The work is in good condition overall, as is the canvas, which is clear and sound. There is light wear and handling around the edges of the painting, along with associated minute paint losses on the margins. Upon close observation, there is evidence of faint craquelures on the bottom register (white and green impastos), center section, right register (dark green paint), sun and tree trunks (black paints). On the bottom right quadrant, there are signs of scattered pin-sized media accretions. Examination under ultraviolet light shows minor restoration sprinkled on the bottom right quadrant and along the bottom margin. Unframed, on a Stretcher.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

A native of the French Alps region of Savoy, the self-taught painter, Henri Mege not only befriended many Vietnamese artists during his multi-decade stint in Vietnam but also held several exhibitions in the country from the 1940s to 1960s.

Henri Mege, well regarded among the local art community for his unusual painting knife technique, specializes in travel paintings. He was 💜therefore compelled to portray his scenes on smaller boards 🗹out of necessity. Like a guide book photographer of the past, Mege documented the captivating landscapes that inspired him during his travels.

Dated 1934, the present Lot La Riviere du Parfum (The River of Perfume, Hue) is a classic display of the artist’sꦦ particular fondness for the Annam region of Central Vietnam. The painting demonstrates Mege’s cross-cultural artistic heritage as well as his distincౠtively modern painting technique at the time.