - Collection privée du sud de la France Biographie : NGUYEN Phan Chanh, issu d’une famille de lettrés, est né dans la province de Hà Tinh (côte centrale du nord). Après avoir suivi un anciennement traditionnel à Hué, il est diplômé de l’Ecole des Beaux-Arts de l’Indochine en 1930. Il est considéré comme l’un des précurseurs de la peinture sur soie vietnamienne. A l’instar de notre tableau, s’inspirant du monde rural, l’artiste représente de manière intimiste des scènes familières. Il utilise dans ses œuvres les couleurs de la terre (brun, noir et ocre) qu’il applique par d’amples aplats et privilégie les volumes et les masses aux détails anecdotiques. Il passe pour être l’inventeur d’une technique de lavage de la soie qui procure un aspect moderne et original à cette peinture traditionnelle. Note : Adrien Le Roy des Barres, médecin de formation, a passé l’essentiel de sa vie en Indochine. Outre une carrière médicale exemplaire qui lui valut de nombreuses récompenses, il s’est illustré localement dans les affaires agricoles et économiques. - Interne des Hôpitaux de Paris - Médaille de bronze de l’Assistance Publique - Chirurgien de l'ambulance de la Croix-Rouge pendant la campagne de Chine (1899-1900) - Médecin des services municipaux (1902) - Directeur de l'Hôpital indigène de Hanoï (1902) - Professeur à l'École de de médecine de l’Indochine (1902) - S'est distingué pendant les épidémies de peste qui ont sévi à Hanoï (1905 et 1906) - Officier de l’Ordre National de la Légion d’honneur (1920) - Directeur de la Santé au Tonkin (1915) - Fondateur de l’Institut du radium - Directeur de l’École de médecine (1929) - Médaille d’honneur des épidémies (1931) - Correspondant de l’Académie de médecine (1931) - Directeur du Centre de lutte contre le Cancer de Hanoï - Administrateur des Charbonnages de Tuyên-Quang - Administrateur de la Société commerciale d'importation et d'exportation du Tonkin - Président des Eaux minérales de Vinh-Hao - Administrateur délégué de la Société agricole de Cho-Ganh - Président de la société de la Mine Armorique à Hanoï - Co-fondateur des Nattes du Tonkin - Administrateur de la société agricole de Bên-Bo - Vice-président de la Chambre d’agriculture du Tonkin - Président du Syndicat des planteurs de café du Tonkin - Directeur de la société agricole de Binh-Ri à Hanoï - Conseil des intérêts économiques et financiers du Tonkin - Grand Conseil des intérêts économiques et financiers de l’Indochine Nous remettrons au futur acquéreur des documents originaux d’époque ayant appartenu au docteur Adrien Le Roy des Barres (dont son diplôme d’Officier de la Légion d’honneur et sa Médaille d’honneur des épidémies). Condition report : - Manque et déchirure visibles sur le côté gauche - Ancienne restauration visible au dos (côté droit) - Quelques décollements, accidents et taches visibles Note aux futurs enchérisseurs : Aucune enchère live / Internet / téléphonique / en salle ne sera acceptée sur ce lot sans un dépôt préalable de 8 000 € reçu sur notre compte avant la vente. NGUYEN Phan Chanh (1892-1984) The acupuncturist - 1931 Ink and gouache on silk Signed, stamped (3) and dated "July 1931" 66 x 53,5 cm Description and analysis: An acupuncturist, wearing a black veil and sitting on the floor, inserts a needle into the skin of another woman, bare back and turned. The painting has three identical seals, which consist of the three characters read "Hong Nam" referring to his artist name. This signature is also written in black ink on the top left corner of the work. On the top right corner, we find the signature of the artist and his name and surname (read "Ruan Panzheng") in the first group of characters on the left. In the rightmost group of characters, the date of the work "Xin Wei Nian Xiang Yue", literally "July 1931". The three seals are the same when compared to paintings of the same period. The dating (July 1931) can be corroborated by its provenance: one of the first known owners of the work is Doctor Adrien Le Roy des Barres who died in 1945. The dating can finally be confirmed by its stylistic analysis: this painting is typical of the artist’s style in the 1930’s; it depicts a daily scene - acupuncture - through a play of light and shade, based on the use of a range of brown colors. A lighter background is used to isolate the main characters, profile and back, as to preserve their anonymity, or suggest their modesty. Provenance: - Doctor Adrien Le Roy des Barres (1872-1945), then by descendants - Private collection of the south of France Dr. Adrien Le Roy des Barres spent most of his life in Indochina. In recognition of his exemplary medical career, he was received several award. He also distinguished himself in agricultural and economic local affairs. We will provide the future buyer with original documents that belonged to Dr. Adrien Le Roy des Barres (including his diploma of Officer of the French Legion of Honor and his French Medal of Honor for Epidemics). Condition report: - Lack and tear visible on the left side - Previous restoration visible on the back (right side) - Some detachments, accidents and visible spots Note to the future bidders: No live auction / Internet / phone / in-room bid will be accepted on this lot without a prior deposit of 8 000 € received on our account before the sale. ???(1892-1984) ??????? ??,??(3),??1931?7? 66 x 53,5?? ????: ????????,??????????????????????????????“??”???“??”???????????????? « ?????? »? « ????? »,?“1931?7?”?Adrien Le Roy des Barres???????????,?1945????????????????:???????????????????????????????,????,?20?????????????????? ??: - Adrien Le Roy des Barres??(1872-1945)???? - ????????? ????: ????1892?????????????????????,??1930????????????,????????????????????????????,?????????????????????????????????,??????????????,??????????????????? ??: Adrien Le Roy des Barres?????????????????????????????????,??????????????? : - ???????? - ??????(1902) - ??????(1902?) - ?????????(1902?) - ???????????????(1905?1906?) - ????????(1920) - ???????(1915) - ???????? - ?????(1929) - ???????(1931) - ??????(1931) - ?????????? - ????????? - ??????? - ????????? - ??Armorica?????? - Tonkin Mats????? - Bên-Bo?????? - ????????? - ??????????? - ?????????? ????????????Adrien Le Roy des Barres?????????? ???? : - ????????????? - ?????????(????) - ??????,???????? ??????: ??????/????/???????????8000??????
