Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
THE FREER GALLERY OF ART AND THE ARTHUR M. SACKLER GALLERY:
WORLD WAR II ERA PROVENANCE PROJECT, 1933-1945
The Freer Gallery of Art and the Arthur M. Sackler Gallery of the Smithsonian Institution recently
initiated a comprehensive provenance research project. Its goal is to identify and clarify questions of
ownership history for the Galleries’ Asian artworks that were created before 1946 and acquired after
1932; underwent a change of ownership between 1933 and 1945; and were, or might have been, in
continental Europe during that twelve-year period. The project represents a long-term commitment to
research as fully as possible the provenance of all objects in any media within the Freer and the
Sackler collections that have gaps in ownership history or may have been subject to questionable
transfer of ownership or unlawful appropriation during the World War II era.
This project advances the Smithsonian’s ongoing and serious commitment to undertake provenance
research of its collections consistent with the directives issued by the American Association of
Museums (AAM) and the Association of Art Museum Directors (AAMD). To this end, the Freer and
Sackler Galleries are working to identify objects in their collections of Asian art that fall under the
scope of the AAM and AAMD guidelines. This research will be published on the Freer and Sackler’s
website as well as the Smithsonian Institution’s provenance website
(http://provenance.si.edu/jsp/index.aspx), with links to AAM’s Nazi-Era Provenance Internet Portal
(NEPIP; http://www.nepip.org/). In this way, the Smithsonian will expand its dedication to making
information about the history of its collections available and transparent to researchers and the
general public.
The project will pioneer new methods and standards of provenance research for non-Western
(specifically, Asian) objects and facilitate ongoing exchange between the specialists at the Freer and
Sackler and those working with other Asian collections who are grappling with similar issues and
challenges.
Historical Context
During the tumultuous years before and during World War II, the Nazi regime and its collaborators
orchestrated a system of confiscation, coercive transfer, looting, and destruction of cultural objects in
Europe on an unprecedented scale. Millions of art objects and other cultural items were unlawfully
and often forcibly removed from their rightful owners. While many of these confiscated items were
returned to their owners through extensive postwar restitutions, some continue to appear on the
legitimate art market and make their way into private and public collections.
Beginning in 1998, AAM and AAMD issued guidelines for museums concerning objects that may
have been illegally confiscated during the World War II era. In an agreement reached with the
Presidential Advisory Commission on Holocaust Assets in 2000, AAM and AAMD further
recommended that museums make all currently available information accessible to online
researchers to aid the discovery and identification of any objects that were unlawfully appropriated
during that time. Under these recommendations, museums should identify works in their collections
that were created before 1946 and acquired after 1932; underwent change of ownership between
1933 and 1945; and were, or might reasonably be thought to have been, in continental Europe
between those years.
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Freer Gallery of Art and Arthur M. Sackler Gallery
The most recent version of AAM’s “Guidelines Concerning the Unlawful Appropriation of Objects
during the Nazi Era” is located on its website:
http://www.aam-us.org/museumresources/ethics/nazi_guidelines.cfm . AAMD’s guidelines “Report of
the AAMD Task Force on the Spoliation of Art during the Nazi/World War II Era (1933-1945)” is
published on its website: http://www.aamd.org/papers/guideln.php.
AAM’s Nazi-Era Provenance Internet Portal (http://www.nepip.org/) was created to provide a publicly
accessible database of museum objects with gaps in their provenance between 1933 and 1945.
Provenance Research
The study of provenance--the history of ownership of a work of art--provides insights into the history
of taste and collecting, illuminating the social, economic, and historic trends in which an artwork was
created or collected. Researching the provenance of collections is a fundamental aspect of curatorial
work.
Despite intensive scholarly provenance research, which is often a lengthy and difficult process, the
full succession of ownership cannot always be entirely documented. This is due to a multitude of
reasons. Over time, some records and documents were lost or destroyed. Sometimes, no records of
transfer were created or retained. Often private collectors bought and sold objects anonymously
through third parties, such as dealers or auction houses that are no longer in business.
World War II era provenance research is specialized work that seeks to determine whether any
objects that have entered the museums’ collections after 1932 could have been unlawfully seized by
the Nazis and not subsequently restored to the rightful owners or their heirs. If full and unbroken
documented provenance is not available for this time period, however, it is possible that the complete
ownership history cannot be reconstructed; such a result is commonplace. Gaps in provenance of
objects posted on this website indicate the current state of research but in no way signify uncertain
provenance or unlawful appropriation during the World War II era.
Provenance research is a continuous and ongoing process, and object information will be updated on
a regular basis to reflect our research. This website ultimately will include all Freer and Sackler
objects, not just those with gaps in ownership. We welcome queries on the provenance of works in
our collection; if you have any information or questions, please write to:
Elizabeth F. Duley, Head, Collections Management
The Freer Gallery of Art and the Arthur M. Sackler Gallery
Attn: World War II Era Provenance Project
1050 Independence Ave., SW
MRC 707, PO Box 37012
Washington, DC 20013-7012
[email protected]
Provenance in the World War II Era, 1933-1945, Smithsonian Institution:
http://provenance.si.edu/jsp/index.aspx
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How to Read Provenance Entries
·
Provenance for artworks in the Freer and Sackler collections is listed in chronological order,
beginning with the earliest known owner.
·
Relationships between owners and methods of transactions are indicated when known.
·
Footnotes are used to document or clarify information.
·
Dates reflect the beginning and ending dates of ownership and are modified by prepositions
when necessary, following the examples below:
From 1945 to 1970
The work was in this collection from 1945 to 1970.
From 1945
The work entered this collection in 1945, but we do not know when it left.
From at least 1945
We know the work was in this collection from 1945, but it may have entered earlier.
To 1945
We do not know when the work entered this collection, but it left in 1945.
To at least 1945 (can be combined with a beginning date)
We know the work was still in this collection in 1945, but it may have left at a later date.
1945
The work was only in the collection for one year.
About 1877
The work was in the collection around this time, and no more specific information is known.
1940s / early 1940s / mid-1940s / late 1940s
The work is known to have been in the collection, but only a decade or part of a decade is
known.
18th century / early 18th century / mid-18th century / late 18th century
The work is known to have been in a collection, but only a century or part of a century is
known.
[blank date]
A collection name with no date given indicates that we do not know precisely when the
work was in this collection. We know the work was in this collection between the owners
listed above and below it, but other unknown owners may have been in the chain of
ownership.
