Uma pequena pasta (“folder“) tipo envelope de 36 cm x 26 cm x 4 mm, contendo uma colecção de 5 quadros (25,5 cm x 16,5 cm), reproduções de pinturas de 5 artistas que passaram por Macau no século XIX. Oferta do Governo de Macau, na década de 90 (século XX). Foram impressas na “Tipografia Mandarim”.
19th Century Macau Prints FOLDEROs “quadros” são de Thomas Allom, Auguste Borget, (3 quadros) e  W.Purser.
Hoje apresento a pintura de Thomas Allom, a mesma que está reproduzida no exterior da pasta.

19th Century Macau Prints - Praia Grande THOMAS ALLOMMacau ca. 1835
Baía de Praia Grande, vendo ao fundo a Colina da Penha
Desenho de Thomas Allom a partir dum esboço feito pelo tenente Frederick D. White da “Royal Marines”. Gravado por W. H. Capone (1)

Comentários de G. N. Wright a este quadro “”The Pria Grande, Macao“.(1)
The Pria, or Praya Granda, is the most flattering surviving specimen of this emporium of Oriental trade. Approached from the water, this fine ambulatory presents a striking and agreeable appearance. A row of handsome houses, extending along the beach for upwards of seven hundred yards, is built in a crescent form, in obedience to the graceful and regular bend of the bay. In front, a spacious promenade is formed, on an artificial embankment faced with stone, interrupted, occasionally, by jetties for landing goods, and by steps for descending to the water. Here is the residence of the Portuguese governor, and here also is the English factory, plain substantial buildings; besides the Custom-house, distinguished by the display of the Imperial flag in front. At the termination of what is called the High-street, stands the Senate House, a structure whose pretensions to architectural beauty are of the humblest character, but its dimensions considerable. Beyond the Praya Granda, a mixed assemblage of styles presents itself, including English houses, towers of Portuguese churches, Chinese temples, and domestic roofs, generally grotesque. The church of St. Joseph, the most spacious and beautiful of the twelve which the first settlers raised here, dedicated to the Apostles, is collegiate, and richly adorned. The sea-view of the city does not partake of the Chinese character, because the low natives who reside at Macao inhabit the back streets only, and their dwellings being but one story in height, are’ concealed by the Portuguese and English houses that surround them: the Chinese are generally dealers in grain, vegetables, and sea-stores, in addition to their employments of joiners, smiths, tailors, & etc.

THOMAS ALLOM 1804-1872Thomas Allom, 1846

Thomas Allom (1804-1872) arquitecto inglês, pintor de paisagens, ilustrador topográfico e gravador. Membro fundador do “Royal Institute of British Architects”.
Arquitecto de muitos estruturas (igrejas, prédios, etc) em Londres, (2) é conhecido pelos seus trabalhos topográficos (3) publicados em 1938 e ilustrações no “China Illustrated”  (1843-1945).
Embora tenha viajado bastante, Europa, Turquia, Ásia Menor, Anatólia, Síria e Palestina, muitos das suas ilustrações principalmente os de temática oriental são desenhos trabalhados de esboços de outros artistas tais como do tenente Frederick D. White (1847- 1918)  e do capitão Charles Stoddart (1806-1842).(3)
(1) O desenho foi publicado em Londres, 1843 na p. 46 do 1.º volume (total de 4 volumes publicados de1843 a 1847) “China, in a Series of Views, Displaying the Scenery, Architecture, and Social Habits of That Ancient Empire” com os comentários de George Newenham Wright (1790?-1877).
(2) “He designed many buildings in London, including the Church of St Peter’s and parts of the elegant Ladbroke Estate in Notting Hill. He also worked with Sir Charles Barry on numerous projects, most notably the Houses of Parliament”.
(3) “Numerous topographical works, such as Constantinople and the Scenery of the Seven Churches of Asia Minor, published in 1838 and  in “China Illustrated”, published in 1845., The first of Allom’s illustrations of China were published in 1843.”
(4) “Although Allom traveled widely throughout his career, many of his Chinese illustrations were based on the works of earlier artists – Lieutenant Frederick White, R.M., Captain Stoddart, R.N. and R. Varnham, for example – rather than on his firsthand views of China. In fact, there is considerable doubt as to whether Allom ever visited the Middle Kingdom at all. Many sources refer secondhand to his having been there, but we know of no convincing firsthand evidence to prove it. Therefore, it is possible that all of Allom’s illustrations of China were based on, or “informed by,” works of other artists. This does not mean, however, that he simply copied the works of others. Evidence shows that he was very skillful in seeing a drawing, then creating another version of the featured location from a different angle, or showing a different activity occuring in that space. Even though Thomas Allom’s illustrations may not have been based on firsthand views, they do hold a significant place in history. In the 18th and early 19th centuries, the Western world was becoming quite intrigued by Chinese culture and decor, but notions of what China looked like were often vague and incomplete. he first of Allom’s illustrations were published the following year, in 1843. Allom’s illustrations, more than any other body of work up until that time, helped to provide a clearer picture of Imperial China, though certainly not a perfect one.