ANGLO-CHINESE SCHOOL, CIRCA 1800 A Winter Hunting Party
THE PROPERTY OF A LADY OF TITLE 女爵藏品
ANGLO-CHINESE SCHOOL, CIRCA 1800
A Winter Hunting Party
Oil on canvas, framed. 63.5cm (25in) high x 91.5cm (36in) wide. (excluding frame)
約1800年 外銷雪景狩獵圖 油彩畫布 木框
Provenance: A English private collection
來源：英國私人收藏
The current painting is notable for its portrayal of the snowy landscape. While adhering to Western perspective techniques in its overall composition, the depiction of rocks and trees employs traditional Chinese painting methods. This fusion results in a captivating effect.
During the eighteenth and nineteenth centuries, Western travellers visiting China sought paintings capturing exotic landscapes and customs as cherished souvenirs. Responding to this demand, a group of Chinese artists established painting studios in Guangzhou and Hong Kong, creating artworks specifically intended for export to the West. Given the subtropical climates in the region where these artists were based, direct observation of snowy scenes, as depicted in the present painting, was improbable. These representations in the present painting probably drew upon existing visual materials within and beyond China, incorporating impressions of China from Western travellers, along with the artists' imagination and knowledge. See a reverse glass painting with a very similar composition, The Hunt, 1785-1790, in the National Museum of Ethnology, Leiden, illustrated by Rosalien van der Poel, China and the West: Reconsidering Chinese Reverse Glass Painting, Berlin, 2023, p.232.
Compare with a related painting of Manchu Family in Tented Quarters, Anglo-Chinese School, oil on canvas, circa 1800, which was sold at Bonhams Hong Kong, 9 October 2014, lot 29.
Bid on this lot
THE PROPERTY OF A LADY OF TITLE 女爵藏品
ANGLO-CHINESE SCHOOL, CIRCA 1800
A Winter Hunting Party
Oil on canvas, framed. 63.5cm (25in) high x 91.5cm (36in) wide. (excluding frame)
約1800年 外銷雪景狩獵圖 油彩畫布 木框
Provenance: A English private collection
來源：英國私人收藏
The current painting is notable for its portrayal of the snowy landscape. While adhering to Western perspective techniques in its overall composition, the depiction of rocks and trees employs traditional Chinese painting methods. This fusion results in a captivating effect.
During the eighteenth and nineteenth centuries, Western travellers visiting China sought paintings capturing exotic landscapes and customs as cherished souvenirs. Responding to this demand, a group of Chinese artists established painting studios in Guangzhou and Hong Kong, creating artworks specifically intended for export to the West. Given the subtropical climates in the region where these artists were based, direct observation of snowy scenes, as depicted in the present painting, was improbable. These representations in the present painting probably drew upon existing visual materials within and beyond China, incorporating impressions of China from Western travellers, along with the artists' imagination and knowledge. See a reverse glass painting with a very similar composition, The Hunt, 1785-1790, in the National Museum of Ethnology, Leiden, illustrated by Rosalien van der Poel, China and the West: Reconsidering Chinese Reverse Glass Painting, Berlin, 2023, p.232.
Compare with a related painting of Manchu Family in Tented Quarters, Anglo-Chinese School, oil on canvas, circa 1800, which was sold at Bonhams Hong Kong, 9 October 2014, lot 29.
