50 - Ⓟ LE QUOC LOC (1918–1987)

Ⓟ LE QUOC LOC (1918–1987) "Junk Ships on the River," 1943 Set of four lacquered wood panels Signed and dated 1943 in the lower left corner and signed in characters in the upper right corner 90 x 198 cm Provenance: Private collection in western France, acquired by the current owners’ grandparents while they were stationed in Indochina. LÊ QUỐC LỘC (1918–1987) "Sailing Boat on the River," 1943 A set of four lacquered wood panels Signed and dated 1943 in the lower left corner, and signed in Chinese characters in the upper right corner 90 x 198 cm Provenance: A private collection in western France, acquired by the grandparents of the current owners while they were stationed in Indochina. This large quadriptych brilliantly illustrates the artistic peak that Lê Quốc Lộc was able to reach in the creation of large-format lacquer works. Created one year after the diptych “View of the Bay,” featured in this same auction, this quadriptych stands out for its originality, as there are no known similar works on the market. Composed from a low-angle perspective, as if the viewer were observing the scene from above, gazing out over the bay, this work captivates with its tranquility. The use of lustrous gray tones and bold ochres, accentuated by the gold of the foliage in the foreground, is one of the artist’s defining hallmarks. As in many of the artist’s compositions from this period, no human figures are visible here; the artist uses the landscape as a subject in its own right. This set of four large-scale lacquer paintings is an outstanding testament to the artistic peak that Lê Quốc Lộc reached while creating large-scale lacquer works. Created one year after the two-panel series “Panorama of the Bay,” which was also featured in our auction, this four-panel series stands out for its uniqueness, as no similar works are currently known to exist on the market. With a low-angle perspective—as if the viewer were observing the scene from above and taking in a sweeping view of the bay—the work impresses with its serene and tranquil atmosphere. The use of deep, shadowed grays and rich earthy browns—accented by the golden hues of the foliage in the foreground—is one of the artist’s signature stylistic hallmarks. As in many of his other compositions from this period, the work is entirely devoid of human figures; the landscape itself has become an independent artistic subject.