Pair O/C China Trade Harbor Paintings, attr. Namcheong
Attributed to Nam Cheong (Chinese, active 1840-1870), pair of oval Chinese Export harbor scenes with ships and figures, including one depicting the nine story pagoda at Whampoa Reach. Unsigned. Unframed. Canvas: 20 1/2" H x 15 1/2" W. Note: Namcheong, also spelled Nam Cheong, was a painter who likely had a studio in Whampoa. He was frequently commissioned to create ship and port scenes by Western clients. Many of his canvases share the same oval format and compositional interplay of light on water; the 9-tiered pagoda at Whampoa Reach was frequently illustrated in his paintings. (Ref. Carl L. Crossman, "The China Trade," Princeton: The Pyne Press, 1972, p. 67-71).
Private West Tennessee Collection.
Condition Report: Both paintings are in need of conservation and new stretchers. Both exhibit alligatoring and buckling throughout, delamination at edges, yellowing to varnish layer. Painting of Pagoda: 1/2" tear lower left in water, 1 1/2" area of tiny flakes upper left sky area, other scattered tiny minimal areas of flaking. Other painting: two 1/2" lines of loss/flaking lower center; other scattered tiny flakes, 1/2" dent to canvas upper right sky area.
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Attributed to Nam Cheong (Chinese, active 1840-1870), pair of oval Chinese Export harbor scenes with ships and figures, including one depicting the nine story pagoda at Whampoa Reach. Unsigned. Unframed. Canvas: 20 1/2" H x 15 1/2" W. Note: Namcheong, also spelled Nam Cheong, was a painter who likely had a studio in Whampoa. He was frequently commissioned to create ship and port scenes by Western clients. Many of his canvases share the same oval format and compositional interplay of light on water; the 9-tiered pagoda at Whampoa Reach was frequently illustrated in his paintings. (Ref. Carl L. Crossman, "The China Trade," Princeton: The Pyne Press, 1972, p. 67-71).
Private West Tennessee Collection.
Condition Report: Both paintings are in need of conservation and new stretchers. Both exhibit alligatoring and buckling throughout, delamination at edges, yellowing to varnish layer. Painting of Pagoda: 1/2" tear lower left in water, 1 1/2" area of tiny flakes upper left sky area, other scattered tiny minimal areas of flaking. Other painting: two 1/2" lines of loss/flaking lower center; other scattered tiny flakes, 1/2" dent to canvas upper right sky area.