How to Use This Document
This PDF document may be printed out or viewed using the appropriate version of Adobe Acrobat
Reader. It can be searched using the Find command (found under the Edit menu) or by clicking on
the binoculars icon on the toolbar. After one search, the Find button will change into a Find Again
button, allowing you to look for multiple occurrences of a search term. Text can be selected and
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Freer Gallery of Art and Arthur M. Sackler Gallery
Box with floral scrolls
Tang dynasty, 618-907
China
Bronze with gilding
H x W x D: 24.5 x 9.5 x 5.1 cm (9 5/8 x 3 3/4 x 2 in)
Purchase
Freer Gallery of Art F1934.21a-b
Provenance:
From at least 1931 to 1934
C. T. Loo & Co., New York from at least November 23, 1931 [1]
From 1934
Freer Gallery of Art, purchased from C. T. Loo, on June 11, 1934 [2]
Notes:
[1] See "List of objects belonging to C. T. Loo, New York … on approval at the Freer Gallery of
Art," dated November 23, 1931, copy in object file. An annotation on the list states that the box
was returned to C. T. Loo on December 28, 1931. On December 23, 1933, it was offered again
for sale by Loo and was brought to the Freer Gallery for examination. See "List of objects owned
by C. T. Loo and [left by him] at the Gallery for examination on December 23, 1933," copy in
object file.
[2] See C. T. Loo's invoice, dated June 11, 1934, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 3/17/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Box with cover
Qing dynasty, 18th century
China, Jiangxi province, Jingdezhen
Guan style ware
Porcelain with Guan-style glaze and iron wash
H x W: 2.8 x 9.3 cm (1 1/8 x 3 11/16 in)
Purchase
Freer Gallery of Art F1935.4a-b
Provenance:
From at least 1934 to 1935
C. T. Loo & Co., New York from at least December 1, 1934 [1]
From 1935
Freer Gallery of Art, purchased from C. T. Loo on February 2, 1935 [2]
Notes:
[1] See "List of objects owned by C. T. Loo, New York and [left by him] at the Gallery for
examination on December 1, 1934," copy in object file.
[2] See C. T. Loo's invoice dated February 2, 1935, copy in object file. The object was purchased
from Loo as "Chinese pottery box. Sung dynasty."
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 6/23/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bowl with incised decoration and false Zhengde (1506-1521) mark
Qing dynasty, 18th century
China, Jiangxi province, Jingdezhen
Porcelain with lead-silicate glaze
H x W: 5.6 x 11.7 cm (2 3/16 x 4 5/8 in)
Purchase
Freer Gallery of Art F1935.5
Provenance:
From at least 1934 to 1935
C. T. Loo & Co., New York from at least December 1, 1934 [1]
From 1935
Freer Gallery of Art, purchased from C. T. Loo on February 2, 1935 [2]
Notes:
[1] See "List of objects owned by C. T. Loo, New York and [left by him] at the Gallery for
examination on December 1, 1934," copy in object file.
[2] See C. T. Loo's invoice dated February 2, 1935, copy in object file. The object was purchased
from Loo as "Chinese pottery bowl. Ming dynasty."
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/20/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Octagonal mirror with animals, flowerets, and floral scrolls
Early or mid-Tang dynasty, late 7th–first half of the 8th century
China
Cast bronze and applied gold plaque with repoussé, chased, and
ring-punched decoration
Diam x D: 5.6 x 0.8 cm (2 3/16 x 5/16 in)
Purchase
Freer Gallery of Art F1935.6a-b
Provenance:
From at least 1935
C. T. Loo & Co., New York from at least January 5, 1935 [1]
From 1935
Freer Gallery of Art, purchased from C. T. Loo on February 2, 1935 [2]
Notes:
[1] See Approval Memo, with a handwritten note: "Brought in by C. T. Loo's nephew," dated
January 5, 1935, copy in object file.
[2] See C. T. Loo's invoice dated February 2, 1935, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/20/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Straight chisel (gui)
Artist: Qijia culture (ca. 2250 - ca.1700 B.C.E.)
Calligrapher: Box cover inscribed by Yuan Lizhun (1875-1936)
Late Neolithic period, ca. 2500-2000 B.C.E.
Northwest China
Jade (nephrite)
H x W x D: 17.9 x 4.2 x 1.4 cm (7 1/16 x 1 5/8 x 9/16 in)
Purchase
Freer Gallery of Art F1935.7
Provenance:
Huang Jun (1888-1944), Beijing [1]
From at least 1934 to 1935
C. T. Loo & Co., New York from at least December 1, 1934 [2]
From 1935
Freer Gallery of Art, purchased from C. T. Loo on February 2, 1935 [3]
Notes:
[1] Huang Jun, Guyu tulu chuji (Illustrated Catalogue of Ancient Jades, First Collection) vol. 1
(Beijing: Zunguzhai, 1939), pp. 6a-b (ill.). The inscribed box cover published on p. 6b states that
the jade had been acquired recently by Baichuan (a sobriquet for Huang Jun); the text was
written by Yuan Lizhun (1875-1936).
[2] See "List of objects owned by C. T. Loo, New York and [left by him] at the Gallery for
examination on December 1, 1934," copy in object file.
[3] See C. T. Loo's invoice dated February 2, 1935, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
10/27/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Square lidded ritual wine warmer (fangjia) with taotie and dragons
Late Shang dynasty, Late Anyang period, ca. 1200-1050 B.C.E.
China, Henan province, Anyang
Bronze
H x W: 40.6 x 25.1 cm (16 x 9 7/8 in)
Purchase
Freer Gallery of Art F1935.12a-b
Provenance:
From at least 1935
C. T. Loo & Co., New York from at least January 5, 1935 [1]
From 1935
Freer Gallery of Art, purchased from C. T. Loo on March 13, 1935 [2]
Notes:
[1] See Approval Memo with annotation: "Brought in by C. T. Loo's nephew," dated January 5,
1935, in object file. The object is described as discovered at Zhangde Fu in Henan province.
[2] See C. T. Loo's invoice dated March 13, 1935, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/20/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Mirror
Western Han dynasty, 2nd century B.C.E.
China
Bronze
Diam x D: 18.6 x 1 cm (7 5/16 x 3/8 in)
Purchase
Freer Gallery of Art F1935.13
Provenance:
From at least 1934 to 1935
C. T. Loo, Paris from at least 1934 [1]
From 1935
Freer Gallery of Art, purchased from C. T. Loo & Co., New York on March 23, 1935 [2]
Notes:
[1] Olov Jansen, "Le style du Houai et ses affinités; notes à propos de quelques objects de la
collection David-Weill," Revue des Arts Asiatiques: Annales du Musée Guimet vol. 8, no. 3
(1934), pp. 146, 180, pl. 57, listed as "Collection C. T. Loo, Paris."
[2] See C. T. Loo's invoice dated March 23, 1935, copy in object file. The invoice was issued by
C. T. Loo's New York gallery.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 8/8/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Mirror with dragons
Eastern Zhou dynasty, Warring States period, 3rd century B.C.E.
