Cover Philippe Damas’ collection offers a delicate glimpse into the artistic legacy of Indochina (photo: Christie’s)
Philippe Damas’ collection offers a delicate glimpse into the artistic legacy of Indochina (photo: Christie’s)
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Explore Philippe Damas’ refined collection of Southeast Asian art, featuring three distinguished Vietnamese works that celebrate the heritage and creative dynamism of the country’s modern art scene.
As a collector with an enduring passion for Southeast Asian art, Philippe Damas seeks not merely to possess works, but to curate those that encapsulate the spirit of their time. His collection forms a considered tribute to Indochina’s artistic tradition—where classical values converge with a burgeoning modern vision.
In advance of the Hong Kong auction on 29 March, A Quest for Eternity: The Philippe Damas Collection marks the centenary of the École des Beaux-Arts de l’Indochine. This momentous occasion honours trailblazers including Albert Cézard, Joseph Inguimberty, Victor Tardieu, Mai Trung Thu, Nguyen Gia Tri, Vu Cao Dam and others. More than an auction, it represents a rare chance to acquire a historic treasure and experience the legacy of a devoted connoisseur.
Each painting in the collection stands not only as an artistic triumph, but also as a testament to the evolution of Vietnamese and Southeast Asian art on the international stage. Among them, three seminal pieces—Trois Femmes by Nguyen Gia Tri, Thé à Hué by Mai Trung Thu, and Le Retour du Marché by Joseph Inguimberty—each offer a unique narrative of cultural expression, stylistic nuance and artistic transformation.
Above Nguyen Gia Tri, “Trois Femmes” (Three Women) (1934)
Nguyen Gia Tri, “Trois Femmes” (Three Women) (1934)
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At the heart of the collection is Trois Femmes (Three Women), a poignant work by Nguyen Gia Tri portraying three women symbolising Vietnam’s northern, central and southern regions. Beyond its aesthetic elegance, the painting stands as a powerful expression of unity, where the trio becomes a visual metaphor for national harmony. Once featured in a key exhibition at Belgium’s Royal Mariemont Museum in 2002, this piece continues to reinforce Nguyen Gia Tri’s enduring stature in Vietnamese art.
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Above Mai Trung Thu, “Thé à Hue” (Enjoying Tea in Hue) (1937)
Mai Trung Thu, “Thé à Hue” (Enjoying Tea in Hue) (1937)
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Tea drinking, a refined element of Vietnam’s cultural fabric, is gently depicted at the Philippe Damas exhibition in Mai Trung Thu’s Thé à Hué (Tea Drinking in Hue), painted in 1937. The composition shows men gathered in a garden, sharing tea in a tranquil, intimate setting. Created during Mai Thu’s tenure at the National School in Hue, the painting reflects a quiet connection between humans and nature, between family and the familiarity of home. It was the final piece he completed before departing Vietnam for France.
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A master of light, landscape and sentiment, Joseph Inguimberty left an indelible imprint on Vietnamese art. As a professor at the École des Beaux-Arts de l’Indochine, he mentored a generation of Vietnamese artists, encouraging the fusion of European techniques with local identity. Le Retour du Marché (Going to the Market), a grand composition measuring 204 x 200 cm, was painted in 1933. The work vividly captures the rustic charm of Vietnam—its people, their garments, gestures and surroundings—rendered through a natural interplay of light, shadow and intricate detail.
More than a collection, Philippe Damas’ body of work reflects a journey—an abiding devotion to Vietnam and Southeast Asia, where art is more than beauty; it is memory, heritage and the story of a people.
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