Details
An Anglo-Chinese painting
in oil on canvas, probably from the studio of Namcheong, depicting the pagoda at Whampoa with figures in junks and small boats in the foreground before tree lined river banks, further boats visible in the distance before buildings and mountains -- 17¾in. x 13in. (45cm x 33cm), wood frame carved with a band of flowers and foliage, (paint cracked, small area of restoration), inscribed to the reverse of the stretcher 'Pagoda at Whampoa, China', J. Michael. B. Wood, 31st Aug, Hong Kong and with the initials, 'J.M.B.W, 31st Aug', original Chinese printed label.
See Colour Plate.
Namcheong was a painter of ships and port scenes, active in the third quarter of the nineteenth century, whose compositional devices and use of light make him readily identifiable. His most oft repeated compositions are pairs of vertical ovals with the Whampoa pagoda, landscape and vessels and the French and Dutch Folly Forts. There are enough ovals extant of identical composition to suggest that he or his studio used the format repeatedly, see 'The Decorative Art of China Trade', Carl Grossman'.
in oil on canvas, probably from the studio of Namcheong, depicting the pagoda at Whampoa with figures in junks and small boats in the foreground before tree lined river banks, further boats visible in the distance before buildings and mountains -- 17¾in. x 13in. (45cm x 33cm), wood frame carved with a band of flowers and foliage, (paint cracked, small area of restoration), inscribed to the reverse of the stretcher 'Pagoda at Whampoa, China', J. Michael. B. Wood, 31st Aug, Hong Kong and with the initials, 'J.M.B.W, 31st Aug', original Chinese printed label.
See Colour Plate.
Namcheong was a painter of ships and port scenes, active in the third quarter of the nineteenth century, whose compositional devices and use of light make him readily identifiable. His most oft repeated compositions are pairs of vertical ovals with the Whampoa pagoda, landscape and vessels and the French and Dutch Folly Forts. There are enough ovals extant of identical composition to suggest that he or his studio used the format repeatedly, see 'The Decorative Art of China Trade', Carl Grossman'.