China
Bronze
Diam x D: 23.5 x 1.2 cm (9 1/4 x 1/2 in)
Purchase
Freer Gallery of Art F1935.14a-b
Provenance:
From at least 1934 to 1935
C. T. Loo & Co., New York from at least December 1, 1934 [1]
From 1935
Freer Gallery of Art, purchased from C. T. Loo on March 23, 1935 [2]
Notes:
[1] See "List of objects owned by C. T. Loo, New York and [left by him] at the Gallery for
examination on December 1, 1934," copy in object file.
[2] See C. T. Loo's invoice dated March 23, 1935, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/20/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Mirror with dragons
Eastern Zhou dynasty, 5th-4th century B.C.E.
China
Bronze with gold and silver inlay
Diam x D: 19.7 x 1.5 cm (7 3/4 x 9/16 in)
Purchase
Freer Gallery of Art F1936.3
Provenance:
From at least 1933 to 1936
C. T. Loo, Paris from at least January 1933 [1]
From 1936
Freer Gallery of Art, purchased from C. T. Loo & Co., Paris and New York on March 3, 1936 [2]
Notes:
[1] Umehara Sueji, "Hosokawa koshaku-ke zo kin-gin-saku shuryo monkyo" (An Inlaid Bronze
Mirror in Marquis Hosokawa's Collection), Bijutsu kenkyu no. 13 (January 1933), p. 5, pl. 3, listed
as owned by C. T. Loo, Paris.
[2] See C. T. Loo's invoice dated March 3, 1936, copy in object file. The mirror was included on a
"List of objects owned by C. T. Loo, New York and [sent to] the Gallery for examination,
December 1934." The invoice was issued by C.T. Loo's Paris gallery.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/20/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Mirror with Daoist deities
Eastern Han dynasty, 202 C.E.
China
Bronze
Diam x D: 13.5 x 0.9 cm (5 5/16 x 3/8 in)
Purchase
Freer Gallery of Art F1936.4
Provenance:
From at least 1935 to 1936
C. T. Loo & Co., Paris and New York from at least May 16, 1935 [1]
From 1936
Freer Gallery of Art, purchased from C. T. Loo on March 3, 1936 [2]
Notes:
[1] See "List of objects owned by C. T. Loo, New York and [sent to] the Gallery for examination,"
with annotation that the object was received from Paris on May 16, 1935, copy in object file.
[2] See C. T. Loo's invoice dated March 3, 1936, copy in object file. See also C. T. Loo's
stockcard no. 85116, Frank Caro Archive, Institute of Fine Arts, New York University, copy in
object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/20/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Cup with foliate rim
Southern Song or Yuan dynasty, 13th century
China, Zhejiang province, Hangzhou
Guan ware
Stoneware with Guan glaze
H x W: 3.9 x 8.4 cm (1 9/16 x 3 5/16 in)
Purchase
Freer Gallery of Art F1936.13
Provenance:
From at least 1936
C. T. Loo & Co., New York from at least April 27, 1936 [1]
From 1936
Freer Gallery of Art, purchased from C. T. Loo on June 1, 1936 [2]
Notes:
[1] See "List of objects owned by C. T. Loo, New York and [left by him] at the Gallery for
examination… on April 27, 1936," copy in object file.
[2] See C.T. Loo's invoice, dated April 30, 1936 and approved on June 1, 1936, copy in object
file. See also C.T. Loo's stockcard no. S 16 where the object figures as "Peony shaped cup,
Kuan Yao," Frank Caro Archive, Institute of Fine Arts, New York University, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/20/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Mirror with figures and chariots
Late Eastern Han dynasty, 2nd-3rd century
China, Zhejiang province, Shaoxing
Bronze
Diam x D: 21.1 x 1.7 cm (8 5/16 x 11/16 in)
Purchase
Freer Gallery of Art F1937.14
Provenance:
From at least 1936 to 1937
C. T. Loo & Co., New York from at least December 15, 1936 [1]
From 1937
Freer Gallery of Art, purchased from C. T. Loo on May 3, 1937 [2]
Notes:
[1] See C. T. Loo's Approval Statement, dated December 15, 1936, copy in object file.
[2] See C. T. Loo's invoice, dated May 3, 1937, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/20/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Inscribed mirror with animals and figures
Eastern Han dynasty or Three Kingdoms period, 2nd-3rd century
China
Bronze
Diam x D: 13.5 x 1.5 cm (5 5/16 x 9/16 in)
Purchase
Freer Gallery of Art F1937.15
Provenance:
From at least 1937
C. T. Loo & Co., New York from at least February 12, 1937 [1]
From 1937
Freer Gallery of Art, purchased from C. T. Loo on May 3, 1937 [2]
Notes:
[1] See C. T. Loo's letter to John E. Lodge, dated February 12, 1937, where the bronze is
mentioned as being sent to the Freer Gallery, copy in object file.
[2] See C. T. Loo's invoice, dated May 3, 1937, copy in object file. See also C. T. Loo's stockcard
no. 36/283 where the object is listed as "Black bronze mirror with raised decoration of animals
and seal like inscriptions. Han," Frank Caro Archive, Institute of Fine Arts, New York University,
copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/20/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
17 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Vase
Qing dynasty, 18th century
China, Jiangxi province, Probably Jingdezhen
Guan style ware
Porcelain with Guan-style glaze
H x W: 10.2 x 6.1 cm (4 x 2 3/8 in)
Purchase
Freer Gallery of Art F1937.16a-c
Provenance:
From at least 1937
C. T. Loo & Co., New York from at least February 1, 1937 [1]
From 1937
Freer Gallery of Art, purchased from C. T. Loo on May 3, 1937 [2]
Notes:
[1] C. T. Loo's Approval Memo, dated February 1, 1937, copy in object file. According to the
dealer's account, the vase belonged to the sister of Puyi (1906-1967), the last emperor of China
(1908-12), and was brought to the United States in the 1930s through Hongkong, see John
Alexander Pope's note, dated 1949, in object file. Similar provenance was attested for
F1937.17a-b and later was contradicted by Frank Caro in a statement provided to John A. Pope,
see provenance record for F1937.17a-b.
