Herd of Deer in the Jungle" by Pham Hau (1903–1994)

On March 31st, we will have the privilege of offering for sale this rare gilded lacquer triptych by Pham Hau. In partnership with the Maison RC auction house at Drouot, we invite you to discover this sumptuous artwork, along with key biographical details about its creator.

Pham Hau “Herd of Deer in the Jungle”, circa 1940 Set of three panels forming a triptych in polychrome and gilt lacquered wood. Signed and with the artist’s seal at the bottom of the right panel. 80 x 80 cm (each panel), 240 x 80 cm (total).

This triptych reveals, at the heart of a lush jungle rendered in a cameo of red, ochre, and gold lacquer, a herd of deer and does moving through a landscape of great decorative richness. Reading from left to right, the viewer is gradually invited to step into this abundant vegetation, magnified by gold highlights that illuminate the foliage and the sky.

The composition thus unfolds a scene of profound stillness: from behind the trees appears the herd, captured in a suspended moment. Two of the animals seem on alert, attentive to a sudden presence, while others peacefully continue their path, heightening the sense of a fragile balance between movement and stillness.

The serenity of this scene is rendered with remarkable subtlety. Through the finesse of the line, the rich layering characteristic of the lacquer technique, and the depth of the backgrounds, the artist offers a poetic and idealized vision of his native Vietnam, both rural and tropical.

This theme, dear to Phạm Hậu, was explored several times in various formats: screens (see notably the Sotheby's auction, Hong Kong, October 5, 2020), pieces of furniture or precious caskets, as well as several lacquer panels very similar to the present triptych.

Deux tryptiques analogues, de Pham Hau vendus par Sotheby's respectivement le 5 octobre 2008 pour 884.000 HKD et le 30 septembre 2017 pour 1.500.000 HKD.

Regarding the artist, Phạm Hậu was born in 1903 in the village of Đông Ngạc, Vietnam.

He grew up in an environment still deeply influenced by local craft traditions. He spent his early apprenticeship years in the studio of Nam Sơn (Nguyễn Văn Thọ, 1890–1973), whom he met through his father-in-law. This step proved decisive in the artist's career: under the guidance of this pioneer of modern Vietnamese painting—and one of the founding fathers of the École des Beaux-Arts de l’Indochine in Hanoi—he received a rigorous academic training, consistently refined his skills, and progressively asserted a unique style.

He then successfully entered the fifth cohort of the École Supérieure des Beaux-Arts d’Indochine, studying there from 1929 to 1934. During these formative years, he developed a passion for the technique of lacquer—a demanding medium he studied with rare diligence, exploring its structural resources, the play of textures, transparency, and depth.

Upon graduating, he joined a group of avant-garde painters with whom he opened up to new creative horizons, reconciling Vietnamese heritage with modern aesthetic research. Very rapidly, he established his own lacquer workshop in his native village of Đông Ngạc and became a highly sought-after artist among prominent Vietnamese families as well as French colonial circles. Victor Tardieu, director of the École Supérieure des Beaux-Arts d’Indochine, placed the very first commission with him—an early recognition that helped cement his reputation.

Over the years, Phạm Hậu distinguished himself through a deeply innovative approach to lacquer, successfully integrating traditional Vietnamese elements into a resolutely contemporary aesthetic. He developed an exceptional mastery of carved lacquer, creating works of great narrative complexity where decorative motifs, landscapes, and symbolic scenes intertwine with utmost refinement.

In 1935, at the first exhibition organized in Hanoi by the Société Annamite d’Encouragement à l’Art et à l’Industrie (SADEAI), he won the gold medal for his paintings. His name appeared in 1943 in the publication Souverains et notabilités d’Indochine (Sovereigns and Notabilities of Indochine) published by the General Government of Indochina, cementing his place among the most important master lacquerers of his time.

Alongside his creative work, he played an essential role in preserving and passing on the art of lacquer in Vietnam. He taught at the Hanoi School of Fine Arts, training numerous students and passing on a rigorous technical knowledge and a deeply respectful vision of this ancestral medium.

He passed away in 1995, leaving behind a substantial body of work that is preserved today in museums and major public and private collections around the world. His influence continues to fuel the international recognition of Vietnamese lacquer and to inspire contemporary artists.

Please do not hesitate to contact us to receive a prompt, complimentary, and independent valuation from our firm.

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