NGUYEN PHAN CHANH (Vietnamese, 1892-1984) La Marchande de Riz (The Rice Seller) signed and inscribed in Chinese (upper left); inscribed in Chinese (centre right); signed and dated 'Phan Chanh 1932' (lower right) ink and gouache on silk 64.5 x 50.5 cm. (25 5/8 x 20 1/8 in.) Painted in 1932 two seals of the artist
Attribué à Nguyen PHANH CHANH (1892-1984) Ecole Vietnamienne Petite fille au perroquet Huile sur soie, signée du cachet de l'artiste en haut à droite 56,5 x 40 cm à vue - 22 1/4 x 15 3/4 in. Oil on silk, signed with the artist's stamp upper right
NGUYEN PHAN CHANH (Vietnam 1892-1984) Kindergarten signed and dated 'Ng. phan Chanh/1964' (lower left) pen and ink and watercolour on silk 19 1/2 x 28 1/8 in. (49.5 x 71.5 cm.)
signed in Chinese with a seal of the artist upper left; signed and dated 1938 lower right; inscribed in Chinese upper right ink and gouache on silk laid on paper
NGUYEN PHAN CHANH (Vietnam 1892-1984) Kindergarten signed and dated 'Ng. phan Chanh/1964' (lower left) pen and ink and watercolour on silk 19 1/2 x 28 1/8 in. (49.5 x 71.5 cm.)
NURSING A BABY 70 by 49.5cm.; 27½ by 19½in. signed in Chinese with a seal of the artist middle left; signed and dated 9. 1972 lower left; inscribed in Chinese upper right ink and gouache on silk laid on paper PROVENANCE Formerly in the Collection of Dr Le Thai, France A European Private Collection NOTE Two similar works by the artist are reproduced in Tran Lua, Nguyen Phan Chanh, Hanoi, 1992, page 83 and page 85
NGUYEN PHAN CHANH 1892-1984 LA PETITE CUISINIeRE Signed, signed with a seal of the artist, inscribed and dated in Chinese upper right Ink and gouache on silk 63 by 49.5 cm.; 24 3/4 by 19 1/2 in. Provenance Agence de L'Indochine, Paris Former Collection of the artist, Mr Thang Tran Phenh Exhibited Seconda Mostra Internazionale d'Arte Coloniale, Napoli, Italy, 1932 S$120000-150000 US$72720-90900 An extremely rare piece from the early 1930's; the present Lot entitled La Petite Cuisiniere is drawn from a series of silk paintings representing the petits metiers (small labours) of North Vietnam. As the forefather of Vietnamese silk painting the quasi-entirety of Phan Chanh's oeuvre was created on silk, the artist's preferred technique. Favoring precision drawing and simple form over the much coveted impressionistic style sweeping through the Vietnam of the early 20th century, Phan Chanh remained attached throughout his career to traditional painting; inherited from his classic Sino-Vietnamese training and his more conservative approach to aesthetics in general. Phan Chanh particularly enjoyed picturing the fundaments of rural Vietnamese society, depicting its protagonists and everyday activities with a certain reserve that nevertheless were imbued with serenity. The following Lot displays, in the finest way, the artist's habitual use of a restrained chromatic palette - an amalgamation of sombre colors and diluted earth tones that he applied in bold patches. A further characteristic is the stillness and almost passive attitude we encounter in the contained expression of his figures. Absorbed by her work and pensive, the young cook here personifies the silence that characterizes Phan Chanh's authentic Vietnamese style.
NGUYEN PHAN CHANH (1892-1984) LA MARCHE Signed and dated 1937 lower right; signed in Chinese upper right; signed with a seal of the artist lower left Ink and gouache on silk 48.5 by 85.5 cm.; 19 by 33 3/4 in. Provenance A French Private Collection US$88240-117650
NGUYEN PHAN CHANH (1892-1984) NURSING A BABY Signed and dated 9-1972 lower left; signed in Chinese with an additional seal of the artist middle left; inscribed in Chinese upper right Ink and gouache on silk 71 by by 49.5 cm.; 28 by 19 1/2 in. Provenance From a European Private Collection Two similar paintings (Nursing her baby by the evening, dated 1972, 52 cm by 74 cm, and Nursing her baby at Dawn, dated 1970, 50 cm by 65 cm) are illustrated in Tranh Lua, Ng. Phan-Chanh, Hanoi, 1992, page. 83 & p. 85. US$14700-17650
NGUYEN PHAN CHANH (1892-1984) GIRL COMBING HAIR Signed and dated 1933 lower right; inscribed in Chinese upper right Oil on silk laid on board 65 by 50 cm.; 25 1/2 by 19 3/4 in. Literature Paris Musee, Paris-Hanoi-Saigon, L'Aventure de L'Art Moderne au Viet Nam, Pavillon des Arts, du 20 mars au 17 mai 1998, page 63, colourplate 32 Exhibited Paris-Hanoi-Saigon, Pavillon des Arts, Paris, 20th March to 17th May 1998 SGD150000-200000 US$88240-117650
Bather signed, inscribed in Chinese and dated 'N. Phan Chanh, 1970' and stamped with an artist's seal (lower left) ink on silk 27 x 19 in. (69 x 49 cm.) PROVENANCE Acquired directly from a private French collector by the present owner.