[2] See C. T. Loo's invoice, dated May 3, 1937, copy in object file. The vase is described in the
invoice as "Kuan Yao, small square vase with two small tube handles, very thin crackles on the
glaze" and dated to Sung dynasty. See also C. T. Loo's stockcard no. F 260: "Kuan Yao vase,
small handles," Frank Caro Archive, Institute of Fine Arts, New York University, copy in object
file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/20/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
18 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bowl stand
Northern Song dynasty or modern, 11th-early 12th century or 20th century
China
Ru ware or Ru-style ware
Stoneware with celadon glaze
H x W: 6.7 x 16.6 cm (2 5/8 x 6 9/16 in)
Purchase
Freer Gallery of Art F1937.17a-b
Provenance:
From at least 1937
C. T. Loo & Co., New York from at least February 1, 1937 [1]
From 1937
Freer Gallery of Art, purchased from C. T. Loo on May 3, 1937 [2]
Notes:
[1] C. T. Loo's Approval Memo, dated February 1, 1937, copy in object file. According to the
dealer's account, the object belonged to the sister of Puyi (1906-1967), the last emperor of China
(1908-1912), and was brought to the United States in the 1930s through Hongkong, see John
Alexander Pope's note, dated to 1949, in object file. Frank Caro, Loo's business associate, later
contradicted this statement and referred to John A. Pope that the object belonged to the daughter
of Zhang Zuolin (Chang Tso-lin) (1873-1928) and in 1933 was sold by her to T. T. Lee, an agent
of Loo, see John A. Pope's note, dated to 1961, in object file.
[2] See C. T. Loo's invoice, dated May 3, 1937, copy in object file. The object is described in the
invoice as "One stem cup Ju Yao with flower shaped edge" and dated to Sung dynasty. See also
C. T. Loo's stockcard no. 36/298: "Ju Yao cup, floral shaped edge resting on a saucer," Frank
Caro Archive, Institute of Fine Arts, New York University, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/20/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
19 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Mallet-shaped vase
Southern Song or Yuan dynasty, late 13th-early 14th century
China, Zhejiang province, Longquan, Probably Dayao kiln
Longquan ware
Stoneware with celadon glaze
H x W: 25.9 x 11.3 cm (10 3/16 x 4 7/16 in)
Purchase
Freer Gallery of Art F1937.18
Provenance:
From at least 1937
C. T. Loo & Co., New York from at least February 1, 1937 [1]
From 1937
Freer Gallery of Art, purchased from C. T. Loo on May 3, 1937 [2]
Notes:
[1] C. T. Loo's Approval Memo, dated February 1, 1937, copy in object file.
[2] See C. T. Loo's invoice, dated May 3, 1937, copy in object file. See also C. T. Loo's stockcard
no. 9317: "One large Lung-Chuan vase with fish handles coated all over with a very fine green
glaze. Sung. Wooden stand," Frank Caro Archive, Institute of Fine Arts, New York University,
copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/20/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
20 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lidded ritual wine ewer (guang) in the form of a tiger, owl, and and
water bird
Late Shang dynasty, Early Anyang period, ca. 1300-1200 B.C.E.
China, Henan province, Anyang
Bronze
H x W x D: 23.5 x 31 x 11.1 cm (9 1/4 x 12 3/16 x 4 3/8 in)
Purchase
Freer Gallery of Art F1938.5a-b
Provenance:
From at least 1937 to 1938
C. T. Loo & Co., Paris and New York from at least August 30, 1937 [1]
From 1938
Freer Gallery of Art, purchased from C. T. Loo, New York on February 4, 1938 [2]
Notes:
[1] See "List of objects owned by C. T. Loo & Co., New York [and sent to] the Gallery for
examination," copy in object file. According to an annotation on the list, the vessel was received
from Paris on August 30, 1937.
[2] See C. T. Loo's invoice, dated January 17, 1938, with an annotation that it was passed for
payment on February 4, 1938. The invoice was issued by C. T. Loo's New York gallery.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/20/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
21 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Ritual wine cup (zhi) with cover
Late Shang dynasty, Middle or late Anyang period, ca. 12th-11th century B.C.E.
China
Bronze
H x W: 19 x 8.9 cm (7 1/2 x 3 1/2 in)
Purchase
Freer Gallery of Art F1938.6a-b
Provenance:
From at least 1937 to 1938
C. T. Loo & Co., New York from at least November 1937 [1]
From 1938
Freer Gallery of Art, purchased from C. T. Loo on February 4, 1938 [2]
Notes:
[1] See C. T. Loo's stockcard no. L 36/34: "Bronze vase with cover, light green patina, Cho[u], 6th
century," with an annotation that Loo was in possession of the vessel in November 1937, Frank
Caro Archive, Institute of Fine Arts, New York University, copy in object file.
[2] See C. T. Loo's invoice dated January 17, 1938, with an annotation that it was passed for
payment on February 4, 1938, copy in object file. According to C. T. Loo's stockcard cited above,
the vessel was sold on February 9, 1938.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/20/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
22 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Food container with lid (dui 敦)
敦
Eastern Zhou dynasty, Warring States period, 4th century B.C.E.
China
Bronze with silver inlay
H x W: 15 x 22.2 cm (5 7/8 x 8 3/4 in)
Purchase
Freer Gallery of Art F1938.7a-b
Provenance:
From at least 1937 to 1938
C. T. Loo & Co., New York from at least December 3, 1937 [1]
From 1938
Freer Gallery of Art, purchased from C. T. Loo on February 4, 1938 [2]
Notes:
[1] See "List of objects owned by C. T. Loo, New York [and left at] the Gallery for examination,"
with an annotation that the bronze was left by Mr. Loo on December 3, 1937, copy in object file.
[2] See C. T. Loo's invoice, dated January 17, 1938 with an annotation that it was passed for
payment on February 4, 1938, copy in object file. The object was acquired as dated to 3rd-4th
century B.C.E.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 8/31/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
23 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a female dancer
Eastern Zhou dynasty, Warring States period, 475-221 B.C.E.
China, Probably Jincun, Henan province
Jade (nephrite)
H x W x D: 8 x 3.5 x 0.5 cm (3 3/16 x 1 3/8 x 3/16 in)
Purchase
Freer Gallery of Art F1938.16
Provenance:
From at least 1938
C. T. Loo & Co., New York from at least May 7, 1938 [1]
From 1938
Freer Gallery of Art, purchased from C. T. Loo on June 21, 1938 [2]
Notes:
[1] See "List of objects owned by C. T. Loo, New York [and] at the Gallery for examination," with
an annotation that the object was delivered by Mr. Shaw and received on May 7, 1938, copy in
object file.
[2] See C. T. Loo's invoice, dated June 21, 1938, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/20/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
24 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Ritual grain server (gui) with square base and masks, dragons, and
birds
Early Western Zhou dynasty, ca. late 11th-early 10th century B.C.E.
