This mid-19th century oil on canvas, possibly painted by the same Chinese artist that produced the previously described “Macao Tanka women” scene, portrays a daily life view of Canton, of abundant formal and compositional details. On the left foreground a building in semidarkness that defines the painting’s light. In the shade, close to the wall, a parasol, a food selling stall and four men, contrasting with the two figures that seem to stroll and chat on the dock. Both groups share the colour red, in the watermelons and in a package, contributing for reenforcing the scene’s main plan. Further afield the composition is denser, and rich in elements, as emphasized by the boats, the stone bridge, and the moving people. On the opposite bank, numerous anchored boats, and various buildings, amongst which the two treetops that introduce nature. The sky is affirmed by its light blue clarity and by the almost static clouds. This detail, almost a snapshot of the Guangzhou dock, formerly Canton, depicts the canal that penetrated through the city flat suburbs, the only one in this coastal city, and where it was possible to dock. In the shade, three sellers and a possible fisherman seem to converse by a stall, possibly selling watermelon slices, with two baskets of identical fruits underneath. They are shoeless and humbly dressed, one simply wearing short trousers. The two passers-by standing out from the centre of the composition seem to chat unworriedly, their higher status clearly identified by the full costume and footwear, as well as by their forehead tonsure and long plait. This type of hair styling , customary in the Qing dynasty (ca. 1644-1912), symbolized Chinese Han social control and submission to Manchu authority. While three sampan sail in the river, it is possible to discern numerous others anchored on the opposite bank, this dock being destined to trading from small Chinese vessels. From amongst those, stands out a large Mandarin’s boat, who controlled trading, with its boatmen on deck. No foreign vessels are present in the scene as they could not sail into Canton, being forced to anchor at Whampoa, further down the river. From that point upriver the Europeans had to be taken to the city on the sampan. Visible behind the port, the city’s residential neighbourhood, where most buildings were also destined to commercial activities. The riverbanks are joined by a bridge crossed by merchants, boatmen and passers-by. On it, two people enjoy the sights seated on the wooden barriers, a labourer carries a bundle of withe and seated on a stool, a trader waits for a sale. China Trade views are characterized by maritime scenes, landscapes, and everyday depictions as well as by portraits. From the late 18th century onwards, cultural, and artistic exchanges between Chinese and Europeans resulted in a hybrid style of evident mastery and refinement. Most paintings were produced in watercolour and gouache on paper and defined by their colour diversity, as if assuming the role of early postcards. These works reached the peak of their popularity in the mid-19th century, on account of the Aesthetic Orientalism tendencies, being generally purchased by European travellers on their return home. Today they are important testimonies of one, mostly lost, China.