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全球拍卖首页 > Bonhams > 中国书画及艺术品 > Lot 8
Attributed to Lamqua (act. 1820-1860) Portrait of Sir Jamsetjee Jeejeebhoy, 1st Bt. (1783-1859), circa 1844
美国 北京时间
2020年07月21日 开拍 / 2020年07月19日 截止委托
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Property from the Kelton Collection Attributed to Lamqua (act. 1820-1860) Portrait of Sir Jamsetjee Jeejeebhoy, 1st Bt. (1783-1859), circa 1844Oil on canvas, on a stretcher, framed and glazed. 19 x 26in (48.3 x 66cm) 注脚 （傳）林呱　Jamsetjee Jeejeebhoy男爵肖像　布面油畫　鏡框　約一八四四年作ProvenanceGeoffrey BenisonMartyn Gregory Gallery, London, 1986Label on frame, "John Stone, Lot 51 21/5/97, 19/Sep/95, Property no. 20102791Robert Sawers, LondonPublished Martyn Gregory, Canton and the China Trade, Cat. 43, Summer 1986, no. 101, ills. p. 70Patrick Conner, George Chinnery 1774-1852: Artist of India and the China Coast, Woodbridge: Antique Collectors' Club, 1993, pp.216-217, 219, plate 90Patrick Conner, The Hongs of Canton: Western Merchants in South China 1700-1900, London: English Art Books, 2009, p. 119, fig. 5.5來源Geoffrey Benison珍藏倫敦Martyn Gregory畫廊, 1986標籤, "John Stone, 拍品編號51 21/5/97, 19/Sep/95, Property no. 20102791Robert Sawers, 倫敦出版Martyn Gregory, Canton and the China Trade, 1986年夏第101期, 圖錄編號43, 70頁 Patrick Conner, George Chinnery 1774-1852: Artist of India and the China Coast, Antique Collectors' Club, 1993年, 圖版90，216-217, 219頁Patrick Conner, The Hongs of Canton: Western Merchants in South China 1700-1900, English Art Books, 2009年, 插圖5.5, 119頁The Merchant Prince of Bombay, Sir Jamsetjee Jeejeebhoy (1783-1856)William R. SargentCalled the Merchant-Prince of Bombay, Sir Jamsetjee Jeejeebhoy was the best known of the Parsi merchants trading with China who, alongside other Parsis and Indians, played a major role in the globalization of Asian economies. Born in 1783, he turned to the sea and international trade for a career when he was orphaned in 1799, and until 1806 made five journeys to Canton. On a voyage aboard the East India Company ship Brunswick in 1804 he met William Jardine (1784-1843) who would become a lifelong friend and business colleague. After leaving the sea he established his own business and by 1820 was a ship owner with trading contacts throughout the East. By 1830 he and his eldest son Cursetjee were trading with Magniac & Co., which was superseded in 1832 by Jardine, Matheson & Co., Hong Kong, the company co-founded by William Jardine and James Matheson (1796-1878). Jeejeebhoy's extensive trade with the company "dwarfed all the others" between 1827 and 1843. Jardine Matheson was responsible for over more the $2million of Jeejeebhoy's business a year. In 1822, among the first of his beneficence, he paid the debts of all debtors in the Bombay civil jail. He went on to finance hospitals, colleges, waterworks and causeways, as well as to champion the education of women. Among the institutions that benefited from his support were the Sir J J Hospital, the Sir J J Parsi Benevolent Institution, the Bandra–Mahim Causeway, the Grant Medical College, the Sir J J Poona Waterworks, and the Sir J J School of Art.In May 1842 he was presented the Patent of Knighthood from Queen Victoria, the first Indian to be knighted. In December 1842 he "received a further mark of her Majesty's approbation of his generosity and public spirit in the shape of a gold medal set in diamonds," which bore the image of the Queen with an inscription on the reverse: 'Sir Jamsetjee Jeejeebhoy, Bart., from the British Government, in honour of his munificence and his patriotism.'" Jejeebhoy is depicted in the portrait wearing traditional Parsi garb – a flowing jama (floor length double-breasted coat) and pichoree (waist cloth) of linen and cotton, and wearing nokh jutti (pointed slippers), and a tall pagdi (headgear). The original painting may have been created in celebration of this recognition as the medal is prominently featured in the lithograph and in subsequent copies in oil on canvas. He was justly proud of the medal and is shown wearing it in other portraits, including one later in life that served as a source for multiple statutes and prints. Although he was great honored by the knighthood he then set out to secure a hereditary title and these portraits may have served as support for those endeavors. His efforts succeeded: In 1855 Jejeebhoy was given the Freedom of the City of London, and in 1857 a hereditary baronetcy was conferred. He died in 1859 when a prize medal was created for the Grant Medical College (Mumbai). His portrait is on the observe and his arms on the reverse, with the appropriate motto, "INDUSTRY AND LIBERALITY."Jeejeebhoy had not been in Canton since 1806, but when the great China trade hong merchant Houqua (Wu Bingjian, b. 1769) died in 1843, Jejeebhoy wrote to Houqua's son thanking him for the "...two portraits of your late respected Father." Those portraits were undoubtedly painted by Lamqua and so it might be more than a coincidence that Lamqua was commissionted to paint Jejeebhoy's portrait at the same time.This portrait and two similar examples are attributed to Lamqua (Guan Qiaochang), the best-known nineteenth century Cantonese artist working in the Western manner. A second example was offered by Martyn Gregory Gallery (2005-6) and a third example is in the Zoroastrian Building, Causeway Bay, Hong Kong. These paintings are after a lithograph inscribed "PAINTED IN BOMBAY BY J. SMART," drawn by Richard James Lane (1800-1872), and printed by M & N Hanhart (active 1839-1882). The example now in the Royal Asiatic Society was inscribed by Jeejeebhoy, "My dear Crawford, Yours everything Jamsetjee Jejeebhoy." In 1839 Robert Wigram Crawford (1813-1889) received a letter from his father William, who was in Bombay, looking after the interests of Jeejeebhoy. Lamqua had a studio in Canton, on New China Street in 1820, and later worked in Macau and Hong Kong. He worked in a style that reflected the influence of George Chinnery (1774-1852), the English artist resident in India and later in Macau. Lamqua maintained a studio where assistants helped produce large numbers of paintings, but the finer examples may be assumed to be directly from his hand. He was adept at portraiture of both Chinese and Western merchants and is known also for portraits of patients of Dr. Peter Parker, now at Yale University and the Gordon Museum, Guy's Hospital, London.Lamqua was adept in his own efforts at original portraiture, but also copied Chinnery paintings and used Western prints as sources for paintings. Charles Toogood Downing wrote in 1838 that Lamqua "stood at the head of his profession." Lamqua gained recognition in the West after having his paintings exhibited in London (1835 and 1845), New York (1841), Pennsylvania (1851), and Boston (1851). One of his most remarkable paintings, of a similarly high quality as this portrait, was done from a print after Ingres' Grande Odalisque, which is signed lower right in both English script and Chinese characters. The sensitivity and luminosity of both strongly suggests the same hand. A portrait of Jejeebhoy at the Oriental Club, London, is also recorded as by John Smart. A similar waist-length portrait, apparently by Smart, is in Matheson & Co., Ltd. These portraits, all facing to the sitter's right, are not as sympathetic as the lithograph, or the Lamqua examples. This portrait, perhaps one of the most sympathetically executed, is one of the rarest portraits of an Asian merchant and is a visual record of an extraordinary man rightly deemed "The Merchant Prince of Bombay."

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