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拍品專文
A very rare intact album from Tingqua's studio, in its original silk boards. The subjects comprise: Tingqua's Studio; A Chinese Cobbler; Flowers; Flowers and Butterflies; A Chinese Goddess (Guanyin); Flowers and Insects; A Lacquer Shop; A Peddler; Insects; A Procession; Flowers and Insects; Chinese Carvers; Flowers and Insects; A Procession; Harvesters; Birds; A Court Lady; Tangerines and Pears; Insects and Flowers; Insects and Flowers; A Blessing; Lanterns; A Birthday Ceremony; Peacock and Birds; Musical Instruments; Flowers and Insects; A Goddess (Bodhisattva); Flowers and Insects; Birds in a Tree; A Procession; River Scene; Trellis Makers; Butterflies; Flowers in a Vase; Tea Manufacture; Lanterns; Porcelain Production; and Bird Cage. The inscriptions on either side of the studio on the first sheet translate as: 'The shadows of the flowers and clouds extend from the curtain to the floor' and 'At midnight the sound of studies as the moon hangs in the sky’.
The artist and miniaturist known as Tingqua was Guan Lianchang, now thought to be the fourth son of Spoilum and a younger brother of Lamqua. He specialised in works on paper, unlike his father and brother who worked in oils. His studio flourished from the 1820s through to the 1860s. Tingqua's own work is distinguished by its very fine quality, and works are attributed to him, or to his studio artists, on that basis. The album here is, like all Tingqua albums, a product of both the master and his assistants. All of the subjects are repeated elsewhere; for the celebrated view of his studio see, for example, the version with Martyn Gregory in 1986 (Tingqua's China, no.1) now in the Hardy Collection, which has the studio title in Chinese characters: 'This composition has been known traditionally as 'Tingqua's studio', since several versions of it have the name 'Tingqua' inscribed on a blue background at the top of the picture. However at least one other version (otherwise almost identical) has the name 'Lamqua' in the same place [see P. Conner, 'Lamqua Western and Chinese Artist' in Arts of Asia, March-April 1999, illustrated on the cover], so that we should probably regard this lively scene as a generic export artist's studio rather than a particular likeness of a single one. ... From this picture we may infer that a variety of 'stock' export paintings (as distinct from specially commissioned work) could be bought directly from the studio – port and marine scenes, Chinese figures and portraits, contained in gilt or lacquered frames which would have been made locally.' (P. Conner, Paintings from the China Trade: The Sze Yuan Tang Collection of Historic Paintings, Hong Kong, 2013, p.160, no.146). For other versions of the studio in bodycolour, see Christie's Swire, Hong Kong, 9 Oct. 1990, lot 1366, and the variant from the Augustine Heard Collection in the Peabody Essex Museum (without the studio title) (M.V. and D. Brewington, Marine Paintings and Drawings in the Peabody Museum, Salem, 19, pp.56-8, no.246 ('Shop of Tinqua, the Painter Canton' M3870-56)). For another rare bound album by Tingqua, including 85 subjects, see Christie's, Paris, 10 Dec. 2014, lot 70.
The artist and miniaturist known as Tingqua was Guan Lianchang, now thought to be the fourth son of Spoilum and a younger brother of Lamqua. He specialised in works on paper, unlike his father and brother who worked in oils. His studio flourished from the 1820s through to the 1860s. Tingqua's own work is distinguished by its very fine quality, and works are attributed to him, or to his studio artists, on that basis. The album here is, like all Tingqua albums, a product of both the master and his assistants. All of the subjects are repeated elsewhere; for the celebrated view of his studio see, for example, the version with Martyn Gregory in 1986 (Tingqua's China, no.1) now in the Hardy Collection, which has the studio title in Chinese characters: 'This composition has been known traditionally as 'Tingqua's studio', since several versions of it have the name 'Tingqua' inscribed on a blue background at the top of the picture. However at least one other version (otherwise almost identical) has the name 'Lamqua' in the same place [see P. Conner, 'Lamqua Western and Chinese Artist' in Arts of Asia, March-April 1999, illustrated on the cover], so that we should probably regard this lively scene as a generic export artist's studio rather than a particular likeness of a single one. ... From this picture we may infer that a variety of 'stock' export paintings (as distinct from specially commissioned work) could be bought directly from the studio – port and marine scenes, Chinese figures and portraits, contained in gilt or lacquered frames which would have been made locally.' (P. Conner, Paintings from the China Trade: The Sze Yuan Tang Collection of Historic Paintings, Hong Kong, 2013, p.160, no.146). For other versions of the studio in bodycolour, see Christie's Swire, Hong Kong, 9 Oct. 1990, lot 1366, and the variant from the Augustine Heard Collection in the Peabody Essex Museum (without the studio title) (M.V. and D. Brewington, Marine Paintings and Drawings in the Peabody Museum, Salem, 19, pp.56-8, no.246 ('Shop of Tinqua, the Painter Canton' M3870-56)). For another rare bound album by Tingqua, including 85 subjects, see Christie's, Paris, 10 Dec. 2014, lot 70.
