China Trade Watercolor Pictures of Junks & Sampans

Details

Description

Luminous Vessels: Pith Paper Portraits of Chinese Junks and Sampans

Object: Set of Five Watercolor Pictures of Junks & Sampans
… Read more Luminous Vessels: Pith Paper Portraits of Chinese Junks and Sampans

Object: Set of Five Watercolor Pictures of Junks & Sampans
Medium: Watercolor on Pith Paper (misidentified as "rice paper")
Origin: Canton (Guangzhou) or Hong Kong, China
Date: Circa 1850

This remarkable set of five watercolor paintings, executed on the delicate material known as pith paper, offers a precise catalog of the ships that powered the China Trade in the mid-19th century. Each painting meticulously depicts a different local vessel, including junks and sampans, set against a simple sea and sky, serving as a functional record for curious Western merchants and travelers.

Visual Analysis and Technique

The paintings are characterized by vivid color and fine detail, a style specifically developed for the export market.

Pith Paper: The support material is not paper, but thin, delicate sheets cut from the pith of the Aralia papyrifera plant. Pith paper provides an exceptionally smooth, bright white surface that makes the colors of the watercolor and gouache pop with a luminous intensity, often described as "jewel-like." However, its fragility means these works are rarely found in pristine condition.

Subject Matter: The inclusion of various vessel types—from large, sturdy junks to smaller, utilitarian sampans—highlights the complex maritime life of the Pearl River estuary and the port of Canton (Guangzhou), the hub of East-West commerce. The wide green matte and gilt frame were typical Western mounting styles applied to protect and showcase the exotic nature of the art.

Historical Context: Art of the China Trade

These watercolors are prime examples of China Trade art, a category of works produced in China primarily for export to meet the demand of Westerners (merchants, diplomats, and sailors) passing through the Canton system.

Demand for Documentation: As stated in historical records, the earliest trade pictures were on Chinese and European paper, but pith became the dominant medium after 1800-1810. These pictures were not "high art" intended for the imperial court; rather, they were inexpensive, decorative souvenirs that visually documented Chinese culture, flora, fauna, and local life for curious foreign buyers to bring back to Europe and America.

Dimensions (Framed)

Height: 11 1/4 inches
Width: 15 1/2 inches
Depth: 1/2 inch
Sight (Image Area): 6 3/4 inches x 11 inches wide

References

Crossman, Carl L., The China Trade: Export Painting, Furniture, Silver, and Other Objects (The definitive reference on the subject, particularly covering the role of pith paper art).

Peabody Essex Museum Collection, Salem, MA (Holds one of the largest and most important collections of China Trade art for comparative study).

Conner, Patrick., The China Trade: Art and Commerce in the Eighteenth and Nineteenth Centuries (For context on the commercial mechanisms that drove the production of such art).

(Ref: NY9666-iimr) See less