Vietnamese lacquer: “View of the bay” by Lê Quốc Lộc (1943)

Lê Quốc Lộc (1918–1987)

View of the Bay ( Cảnh vịnh ), 1943

Important diptych in polychrome lacquer and gold on panel, representing a lakeside landscape animated with villages and boats under a golden sky.

Former collection of a French family established in Vietnam between the 1920s and 1960s. Presented and appraised by Gauchet Art Asiatique . Price obtained: € 90,000

Vietnamese lacquer from the 20th century is currently experiencing a spectacular resurgence of interest in the Asian art market. Long considered a decorative art form linked to French Indochina, it is now recognized as one of the major currents of Asian artistic modernity. Large lacquer compositions created between the 1930s and 1950s are among the most sought-after Vietnamese works by international collectors.

It is in this context that the Gauchet Art Asiatique firm recently presented an important lacquer diptych entitled View of the Bay ( Cảnh vịnh ), signed by Lê Quốc Lộc and dated 1943. This remarkable work, from an old collection of a French family established in Vietnam between the 1920s and the early 1960s, aroused strong interest among collectors and made it possible to obtain an exceptional result at sale, confirming once again the growth of the market for large historical Vietnamese lacquers.

With its imposing dimensions (nearly 1.60 meters long), the work possesses an almost architectural presence. It perfectly illustrates this generation of Vietnamese artists who transformed traditional lacquer into a truly modern pictorial medium.

The birth of modern Vietnamese lacquerware

From the 1930s onwards, several artists trained around the École des Beaux-Arts de l'Indochine undertook to profoundly renew the lacquer technique. Until then mainly used for furniture, religious objects or decorative panels, it gradually became a medium for independent artistic creation.

Vietnamese lacquer relies on an extremely complex process: layers of natural resin, pigments, sometimes metallic powders, followed by long phases of sanding and polishing that gradually reveal the hidden layers. Each composition demands constant anticipation, as the artist must conceive of their image in depth well before its final appearance.

This slow technique explains the very particular visual density of large Vietnamese lacquers: deep surfaces, absorbing colors, changing reflections and almost mineral atmospheres.

Analysis of the diptych View of the Bay

The diptych presented by Gauchet Art Asiatique develops a particularly masterful panoramic composition. The eye moves naturally from one panel to the other, following the lines of the landscape and the interplay of depth created by the masses of color.

The work relies on a subtle contrast between a vast expanse of reddish-brown water and a warm, golden sky that unifies the whole. In the background, dark reliefs structure the horizon and reinforce the feeling of distance.

In the foreground appear plant elements treated with great graphic elegance: bamboo, sinuous branches, stylized foliage. A few boats and lakeside structures discreetly suggest a human presence without ever breaking the contemplative atmosphere of the scene.

The right-hand panel introduces a spectacular tree in bloom, its red and pink branches seemingly floating in the distance. This layered construction, devoid of true Western perspective, is one of the most fascinating aspects of modern Vietnamese lacquer.

The work also exhibits a significant through crack on the right panel. In large antique lacquers on wood, this type of damage highlights the complexity of conserving these works, which are particularly sensitive to climatic variations and the natural stresses of the support.

The work of expertise and valuation

At Gauchet Art Asiatique, the work surrounding this type of artwork goes beyond simple appraisal. Identifying techniques, studying provenance, providing historical context, and placing it in perspective with the international market now play a crucial role in the appreciation of major 20th-century Vietnamese works.

For several years, the firm has assisted collectors, families, and auction houses in the appraisal of modern Vietnamese paintings, antique lacquerware, and works related to French Indochina. This specialization allows these works to be placed in their true historical and artistic context, far beyond their mere decorative aspect.

The result obtained for this important lacquer by Lê Quốc Lộc perfectly illustrates this dynamic of rediscovery currently at work on the international market for Vietnamese arts.

Lê Quốc Lộc market today

The market for Lê Quốc Lộc's works has been steadily growing for several years, particularly for the large panels and screens made in the 1940s and 1950s.

The results vary greatly depending on the format, origin, state of preservation and quality of composition, but some trends are now clearly emerging:

Small lacquered panels (30 × 40 cm) are sold for around €6,000 to €12,000.

Intermediate formats (50 × 70 cm) €15,000 to €30,000

Large compositions (over 100 cm) €40,000 to €90,000 and more

Monumental screens (major works) €80,000 to over €200,000

Several major auctions have recently confirmed this trend:

a lacquer painting of a fishing village by a lake, dated 1942, reached over €76,000;

an important six-panel screen exceeded €200,000 at a specialist sale dedicated to Vietnamese art;

In 2024, another large lacquer by the artist reached over €230,000, confirming the growing interest of international collectors in masterpieces from this period.

Today, large Vietnamese lacquerware is no longer considered a mere decorative object from Indochina. It now occupies a central place in the history of modern Vietnamese art and in the international market for Asian art.

Through works like View of the Bay , an entire period of Vietnamese creation is gradually regaining its place in major international sales and in major collections devoted to 20th century Asian art.