China
Bronze
H x W x D: 28.1 x 34 x 24.4 cm (11 1/16 x 13 3/8 x 9 5/8 in)
Purchase
Freer Gallery of Art F1938.20
Provenance:
From at least 1935
Dr. Otto Burchard & Co., Berlin, from at least 1935 [1]
1935
Sale, Berlin, Paul Graupe, Die Bestände der Firma Dr. Otto Burchard & Co., Berlin, in Liquidation:
Chinesische Kunst: I. Teil, March 22, 1935, lot 275, pl. 26 [2]
From 1935 to probably 1937
Hans Georg Oeder (died 1937), Priemern, Altmark, Germany, purchased on his behalf by Arthur
Abt at Graupe's sale, March 22, 1935 [3]
From 1937
C. T. Loo & Co., Paris and New York from at least November 1937 [4]
From 1938
Freer Gallery of Art, purchased from C. T. Loo & Co., New York on December 29, 1938 [5]
Notes:
[1] See Paul Graupe, Berlin, Die Bestände der Firma Dr. Otto Burchard & Co., Berlin in
Liquidation: Chinesische Kunst: I. Teil, sale cat. (Berlin: Paul Graupe, March 22-23, 1935), p. 39,
lot 275, pl. 26. Dr. Otto Burchard & Co., a gallery devoted to Chinese art, was founded by Otto
Burchard (1892-1965) in Berlin in 1927 as a part of the Margraf Concern, an art trade firm based
in Berlin. In 1929, the Margraf Concern was acquired by Jakob and Rosa Oppenheimer. See
Patrizia Jirka-Schmitz, "Otto Burchard (1892-1965), Von Finanz-Dada zum Grandseigneur des
Pekinger Kunsthandels," Mitteilungen Deutsche Gesellschaft für Ostasiatische Kunst 12, 2 (July
1995), p. 28, note 24.
[2] The sale was one of a series of three auctions during January through April 1935, in which the
Margraf Concern, property of Jakob and Rosa Oppenheimer, was liquidated. See also Klaus
Schrenk, "Das Gemälde 'Bildnis der Marchesa Veronica Spinola Doria' von Peter Paul Rubens
und die Chronologie einer Rückforderung," in Beiträge öffentlicher Einrichtungen des
Bundesrepublik Deutschland zum Umgang mit Kulturgütern aus ehemaligen jüdischen Besitz, ed.
Ulf Häder (Magdeburg: Veröffentlichungen der Koordinierungsstelle für Kulturgutverluste, 2001),
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/25/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
25 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
pp. 150-59 and Esther Tisa Francini, Anja Heuss, and Georg Kreis, Flucht - Raubgut: Der
Transfer von Kulturgütern in und über die Schweiz 1933-1945 und die Frage der Restitution
(Zurich: Chronos, 2001), p. 42. For more information on the fate of Jakob and Rosa
Oppenheimer see
http://www.lostart.de/nn_41804/Webs/DE/Provenienz/JuedischeSammler/Eintrag,lv2=60580,lv3=
63116.html.
[3] According to Patrizia Jirka-Schmitz, "Otto Burchard (1892-1965), Von Finanz-Dada zum
Grandseigneur des Pekinger Kunsthandels," Mitteilungen Deutsche Gesellschaft für
Ostasiatische Kunst 12, 2 (July 1995), pp. 32-33. See also Bernhard Karlgren, "Yin and Chou in
Chinese Bronzes," in Yin and Chou Researches (Stockholm: The Museum of Far Eastern
Antiquities, 1935), p. 84, E40, pl. XII, where the vessel is listed as in "Oeder Collection."
[4] See Loo's stockcard no. LAP 5901: "Bronze incense-burner on a square stand, 6th cent.
B.C.," Frank Caro Archive, Institute of Fine Arts, New York University, copy in object file.
According to annotations on the stockcard, the vessel arrived in New York on the S.S. Normandie
with Loo in November 1937 and was brought to the Freer Gallery for approval in December 1937.
It appears on C. T. Loo's Approval List, dated December 2, 1937, listed under no. LAP 5901 as
"Large bronze Yu with square base," copy in object file.
[5] See C. T. Loo's invoice, issued by the New York gallery, dated December 29, 1938, copy in
object file. The object is listed in the invoice as "Bronze sacral vessel of the type tui. Chinese,
Chou." Loo stated at the time of the purchase that he had acquired the vessel in China, see
John E. Lodge's curatorial remark, 1939, in object file. Lodge noted that Loo "said that he had
got it [the vessel] in China and this could be true. In 1935, however, Karlgren published … an
inscribed kuei belonging to Rittergutsbesitzer H. G. Oeder (of Priemern, Seehausen, Altmark,
Germany) which, as nearly as I can tell from the reproduction, is almost certainly this one,--- my
only serious doubt, indeed, arising from the negative evidence of Karlgren's failure to read the
second character in the inscription." In July 2000, the Freer Gallery of Art received a claim
asserting that the heirs of Rosa and Jakob Oppenheimer were the rightful owners of the vessel.
With the cooperation and assistance of the family, the Smithsonian researched the history of the
vessel and discovered that it had been sold in the auction in Berlin in 1935. In November 2002,
the Oppenheimer heirs and the Smithsonian Institution reached an agreement regarding the
ownership of the vessel by which it remains in the museum collection.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/25/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
26 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Basin (jian) with dragon interlace
Middle Eastern Zhou dynasty, ca. 500-450 B.C.E.
China, Henan province, Huixian
Bronze
H x W: 22.8 x 51.7 cm (9 x 20 3/8 in)
Purchase
Freer Gallery of Art F1939.5
Provenance:
1938
Excavated in Huixian, Henan province, China in 1938 [1]
From 1938 to 1939
C. T. Loo & Co., New York from at least December 30, 1938 [2]
From 1939
Freer Gallery of Art, purchased from C. T. Loo on February 3, 1939 [3]
Notes:
[1] According to Rong Geng, Shang Zhou yiqi tongkao (Beijing: Harvard-Yenching Institute,
1941), vol. 1, p. 470 and vol. 2, pl. 874.
[2] See "List of the objects owned by C. T. Loo, New York [and left by him] at the Gallery for
examination on December 30, 1938," copy in object file.
[3] See C. T. Loo's invoice, dated February 3, 1939, copy in object file. The object is dated in the
invoice to late Chou dynasty, 5th century B.C.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
27 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Arc pendant with bird motif
Shang dynasty, Anyang period, ca. 12th-11th century B.C.E.
China
Jade
H x W x D: 9.1 x 4 x 0.3 cm (3 9/16 x 1 9/16 x 1/8 in)
Purchase
Freer Gallery of Art F1939.6
Provenance:
Reportedly excavated in Anyang, Henan province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] According to information provided by Zhang Naiji to John E. Lodge at the time of acquisition,
see J. E. Lodge's note, 1939, in object file. Zhang Naiji stated that he had obtained the jades,
selected by the Freer Gallery from a group of about 350 pieces offered for sale
(F1939.6-F1939.26 and F1939.28-F1939.33), at the places of their excavation. Lodge
commented in his 1939 note: "I see no good reason to doubt [Zhang's] statement. I have,
therefore, specified Shou Chou, or An-yang, or Lo-yang (Chin Ts'un) as the source of a piece in
accordance with Mr. Chang's [Zhang's] designations given in my presence and recorded by me."
