热度 4|
最广为人知的一幅,是清朝六品武官,广东丝绸商人李致祥(义盛)像,为中国画家关乔昌(林官,Lam Qua)的爷爷关作霖(史贝霖,Spoilum,Guan Zuolin ,1770-1805),known in the West as "Spoilum")于1785-1805年在广州期间所绘。
- Portrait of the scholar and official Cheng Huan, mid-18th century,Paper, ink, paint,China,frame H: 20 3/4 in, frame W: 15 1/8 in (frame H: 52.7 cm, frame W: 38.4 cm),E300112。DESCRIPTION:Portrait of the scholar and official Qiyuan (also called Yanliang or Dehui). He was born on 3rd July in Gengzi year of Kangxi period (1720) and died on 4th June of 48 years of Qianlong (1784).
广东十三行同顺行的行商吴健彰的肖像。吴天显(1791年-1866年7月),广东省香山县前山翠微村人。谱名健彰,号道甫,小名阿爽,洋人称之爽官(Samqua)。吴健彰是清中期的“夷务”人才和外交重臣。曾任上海道江海关监督。该肖像由关乔昌 Lamqua (China, active years 1825-1860)于1850年前后所画。
- Spoilum (China, active years 1770-1805),Portrait of the silk merchant Eshing, 1805,Oil paint, canvas,Guangzhou, Canton, China,H: 67.60 cm, W: 52.00 cm, frame H: 32 in, frame W: 25 1/2 in,Gift of Thomas W. Ward, 1809,M364,SPECIAL COLLECTION:East India Marine Society Collection。DESCRIPTION:Portrait of the Cantonese silk merchant Eshing. Body turned to the right, looking at the viewer. Wearing Chinese blue robe with embroidery and hat. He is set against a dark background.
上面这两幅照片,都被李致祥的曾孙李士凤(Dominic S. F. Lee)先生收录在《晚清华洋录::美国传教士 满大人和李家的故事》(The American Missionaries AND the Mandarins AND the Opium War, Canton, China)一书中,书里面的文字,应该有比较详细的介绍:
- Lamqua (China, active years 1825-1860),Portrait of Samqua, ca. 1850, about 1850,Oil on canvas,Canton, China,H: 25 in, image W: 33 in,Museum purchase, 1931,M3789,DESCRIPTION:Portrait of the Hong merchant Samqua by Lam Qua, ca. 1850. This is one of a group of five portraits of Cantonese merchants which Lamqua painted for Augustine Heard. All five portraits were exhibited in the Boston Athenaeum in 1851. Lamqua's work was also exhibited at the Royal Academy in London.
广东十三行广利行的行商卢文锦的肖像。卢文锦,广东新会石头乡蓬莱里人。广利行主人,从父亲卢观恒继承广利行,成为富商。掌管行务,商名卢隶荣,外国人称为茂官第二(Mouqua II),以别卢观恒的茂官。在十三行的商人中,卢观恒是一个大器晚成的超级富豪。因卢观恒年逾不惑之年才娶妻,他1812年去世时儿子卢文锦还是少不更事的20岁左右的青年人。1813年,卢文锦与伍秉鉴一同被任命为行商总商,从嘉庆后期开始,他家的财富仅次于潘家和伍家。可是卢文锦小农思想严重,将大量财产冻结在地产上,因而投入商业贸易的资金大量减少,广利行生意自此日益式微。该肖像也由关乔昌于1845年前后所画。
- Portrait of Empress Xiaoxian Chun, Qing dynasty, second half of 18th century with later repainting, hanging scroll; ink and color on silk, overall: 108 1/4 x 51 9/16 inches (275 x 131 cm). Gift of Mrs. Elizabeth Sturgis Hinds, 1956. Peabody Essex Museum, E33619.
- Lamqua (Chinese, active years 1825-1860),Mouqua, about 1845,Oil on canvas,China,frame H: 30 in, frame W: 26 in, frame D: 2 1/4 in (frame H: 76.2 cm, frame W: 66.0 cm, frame D: 5.7 cm),Gift of Mr. Harry T. Peters, Jr., 1975,M20450。
- Style of Chinnery (possibly by him). Houqua, ca. 1825. Oil on canvas, 26 × 19 in. (66 × 48.3 cm). Independence Seaport Museum, Philadelphia (88.10). Photograph: Independence Seaport Museum.
Lamqua的仿品 - The portrait at the Peabody Essex Museum, Salem, Massachusetts, attributed to Lamqua, revealed a less polished version of the Independence Seaport’s canvas.
不过说来好笑,林官的弟弟叫庭官,关联昌(Guan Lianchang, born ca. 1809; active 1840–70),字俊卿,洋人称为庭呱(Tin Qua 或 Tingqua),也是一名画家,以水彩画著名,原是英国画家钱纳利的助手,后因与钱纳利竞争生意,两人交恶。他的名画插秧,目前由Peabody Essex Museum珍藏。兄弟两个都颇有天赋,以至于钱纳利画什么,二人都能仿得惟妙惟肖,以假乱真,而且价格更便宜。所以教会徒弟饿死师傅的真实故事,很快就在清末广州十三行上演了。因为无法在广州谋生了,钱纳利就搬到了澳门,并终老在那里,十多年的时间内,没有再返回广州一步。Lam Qua, self-portrait, late 1840s
- Guan Qiaochang (1802–c.1860) - known to Westerners as Lam Qua was the grandson of perhaps the most famous Canton artist, Spoilum, and the son of Lamqua (the same name spelled differently). He took over the family’s studio, producing a prodigious number of paintings tailored to the export market. Museums and foreign collectors eagerly purchased his family’s works. His brother, Tinqua, refined their mass-production oil painting techniques but also specialized in watercolor. These artists defined the image of China in the West before the 1840s.
文献中经常被人混淆的几个人名,目前仍然缺乏考证:
- 乔钱纳利自画像 - George Chinnery. Self-Portrait, ca. 1828. Oil on canvas, 8⅝ × 7¼ in. (21.9 × 18.4 cm). The Metropolitan Museum of Art, Rogers Fund, 1943 (43.132.4). Chinnery painted more than a dozen self-portraits, the first of which he exhibited at the Royal Academy, London, in 1798; this is the most intimate and engaging of them all. An enigmatic figure, Chinnery was eccentric and volatile, with a tendency to hypochondria, a raconteur and wit with a gift for friendship. This likeness was painted in China and must date to the years 1825–28. Its first owner was the United States consul Benjamin Chew Wilcox, a businessman in the opium trade who commissioned a full-length portrait of himself from the artist (The Hong Kong and Shanghai Banking Corporation Ltd.).
Lamqua的仿作 - Lamqua. George Chinnery, ca. 1850. Oil on canvas, 9¾ × 7½ in. (24.7 × 19 cm). Hong Kong Museum of Art Collection (AH 1991-0003). Photograph: Hong Kong Museum of Art。
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