Leading French Auction House Aguttes Presents Important Works by Asian Artists

I'm delighted to present this painting to you on 6 October, which is incredible, incredible in its state of conservation, incredible in its origin. It was bought in 1950 at the Gallerie Romanée. There is still the small label on the back, which says, young girl at the Pivouane. It has not moved from this family since 1950 or 1952, passed down from generation to generation. It has remained almost on the same wall for 70 years. The freshness of the colors is subjugating, the format is major. I had never seen such an important work by the artist before. So I decided today to take you to the Palais de la Porte Dorée because this is where it all starts for Lefaux. The history of Lefaux with France and this love story, in a way. Let's remember in 1920, Victor Tardieu, who graduated from the École des Beaux-Arts de Lyon, who went through the Juliane Academy, who graduated from the École des Beaux-Arts de Paris. In 1920, he received the Indochine Prize. And with this Indochine Prize, he has a scholarship that allows him to go to the current Vietnam. He arrives in Hanoi in 1921. He is subjugated by the country, by the anamite art. And he meets a lot of local artists. And very quickly, he says to himself that it is absolutely necessary to found an École des Beaux-Arts de Hanoi. He meets, in particular, an artist with whom he will get along and with whom he will have a very beautiful friendship. His name is Nguyen Nam Son, who will be one of his students and one of his collaborators, quite quickly. Driven by the enthusiasm of Nguyen Nam Son, Victor Tardieu founded the École des Beaux-Arts de Hanoi in 1925. And little by little, the first promotion is selected. In this first promotion, there are really important names in Vietnamese painting. Nguyen Van Chan, Mai Thu, Le Fau, Vuca O'Dam. Victor Tardieu has a great excellence in recruiting very high-quality teachers, helping to select good students. In 1930, France is preparing a great colonial exhibition. Victor Tardieu is appointed to direct the Indochinese pavilion. And he has to select a collaborator. He selects one of his favorite students, Le Fau. And that's why we are here today, because Le Fau made his first steps here in this palace in Paris. This incredible palace was built by Albert Laprade for the International Colonial Exhibition. It illustrates the strength of the Art Deco movement, with its large volumes, but also frescoes and mural sculptures. These represent the richness of the five continents, in particular that of the French colonies, but also the civilizing role played by France. Between the Porte Dorée and the Bois de Vincennes, pavilions are set up on the 110 hectares and receive 33 million visitors in six months. Le Fau takes advantage of this trip to visit France, Belgium and Italy. He is passionate about the Italian Renaissance, in particular. And he returns to Vietnam, where he becomes a teacher at the École des Beaux-Arts in Hanoi. A few years later, France prepares a universal exhibition, which will be held in 1937. And Le Fau is chosen to be the artistic director of the Indochine pavilion. This exhibition is also very important. It is held around the Eiffel Tower. And that's why we're here today on the Ile-aux-Signes. This is where all the pavilions of the colonies are gathered. A few meters behind us, the replica of the Bartholdy statue is turned around to see the original, which is in New York. A few steps further, in the pavilion of the Republican Spain, Picasso exposes Guernica for the first time. And millions of visitors also walk on his steps, exactly where Le Fau was able to create his pavilion. He is definitely conquered by France and decides to settle in Paris. He will stay in France all his life, and will never return to Vietnam. He will have a very beautiful career as a painter, unfortunately little known by the European public. I started working on these artists when in 2014, by chance, at the turn of an inventory, I came across a wonderful painting by Le Fau. And then I said to myself, we have to do something. We have to do something. We have to help current collectors who are in Vietnam to be able to access these works if they are interested. We have to help the European public, who are passionate about the world of art, to appreciate this painting, which they don't know well. We have to work on highlighting this painting. And little by little, sales, one after the other, followed one another. All these artists, who were comrades of Le Fau in this 1930s promotion, pass through my office, between my hands, for an expertise, then a sale. And today I have just found this work, which is really fascinating, because it is a work that comes at a crucial moment in the artist's life. I took you earlier to the Porte Dorée, then to the Isle of Signes, because this painting was made at the very beginning of the 1940s. The artist is completely imbued with the precepts he received in Asia, at the School of Fine Arts in Hanoi. It is a period in which he explores, releases the bouquets of flowers, the colours. It is a major work for the artist, and it is a real pleasure to be able to present this work for sale. The sale will take place next October 6. I am impatient, and I can't wait to see what the auctions have in store for him.