[2] See note 1. See also "List of objects contemplated for purchase by Freer Gallery of Art,"
approved on February 1, 1939, Freer Gallery Purchase List file, copy in object file. According to
an annotation on the list, the purchase was made from C. T. Loo & Co., New York acting as an
agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a well known
collector of ancient Chinese art objects and Chinese coins. While the earliest documentation of
Zhang's ownership of the jade dates to February 1939, it is known that Zhang left China in 1938
and did not return there until 1946 [information kindly provided by Daisy Yiyou Wang, email
correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
28 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Circular pendant with coiled dragon
Shang dynasty, ca. 12th-11th century B.C.E.
China
Jade
Diam x D: 4.3 x 0.6 cm (1 11/16 x 1/4 in)
Purchase
Freer Gallery of Art F1939.7
Provenance:
Reportedly excavated in Anyang, Henan province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] According to information provided by Zhang Naiji to John E. Lodge at the time of acquisition,
see J. E. Lodge's note, 1939, in F1939.6 object file. Zhang Naiji stated that he had obtained the
jades, F1939.6-F1939.26 and F1939.28-F1939.33, selected by the Freer Gallery from a group of
about 350 pieces offered for sale, at the places of their excavation. Lodge commented in his
1939 note: "I see no good reason to doubt [Zhang's] statement. I have, therefore, specified Shou
Chou, or An-yang, or Lo-yang (Chin Ts'un) as the source of a piece in accordance with Mr.
Chang's [Zhang's] designations given in my presence and recorded by me."
[2] See note 1. See also "List of objects contemplated for purchase by Freer Gallery of Art,"
approved on February 1, 1939, Freer Gallery of Art Purchase List file, copy in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
29 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a faceted ring
Eastern Zhou dynasty, Warring States period, 475-221 B.C.E.
China, probably Jincun, Henan province, Reputedly Shouzhou, Anhui
province
Jade (nephrite?)
Diam x D: 8.3 x 0.4 cm (3 1/4 x 3/16 in)
Purchase
Freer Gallery of Art F1939.8
Provenance:
Probably excavated in Jincun, Henan province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] The pendant traditionally was said to have been excavated in Shouzhou, Anhui province
based on information provided by Zhang Naiji to John E. Lodge at the time of acquisition, see J.
E. Lodge's note, 1939, in F1939.6 object file.
[2] See object information sheet and "List of objects contemplated for purchase by Freer Gallery
of Art," approved on February 1, 1939, Freer Gallery of Art Purchase List file, copies in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
30 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a braided ring
Eastern Zhou dynasty, Warring States period, 475-221 B.C.E.
China, Probably Jincun, Henan province, Reputedly Shouzhou, Anhui
province
Jade (nephrite)
Diam x D: 7 x 0.4 cm (2 3/4 x 3/16 in)
Diam (hole): 5.2 cm (2 1/16 in)
Purchase
Freer Gallery of Art F1939.9
Provenance:
Probably excavated in Jincun, Henan province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] The pendant traditionally was said to have been excavated in Shouzhou, Anhui province
based on information provided by Zhang Naiji to John E. Lodge at the time of acquisition, see J.
E. Lodge's note, 1939, in F1939.6 object file.
[2] See object information sheet and "List of objects contemplated for purchase by Freer Gallery
of Art," approved on February 1, 1939, Freer Gallery of Art Purchase List file, copies in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
31 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a braided ring
Eastern Zhou dynasty, Warring States period, 475-221 B.C.E.
China, probably Jincun, Henan province, Reputedly Shouzhou, Anhui
province
Jade (nephrite)
Diam x D: 7 x 0.7 cm (2 3/4 x 1/4 in)
Diam (hole): 5.5 cm (2 3/16 in)
Purchase
Freer Gallery of Art F1939.10
Provenance:
Probably excavated in Jincun, Henan province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] The pendant traditionally was said to have been excavated in Shouzhou, Anhui province
based on information provided by Zhang Naiji to John E. Lodge at the time of acquisition, see J.
E. Lodge's note, 1939, in F1939.6 object file.
[2] See object information sheet and "List of objects contemplated for purchase by Freer Gallery
of Art," approved on February 1, 1939, Freer Gallery of Art Purchase List file, copies in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation for Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
32 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a braided ring
Eastern Zhou dynasty, Warring States period, 475-221 B.C.E.
China, probably Jincun, Henan province, Reputedly Shouzhou, Anhui
province
Jade (nephrite?)
Diam x D: 6.2 x 0.7 cm (2 7/16 x 1/4 in)
Purchase
Freer Gallery of Art F1939.11
Provenance:
Probably excavated in Jincun, Henan province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] The pendant traditionally was said to have been excavated in Shouzhou, Anhui province
based on information provided by Zhang Naiji to John E. Lodge at the time of acquisition, see J.
E. Lodge's note, 1939, in F1939.6 object file.
[2] See object information sheet and "List of objects contemplated for purchase by Freer Gallery
of Art," approved on February 1, 1939, Freer Gallery of Art Purchase List file, copies in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
33 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a braided ring
Eastern Zhou dynasty, Warring States period, 475-221 B.C.E.
China, probably Jincun, Henan province, Reputedly Shouzhou, Anhui
province
Jade (nephrite?)
Diam x D: 3.5 x 0.4 cm (1 3/8 x 1/8 in)
Purchase
Freer Gallery of Art F1939.12
Provenance:
Probably excavated in Jincun, Henan province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] The pendant traditionally was said to have been excavated in Shouzhou, Anhui province
based on information provided by Zhang Naiji to John E. Lodge at the time of acquisition, see J.
E. Lodge's note, 1939, in F1939.6 object file.
[2] See object information sheet and "List of objects contemplated for purchase by Freer Gallery
of Art," approved on February 1, 1939, Freer Gallery of Art Purchase List file, copies in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
34 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Two-layered twisted rope and incised pattern ring
Eastern Zhou dynasty, Warring States period, 5th-4th century B.C.E.
China
Jade (nephrite)
Diam x D: 3.9 x 0.5 cm (1 1/2 x 3/16 in)
Purchase
Freer Gallery of Art F1939.13
Provenance:
Reportedly excavated in Shouzhou, Anhui province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] According to information provided by Zhang Naiji to John E. Lodge at the time of acquisition,
see J. E. Lodge's note, 1939, in F1939.6 object file. Zhang Naiji stated that he had obtained the
jades, selected by the Freer Gallery from a group of about 350 pieces offered for sale
(F1939.6-F1939.26 and F1939.28-F1939.33), at the places of their excavation. Lodge
commented in his 1939 note: "I see no good reason to doubt [Zhang's] statement. I have,
therefore, specified Shou Chou, or An-yang, or Lo-yang (Chin Ts'un) as the source of a piece in
accordance with Mr. Chang's [Zhang's] designations given in my presence and recorded by me."
