Hoang Tich-Chu Sold at Auction Prices

b. 1912 - d. 2003

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    • VIETNAMESE SCHOOL (VIETNAM, ACTIVE 20TH CENTURY) ATTRIBUTED TO HOÀNG TÍCH CHU (1914-1976) AND NGUYÊN TIÊN CHUNG (1897-1933) ECOLE DES BEAUX ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE - EBAI), 11TH CLASS (1936-1941) La Moyenne Région (du Nord
      Jun. 29, 2022

      VIETNAMESE SCHOOL (VIETNAM, ACTIVE 20TH CENTURY) ATTRIBUTED TO HOÀNG TÍCH CHU (1914-1976) AND NGUYÊN TIÊN CHUNG (1897-1933) ECOLE DES BEAUX ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE - EBAI), 11TH CLASS (1936-1941) La Moyenne Région (du Nord

      Est: €10,000 - €15,000

      VIETNAMESE SCHOOL (VIETNAM, ACTIVE 20TH CENTURY) ATTRIBUTED TO HOÀNG TÍCH CHU (1914-1976) AND NGUYÊN TIÊN CHUNG (1897-1933) ECOLE DES BEAUX ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE - EBAI), 11TH CLASS (1936-1941) La Moyenne Région (du Nord Vietnam, Tonkin) - The Middle Region (of North Vietnam, Tonkin) Lacquered wooden shallow dish with gilt against a red ground Not signed D: 30,5 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. Notes: 1. This impressive work may be linked with a major lacquered wooden panel sold at CHRISTIE’S, a common work by these two artists, students of Joseph Inguimberty (1896-1971) in the lacquer section of the Ecole des Beaux Arts de l’Indochine as well as close friends. See CHRISTIE’S Hong Kong, China, 2017-05-28, lot 325, sold for €549,320. 2. Please find below an abstract of the lot essay written by expert Jean-François Hubert, senior consultant at CHRISTIE’S, for the above-mentioned panel, that may also fit our shallow dish: ‘The execution of a joint work, might not be unique, but it certainly remains exceptional. In 1942, these two artists were in full force and at the peak of their talent. In this work, they both related the same way to this majestic and mysterious mountainous Tonkin, which Victor Tardieu and Joseph Inguimberty always encouraged students of the Beaux Arts to go admire. The sugar loaf mountains, such as those found in this region are magnified, as well as the vegetation, by an abundant use of gold lacquer in contrast to the rather dark atmosphere of the rice fields.’ TRƯỜNG HỌC VIỆT NAM (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) THUỘC VỀ HOÀNG TÍCH CHU (1914-1976) VÀ NGUYÊN TIÊN CHUNG (1897-1933) ECOLE DES BEAUX ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG, KHÓA 11 (1936-1941) La Moyenne Région (du Nord Vietnam, Tonkin) - Miền Trung (thuộc miền Bắc Việt Nam, Bắc Kỳ) Đĩa nông lòng bằng gỗ sơn mài có hoa văn mạ vàng trên nền đỏ Chưa được ký Kích thước: 30,5 cm Xuất xứ: Một bộ sưu tập tư nhân của Nghệ thuật Việt Nam, French Riviera, Pháp. Ghi chú: 1. Tác phẩm ấn tượng này có thể được liên kết với một tấm tranh gỗ sơn mài lớn được bán tại CHRISTIE'S, một tác phẩm chung của hai nghệ nhân này, họ là học sinh của Joseph Inguimberty (1896-1971) trong khoa sơn mài của Trường Mỹ thuật Đông Dương đồng thời cũng là những người bạn thân. Xem CHRISTIE’S Hồng Kông, Trung Quốc, 28-05-2017, lô số 325, được bán với giá €549.320. 2. Vui lòng xem dưới đây phần trích của bài luận văn về lô sản phẩm do chuyên gia Jean-François Hubert, chuyên gia tư vấn cấp cao của CHRISTIE'S, viết về tấm tranh sơn mài đề cập ở trên, cũng có thể phù hợp với cái đĩa nông lòng của chúng tôi: “Việc thực hiện một tác phẩm chung, có thể không độc nhất vô nhị, nhưng chắc chắn vẫn rất đặc biệt. Năm 1942, hai nghệ nhân này đang sung sức và ở đỉnh cao tài năng. Trong tác phẩm này, cả hai liên hệ với nhau thông qua cùng mối quan tâm sâu sắc đến vùng Bắc Kỳ có núi non hùng vĩ và huyền bí này, nơi mà Victor Tardieu và Joseph Inguimberty luôn khuyến khích các sinh viên của Mỹ thuật đi chiêm ngưỡng. Những ngọn núi có đỉnh núi giống cối đường, chẳng hạn như những ngọn núi được tìm thấy ở vùng này thật hùng vĩ, cũng như thảm thực vật, được phóng đại bằng cách sử dụng nhiều lớp sơn mài màu vàng tương phản với bầu không khí khá u ám của những cánh đồng lúa”. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

      Adam's
    • HOANG TICH-CHU (Actif Vietnam / Indochine, 1912-2003) & NGUYEN TIEN-CHUNG (Actif Vietnam / Indochine, 1914-1976)
      Dec. 09, 2019

      HOANG TICH-CHU (Actif Vietnam / Indochine, 1912-2003) & NGUYEN TIEN-CHUNG (Actif Vietnam / Indochine, 1914-1976)

