Footnotes

關喬昌（約活躍于1820-1860） 東印度公司職員肖像 布面油畫 有框

Provenance: Martyn Gregory, London
A Hong Kong collection
Martyn Gregory, London

Published, Illustrated and Exhibited: C.Crossman, The Decorative Arts of the China Trade, Woodbridge, 1991, pp.56,66, pl.XIV (published and illustrated)
Martyn Gregory, Artists of the China Coast, Paintings and Drawings of China and the Far East 1790-1890, catalogue 57, Hong Kong and London, 1991, no.113 (and cover)
Martyn Gregory, Trade Routes to the East: Historical pictures by Chinese and Western artists 1780-1950, catalogue 72, Hong Kong and London, 1998, pp.76-77, no.116
P.Conner, 'Lamqua - Western and Chinese Painter', Arts of Asia 29 no.2 March-April 1999, pl.5 (published and illustrated)
Martyn Gregory, Lamqua: Portraits in the European Style, Catalogue 88, London, 2011/2012, pp.30-31, no.16

來源：倫敦古董商Martyn Gregory
一香港收藏
倫敦古董商Martyn Gregory

展覽著錄： C.Crossman，《The Decorative Arts of the China Trade》，（英國）伍德布里奇，1991年，第55頁，66頁，圖版14（著錄）
Martyn Gregory，《Artists of the China Coast, Paintings and Drawings of China and the Far East 1790-1890, catalogue 57》，香港和倫敦，1991年，編號113（及封面）
Martyn Gregory，《Trade Routes to the East: Historical pictures by Chinese and Western artists 1780-1950, catalogue 72》，香港和倫敦，1998年，第76-77頁，編號116
P.Conner，《Lamqua - Western and Chinese Painter》，《Arts of Asia》，29.2,1999年3-4月，圖版5（著錄）
Martyn Gregory，《Lamqua: Portraits in the European Style, Catalogue 88》，倫敦，2011/2012，第30-31頁，編號16

This striking portrait is one of only three known signed works by 'Lamqua' and part of the select group of the artist's portraits which appear closer to the late-18th century technique of Spoilum than to the flamboyant, Chinnery-inspired manner with which Lamqua is usually associated. For other works in this group, both oils and miniatures, see C.Crossman, The Decorative Arts of the China Trade, Woodbridge, 1991, pp.57-67; J.Ting, 'Late Qing China Trade Paintings', Hong Kong, 1982, no.30.

This artist may well be identical with the Lamqua listed in the papers of the Philadelphia merchant Robert Waln in 1819-1820 as 'a painter of ships and likenesses'. It remains to be established whether this same artist changed his style after the arrival of Chinnery in 1825, or whether the Lamqua whose style was closely modelled on Chinnery's was another man of the same name. Crossman (see above) takes the latter view, and proposes a date somewhat earlier than 1820 for the present picture: '[This] superb portrait of a young trader, probably painted around 1810-1815, would seem to confirm conclusively the fact that Lamqua was indeed Spoilum's son...' (p.56).