[2] See object information sheet and "List of objects contemplated for purchase by Freer Gallery
of Art," approved on February 1, 1939, Freer Gallery of Art Purchase List file, copies in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Yiyou (Daisy)
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
35 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a disk (bi) with raised knobs
Eastern Zhou dynasty, Warring States period, 475-221 B.C.E.
China, Probably Jincun, Henan province, Reputedly Shouzhou, Anhui
province
Jade (nephrite?)
Diam x D: 10.4 x 0.4 cm (4 1/8 x 3/16 in)
Purchase
Freer Gallery of Art F1939.14
Provenance:
Probably excavated in Jincun, Henan province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] The pendant traditionally was said to have been excavated in Shouzhou, Anhui province
based on information provided by Zhang Naiji to John E. Lodge at the time of acquisition, see J.
E. Lodge's note, 1939, in F1939.6 object file.
[2] See object information sheet and "List of objects contemplated for purchase by Freer Gallery
of Art," approved on February 1, 1939, Freer Gallery of Art Purchase List file, copies in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
36 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Sword pommel
Western Han dynasty, B.C.E. 206-9 C.E.
China
Jade
Diam x D: 5.3 x 0.8 cm (2 1/16 x 5/16 in)
Purchase
Freer Gallery of Art F1939.15
Provenance:
Reportedly excavated in Shouzhou, Anhui province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least April 17, 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] According to information provided by Zhang Naiji to John E. Lodge at the time of acquisition,
see J. E. Lodge's note, 1939, in object file. Zhang Naiji stated that he had obtained the jades,
selected by the Freer Gallery from a group of about 350 pieces offered for sale
(F1939.6-F1939.26 and F1939.28-F1939.33), at the places of their excavation. Lodge
commented in his 1939 note: "I see no good reason to doubt [Zhang's] statement. I have,
therefore, specified Shou Chou, or An-yang, or Lo-yang (Chin Ts'un) as the source of a piece in
accordance with Mr. Chang's [Zhang's] designations given in my presence and recorded by me."
[2] See note 1. See also "List of objects contemplated for purchase by Freer Gallery of Art,"
approved on February 1, 1939, Freer Gallery of Art Purchase List file, copy in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation for Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," approved on February
1, 1939, cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/21/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
37 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Scabbard chape ornament
Eastern Zhou dynasty, Warring States period, 5th-4th century B.C.E.
China
Jade (nephrite)
H: 6.8 cm (2 11/16 in)
Purchase
Freer Gallery of Art F1939.16
Provenance:
Reportedly excavated in Shouzhou, Anhui province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] According to information provided by Zhang Naiji to John E. Lodge at the time of acquisition,
see J. E. Lodge's note, 1939, in F1939.6 object file. Zhang Naiji stated that he had obtained the
jades, selected by the Freer Gallery from a group of about 350 pieces offered for sale
(F1939.6-F1939.26 and F1939.28-F1939.33), at the places of their excavation. Lodge
commented in his 1939 note: "I see no good reason to doubt [Zhang's] statement. I have,
therefore, specified Shou Chou, or An-yang, or Lo-yang (Chin Ts'un) as the source of a piece in
accordance with Mr. Chang's [Zhang's] designations given in my presence and recorded by me."
[2] See note 1. See also "List of objects contemplated for purchase by Freer Gallery of Art,"
approved on February 1, 1939, Freer Gallery of Art Purchase List file, copy in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
38 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a feline-dragon
Eastern Zhou dynasty, Warring States period, 475-221 B.C.E.
China, probably Jincun, Henan province, Reputedly Shouzhou, Anhui
province
Jade (nephrite?)
H x W x D: 7.8 x 3.2 x 0.4 cm (3 1/16 x 1 1/4 x 3/16 in)
Purchase
Freer Gallery of Art F1939.17
Provenance:
Probably excavated in Jincun, Henan province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] The pendant traditionally was said to have been excavated in Shouzhou, Anhui province
based on information provided by Zhang Naiji to John E. Lodge at the time of acquisition, see J.
E. Lodge's note, 1939, in F1939.6 object file.
[2] See object information sheet and "List of objects contemplated for purchase by Freer Gallery
of Art," approved on February 1, 1939, Freer Gallery of Art Purchase List file, copies in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
39 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a feline-dragon
Eastern Zhou dynasty, Warring States period, 475-221 B.C.E.
China, probably Jincun, Henan province, Reputedly Shouzhou, Anhui
Province
Jade (nephrite?)
H x W x D: 6.8 x 2.6 x 0.5 cm (2 11/16 x 1 x 3/16 in)
Purchase
Freer Gallery of Art F1939.18
Provenance:
Probably excavated in Jincun, Henan province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] The pendant traditionally was said to have been excavated in Shouzhou, Anhui province
based on information provided by Zhang Naiji to John E. Lodge at the time of acquisition, see J.
E. Lodge's note, 1939, in F1939.6 object file.
[2] See object information sheet and "List of objects contemplated for purchase by Freer Gallery
of Art," approved on February 1, 1939, Freer Gallery of Art Purchase List file, copies in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
40 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Ge-shaped pendant
Shang dynasty or Western Zhou dynasty, Anyang period, ca. 12th-11th century B.C.E.
China
Jade (nephrite)
H x W x D: 6.9 x 2.4 x 0.4 cm (2 3/4 x 15/16 x 1/8 in)
Purchase
Freer Gallery of Art F1939.19
Provenance:
Reportedly excavated in Anyang, Henan province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] According to information provided by Zhang Naiji to John E. Lodge at the time of acquisition,
see J. E. Lodge's note, 1939, in object file. Zhang Naiji stated that he had obtained the jades,
selected by the Freer Gallery from a group of about 350 pieces offered for sale
(F1939.6-F1939.26 and F1939.28-F1939.33), at the places of their excavation. Lodge
commented in his 1939 note: "I see no good reason to doubt [Zhang's] statement. I have,
therefore, specified Shou Chou, or An-yang, or Lo-yang (Chin Ts'un) as the source of a piece in
accordance with Mr. Chang's [Zhang's] designations given in my presence and recorded by me."
[2] See note 1. See also "List of objects contemplated for purchase by Freer Gallery of Art,"
approved on February 1, 1939, Freer Gallery of Art Purchase List file, copy in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/13/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
41 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Curved knife pendant
Shang dynasty, Anyang period, ca. 1600-ca. 1050 B.C.E.