      Est: €6,000 - €8,000

      HOANG TICH-CHU (Actif Vietnam / Indochine, 1912-2003) & NGUYEN TIEN-CHUNG (Actif Vietnam / Indochine, 1914-1976) Trois sampans dans la baie d'Halong / Vinh Ha Long Tryptique de panneaux quadrangulaires de bois laqués formant une œuvre d'orientation paysage Œuvre signée par les deux artistes et datée en partie inférieure du panneau de droite : 1943 Dimensions (chaque panneau, approximativement) : 100,5 x 66,5 cm Dimensions (totales, approximativement) : 100,5 x 200 cm (usures, dorure estompée par endroits, manque les charnières du paravent, quelques percements réalisés pour fixation au mur) Provenance : D'une collection privée niçoise, rapportée d'Indochine dans les années 1960. Note : Cette œuvre témoigne du travail à quatre mains de deux élèves de la onzième promotion de l'Ecole des Beaux-Arts de l'Indochine dirigée par Victor Tardieu (1941). Datée de 1943, elle s'inscrit dans la décennie qui marqua le début de la collaboration des deux artistes et qui est considérée comme étant l'âge d'or de la laque vietnamienne. On insistera sur le format exceptionnel de ce tryptique et sur son animation : ondulations de la surface de l'eau ; animation de cette dernière par cinq sampans et deux frêles esquifs ; animation desdites embarcations par de nombreux perosnnages. On soulignera les détails charmants que constituent, notamment, le linge étendu sur une corde ou encore, l'aspect sculptural du torse nu de l'un des marins. Comparaison : Pour un quadriptyque de 1942 par les mêmes artistes dans les mêmes tons, lui aussi dépeignant la baie d'Halong, voir Christie's Hong Kong, 30/05/2010, lot 1220. THREE SAMPANS ON HALONG BAY - A SIGNED AND DATED 1943 TRYPTICH OF LACQUERED WOODEN PANELS BY HOANG TICH-CHU (1912-2003) & NGUYEN TIEN-CHUNG (1914-1976) Vietnam / Indochina, Mid 20th century

      Boisgirard-Antonini
    • HOANG TICH-CHU (1912-2003) & NGUYEN TIEN-CHUNG (1914-1976) - Village et les rizières
      Jun. 14, 2019

      HOANG TICH-CHU (1912-2003) & NGUYEN TIEN-CHUNG (1914-1976) - Village et les rizières

      Est: €5,000 - €8,000

      HOANG TICH-CHU (1912-2003) & NGUYEN TIEN-CHUNG (1914-1976) Village et les rizières Diptyque Panneaux en bois laqué, Signé et daté en bas à gauche 100 x 32,3 cm. (39 3/8 x12 3/4 in.)(2) Lacquer on wood panel, diptych Provenance Collection privée française Une collaboration exceptionnelle entre deux pionniers de la laque vietnamienne, issus de la onzième promotion de l’École supérieure des Beaux-Arts de l’Indochine. Admis à l’École des Beaux-Arts d’Indochine en 1936, ils en sortent en 1941. Ces deux talents deviennent meilleurs amis, ainsi que partenaires, collaborant pour des travaux, comme ces panneaux que présentés dans la vente aujourd’hui. « L’exécution d’une œuvre en laque par collaboration et co-création entre deux artistes n’est pas un travail fréquent, ni facile. L’exécution une œuvre en laque par collaboration et co-création entre deux d’artistes n’est pas un travail fréquent, ni facile. Le laque ne reçoit pas dans l’exécution la spontanéité de l’esprit et de la main. Mais il prend empreinte de la patience et de la sûreté de la main, ainsi que de la décision mûrie et arrêtée du l’auteur. »1 Les premières collaborations de ces deux artistes ont lieu au début des années 1940, pendant l’âge d’or de la laque vietnamienne. Tels que « La moyenne région » 1942, panneau laqué, 100 x 150 cm ou « La Nativité » 1942-1943, triptyque panneaux laqué, 224 x 146 cm. L’œuvre que nous présentons, témoigne d’une ambiance douce et sereine, un mélange de réalité et d’idéal, image de la collaboration de deux amis en parfaite harmonie. Hoang Tich Chu (1897-1933) and Nguyen Tien Chung (1914-1976): The exceptional collaboration between two pioneers of Vietnamese lacquer who worked together from the eleventh class of the High School of Fine Arts of Indochina. They were admitted to the School of Fine Arts of Indochina in 1936, that’s when their friendship started. Graduating in 1941, the panels presented in this sale are one of the rare example of their collaboration works. The execution of a lacquer work by collaboration and co-creation between two artists is not a frequent nor an easy creative work, taking into account that they both have to be able to express their own emotion and style. We have seen evidence of the collaboration of these two artists in the early 1940s, during the golden age of Vietnamese lacquer. Such as "The Middle Region" 1942, lacquered panel, 100 x 150 cm or "The Nativity" 1942-1943, triptych lacquered panels, 224 x 146 cm. The work that we present is a rare testimony of a soft and serene atmosphere. It creates a mixture of reality and ideal, a proof of the collaboration of two friends in perfect harmony. 1. Andrée Lorac-Gernaud, préface de Bernard Dunand, L’art du laque, Dessain et Tolra, Paris, 1973, p. 9

      Asium
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