Lot 54

Artist Studio, Paris
Wally Findlay Galleries, New York 1978 (accompanied by a certificate of authenticity)
Private collection, Melbourne

The present lot will be included in the artist's forthcoming catalogue raisonné.

Lê Ph? was a celebrated Vietnamese painter whose career left an enduring mark on the world of art during the 20th century. Born in the early days of French colonial rule, his artistic journey began in 1925 when he enrolled as one of the first students in the newly established Ecole des Beaux- Arts I'lndochine in Hanoi. The idea of an art academy in Vietnam took shape when Victor Tardieu (who studied under Matisse), founded the school with the hope of transforming local craftsmen and artisans into true artists. It was under his supervision that students, including Lê Ph? were taught French methodologies, but were encouraged to depict Eastern and local subjects.
Lê Ph? quickly found his calling in silk painting, a medium that demanded precision, agility and speed. His works depicted elegant women in pastel dresses, set gently within serene domestic scenes. Seen as a departure from Western conventions of nude portrayals, his subjects were intended not as objects of desire but symbolic of purity and virtuous beauty, standing in stark contrast to how French artists portrayed their female subjects.
In 1930 Lê Ph? assisted Tardieu to establish the French Indochina pavilion at the International Colonial Exhibition in Paris. Along with fellow artists, this was Lê Ph?'s first opportunity to exhibit to an international audience. This exhibition drew praise from critics, with one reviewer commenting "Would it be excessive to think that the students often surpass the masters?"(1). It was during this period that Lê Ph? and his classmates defined what would become the masters of colonial-era Vietnamese art.
Lê Ph? 's artistic journey can be divided into three distinctive periods: The Hanoi, Romanet and Findlay eras, the latter two named in honour of gallery owners who passionately advocated his work. This third and final period commenced in 1963 when American gallerist Wally Findlay introduced his works to the American audience. Findlay and Lê Ph? would work together until the artist's death, with the gallery continuing to represent the Estate. This period is the most recognised period for Lê Ph?'s art, marking his shift towards the oil-on-canvas medium. It was during this sought-after period that this painting Les Amaryllis was created.
Encapsulating the Findlay period and the post-impressionist style he was so heavily influenced by, Lê Ph? employs a loose vivid palette of reds, yellows and lush greens. His fusion of Eastern and Western styles is noted here, presenting a romantic close-up of a garden, with each flower blooming across the canvas, exemplifying Lê Ph?'s energetic approach to this new period.
After the International Colonial Exhibition, Lê Ph? chose to remain in France for a brief period, before returning to Vietnam, in 1932. After Victor Tardieu's death, Lê Ph? returned from France to head the Indochina section of the international arts and crafts exhibition (2), solidifying his career in France, where he would spend the remainder of his life.
In a time marked by political turbulence and cultural clashes in both Europe and Asia, Lê Ph?'s art stands as a testament to his ability to bridge the gap between western and Asian influences. His paintings, capturing the serene beauty of Vietnamese life, offer a glimpse into a past era and continue to resonate with art enthusiasts worldwide.

Lucy Foster
Senior Specialist, Fine Art

(1) Dr. Taylor, N., Le Pho (1907-200) A Painter of Indochina, School of the Institute of Chicago (for Findlay Galleries), https://www.findlaygalleries.com/wp-content/uploads/2021/08/Le%CC%82-Pho%CC%82%CC%89-A-Painter-of-Indochina-Nora-Taylor-English.pdf, retrieved 5 September 2023
(2) Ibid.