| 中文版 English

具体要求

其它要求

-
关闭
MAI TRUNG THU (1906-1980) L’élégante Interrogation (The Elegant Questioning)
香港
2022年11月30日 开拍 / 2022年11月28日 截止委托
拍品描述 翻译
MAI TRUNG THU (1906-1980)
L’élégante Interrogation (The Elegant Questioning)
signed and dated ‘MAI THU 1943’ (upper left)
ink and gouache on silk laid on cardboard
55.5 x 46 cm. (21 7/8 x 18 1/8 in.)
Painted in 1943
one seal of the artist

MAI TRUNG THU (1906-1980) L’élégante Interrogation (The Elegant Questioning) signed and dated ‘MAI THU 1943’ (upper left) ink and gouache on silk laid on cardboard 55.5 x 46 cm. (21 7/8 x 18 1/8 in.) Painted in 1943 one seal of the artist Private Collection, France Acquired from the above by the present owner
Lot Essay MAI THU, 1943 “ L’éLéGANTE INTERROGATION”(THE ELEGANT QUESTIONING) OR WILL ALL THE IMAGES DISAPPEAR? The interior depicts the somewhat old-fashioned austerity of the wealthy residences in Hanoi or Hue, at the time. The hardwood armchair designed with French influence, the opulent horizontal drapery, the solid wood column with its base carved in Thanh-Hoa stone do not soften the reigning Confucian rigor. Mai Trung Thu isolates us from the scene by imposing in the foreground the top of a balustrade, openwork and carved with floral motifs, but frontal, over the entire width of the painting, as if he were holding us at a distance so that we beg for his attention. The original molded and gilded frame - which the Romanet gallery used at that time - encloses and enhances the subject. Later on, Mai Thu would patiently craft and lacquer his own frames into more than simple accessories that would truly reveal the work. The two women are clothed in ao dai. The one wearing a Tonkinese headdress is covered in a flowered shawl in two-tone silk velvet while the other with hair brushed back wears a simple necklace. Both ao dai are made in the style created in the 1930s in Hanoi by Nguyen Cat Tuong (1912-1946), also known as LeMur, an innovative couturier and artist who also graduated from the Indochina School of Fine Arts, in 1933. A member of the nationalist literary group (founded in 1932) called the Tu Luc Van Doan (Autonomous Literary Group), LeMur did not merely suggest a new fashion but offered to the urban Vietnamese woman emancipation, both physical and psychological. The clothing became a social weapon. Mai Thu, of course, supported this nationalist and liberating movement, as did almost all of the country's artists. The child has all the attributes - from the haircut to his clothes - of his environment... This place and these figures are all elements of the Vietnamese wealthy class, that of Mai Thu’s, son of Mai Trung Càt (1857-1945), a high dignitary of the imperial court of Hué. Subject to an exhaustive inventory, it should be noted that Mai Thu rarely represented three characters together. It is as if, here, he needed the strength of a group to deliver the meaning of his work. The faces of the figures, which the artist has taken particular care to portray, remind us that Mai Thu was an extraordinary portraitist, first in Vietnam until 1937 and then in Macon, France, where he lived in 1940-41, after his demobilization from the French army. There he painted many portraits of the inhabitants. The Portrait of Mrs. N. D and her daughter executed in 1941 is a graceful testimony of a talent at its peak. Later, after the war, he will propose mostly smoother faces, almost interchangeable. For him, anonymity is a renunciation of identity. These three faces, in 1943, do not affirm, they question. They are the interpreters of the painter. The two youngest characters are grasping their chin with their hand, and if the faces look away from each other, the bodies are brought close together. The flesh as defiance of the spiritual. The entire meaning of the painting could reside in the hands of the seated woman, who could be the mother. She is the only one looking at us, with a delicate but firm authority, known of Vietnamese women, while the other two are looking away. Her hands, a distant allusion to an abhayamudra that has become secular, testify to the certainty of her seduction, but a seduction that awaits an answer. The free, useless hands of the other two protagonists slump on the hard wood of the armchair or the railing. When he arrived in France in 1937, Mai Thu abandoned oil on canvas in favor of ink and gouache on silk, a technique, exogenous, taught (the "painting on cloth" of the official program) since the foundation of the School of Fine Arts in Hanoi and which quickly became a characteristic Vietnamese identity that Nguyen Phan Chanh will pursue, and that Le Pho and Vu Cao Dam will gradually abandon, amongst others. An affirmation of his identity. Did Mai Thu truly settle in France? Playing the d?c huyen, this old Vietnamese instrument he mastered, did it mean sharing with others or isolating oneself in a country where artistic cosmopolitanism, and particularly musical, was the absolute norm? In fact, this magnificent painting testifies Mai Thu's dissatisfaction. Far from his roots, he seems, unlike his two friends Le Pho and Vu Cao Dam, unable to root himself. Perhaps their journey to the West did not have the same meaning? Did Mai Thu only flee from a past love, this "Mademoiselle Phuong", of whom he has left us with superb oils, charcoals and pastel-and-chalk drawings, dated 1937? France to him, is it just another place at the difference of Le Pho and Vu Cao Dam who found a home? While Vu Cao Dam and Le Pho wanted France to surprise them, Mai Thu wanted France to understand him. A difference in the quest that resulted in a difference in integration. Mai Thu knows that all images will disappear: immediately for those that we see, and a longer period for those that we think about. But what of the ones you dream about? In this year of 1943, Mai Thu answers us, with the elegance of a scholar, through these three characters who embody the past, the present and the future: none can be deprived of his nostalgia. Jean-Fran?ois Hubert Senior Expert, Vietnamese Art

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
100
2,000
200
3,000
200 500 800
5,000
500
10,000
1,000
20,000
2,000
30,000
2,000 5,000 8,000
50,000
5,000
100,000
10,000
200,000
20,000
300,000
20,000 50,000 80,000
500,000
50,000
1,000,000
100,000
+

价格信息

拍品估价:3,000,000 - 6,000,000 港币 起拍价格:3,000,000 港币  买家佣金:
落槌价 佣金比率
0 - 7,500,000 26.00%
7,500,000 - 50,000,000 20.00%
50,000,000 - 以上 14.50%

拍卖公司

Christie's HK
地址: 佳士得艺廊 香港中环历山大厦22楼
电话: +852 2978 6734
邮编: 000
向卖家提问

小贴士

1. 一般拍卖公司接受的付款方式有以下几种:
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时,请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种:
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账,所以请您在汇款时,选择足额到账,或在汇款金额的基础上加上汇款手续费(如25美金)。
4. 国际转账汇款时, 您需要知道海外拍卖行以下汇款信息:
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码(8位字母数字组合,必填项, 如: BFKKAT2K)
* 收款银行清算码(9位数字组合,选填项)
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输, 您只需要支付相关的运费及保险费(如您需要)即可;有的海外拍卖行会推荐几家长期合作的运输公司, 这些运输公司有着良好的信誉和高质量的工作效率,您大可放心。您只需要提供您的收货地址, 竞得拍品账单。 运输公司会根据您提供的信息给您报价, 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了, 信用卡是最常用的支付手段, 当然还有其他像PayPal,转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税,需由包裹接受人(即买家)自行承担。 征收标准:具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品,如枪支、管制刀具、象牙、犀角等;中国买家不得通过本平台参与上述物品的拍卖活动;任何情形下,买家均须对自己的竞拍行为独立承担责任。
服务热线:400-608-1178
查看全部小贴士