China
Jade (nephrite)
H x W x D: 10.9 x 3.4 x 0.4 cm (4 5/16 x 1 5/16 x 1/8 in)
Purchase
Freer Gallery of Art F1939.20
Provenance:
Reportedly excavated in Anyang, Henan province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] According to information provided by Zhang Naiji to John E. Lodge at the time of acquisition,
see J. E. Lodge's note, 1939, in object file. Zhang Naiji stated that he had obtained the jades,
selected by the Freer Gallery from a group of about 350 pieces offered for sale
(F1939.6-F1939.26 and F1939.28-F1939.33), at the places of their excavation. Lodge
commented in his 1939 note: "I see no good reason to doubt [Zhang's] statement. I have,
therefore, specified Shou Chou, or An-yang, or Lo-yang (Chin Ts'un) as the source of a piece in
accordance with Mr. Chang's [Zhang's] designations given in my presence and recorded by me."
[2] See note 1. See also "List of objects contemplated for purchase by Freer Gallery of Art,"
approved on February 1, 1939, Freer Gallery of Art Purchase List file, copy in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
42 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Ge-shaped pendant
Western Zhou dynasty, ca. 1050-771 B.C.E.
China
Jade (nephrite)
H x W x D: 17.1 x 2.5 x 0.4 cm (6 3/4 x 1 x 3/16 in)
Purchase
Freer Gallery of Art F1939.21
Provenance:
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [1]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [2]
Notes:
[1] See object information sheet and "List of objects contemplated for purchase by Freer Gallery
of Art," approved on February 1, 1939, Freer Gallery of Art Purchase List file, copies in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for Zhang Naiji and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation for Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file]. The pendant traditionally was said
to have been excavated at Jincun in Luoyang, Henan province based on information provided by
Zhang Naiji to John E. Lodge at the time of acquisition, see J. E. Lodge's note, 1939, in F1939.6
object file.
[2] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
43 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Rectangular appliqué
Eastern Zhou dynasty, Warring States period, 475-221 B.C.E.
China, Probably Jincun, Henan province, Reputedly Shouzhou, Anhui
province
Jade (nephrite?)
H x W x D: 5.5 x 2 x 0.4 cm (2 3/16 x 13/16 x 1/8 in)
Purchase
Freer Gallery of Art F1939.22
Provenance:
Probably excavated at Jincun, Henan province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] The pendant traditionally was said to have been excavated at Shouzhou, Anhui province
based on information provided by Zhang Naiji to John E. Lodge at the time of acquisition, see J.
E. Lodge's note, 1939, in F1939.6 object file.
[2] See object information sheet and "List of objects contemplated for purchase by Freer Gallery
of Art," approved on February 1, 1939, Freer Gallery of Art Purchase List file, copies in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
44 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Archer's thumbring (ban zhi)
Eastern Zhou dynasty, Warring States period, ca. 5th-4th century B.C.E.
China
Jade (nephrite)
H: 4.5 cm (1 3/4 in)
Purchase
Freer Gallery of Art F1939.23
Provenance:
Reportedly excavated in Shouzhou, Anhui province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] According to information provided by Zhang Naiji to John E. Lodge at the time of acquisition,
see J. E. Lodge's note, 1939, in F1939.6 object file. Zhang Naiji stated that he had obtained the
jades, selected by the Freer Gallery from a group of about 350 pieces offered for sale
(F1939.6-F1939.26 and F1939.28-F1939.33), at the places of their excavation. Lodge
commented in his 1939 note: "I see no good reason to doubt [Zhang's] statement. I have,
therefore, specified Shou Chou, or An-yang, or Lo-yang (Chin Ts'un) as the source of a piece in
accordance with Mr. Chang's [Zhang's] designations given in my presence and recorded by me."
[2] See note 1. See also "List of objects contemplated for purchase by Freer Gallery of Art,"
approved on February 1, 1939, Freer Gallery of Art Purchase List file, copy in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
45 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Archer's thumbring (ban zhi)
Eastern Zhou dynasty, Warring States period, ca. 5th-4th century B.C.E.
China
Jade (nephrite)
H: 4.7 cm (1 7/8 in)
Purchase
Freer Gallery of Art F1939.24
Provenance:
Reportedly excavated in Shouzhou, Anhui province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] According to information provided by Zhang Naiji to John E. Lodge at the time of acquisition,
see J. E. Lodge's note, 1939, in object file. Zhang Naiji stated that he had obtained the jades,
selected by the Freer Gallery from a group of about 350 pieces offered for sale
(F1939.6-F1939.26 and F1939.28-F1939.33), at the places of their excavation. Lodge
commented in his 1939 note: "I see no good reason to doubt [Zhang's] statement. I have,
therefore, specified Shou Chou, or An-yang, or Lo-yang (Chin Ts'un) as the source of a piece in
accordance with Mr. Chang's [Zhang's] designations given in my presence and recorded by me."
[2] See note 1. See also "List of objects contemplated for purchase by Freer Gallery of Art,"
approved on February 1, 1939, Freer Gallery of Art Purchase List file, copy in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
46 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Archer's thumbring (ban zhi)
Eastern Zhou dynasty, Warring States period, ca. 5th-4th century B.C.E.
China
Jade (nephrite)
H: 4.5 cm (1 3/4 in)
Purchase
Freer Gallery of Art F1939.25
Provenance:
Reportedly excavated in Shouzhou, Anhui province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] According to information provided by Zhang Naiji to John E. Lodge at the time of acquisition,
see J. E. Lodge's note, 1939, in object file. Zhang Naiji stated that he had obtained the jades,
selected by the Freer Gallery from a group of about 350 pieces offered for sale
(F1939.6-F1939.26 and F1939.28-F1939.33), at the places of their excavation. Lodge
commented in his 1939 note: "I see no good reason to doubt [Zhang's] statement. I have,
therefore, specified Shou Chou, or An-yang, or Lo-yang (Chin Ts'un) as the source of a piece in
accordance with Mr. Chang's [Zhang's] designations given in my presence and recorded by me."
[2] See note 1. See also "List of objects contemplated for purchase by Freer Gallery of Art,"
approved on February 1, 1939, Freer Gallery of Art Purchase List file, copy in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
47 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Archer's thumbring (ban zhi)
Eastern Zhou dynasty, Warring States period, ca. 4th-3rd century B.C.E.
China
Jade (nephrite)
H: 5.4 cm (2 1/8 in)
Purchase
Freer Gallery of Art F1939.26
Provenance:
Reportedly excavated in Shouzhou, Anhui province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] According to information provided by Zhang Naiji to John E. Lodge at the time of acquisition,
see J. E. Lodge's note, 1939, in F1939.6 object file. Zhang Naiji stated that he had obtained the
jades, F1939.6-F1939.26 and F1939.28-F1939.33, selected by the Freer Gallery from a group of
about 350 pieces offered for sale, at the places of their excavation. Lodge commented in his
1939 note: "I see no good reason to doubt [Zhang's] statement. I have, therefore, specified Shou
Chou, or An-yang, or Lo-yang (Chin Ts'un) as the source of a piece in accordance with Mr.
Chang's [Zhang's] designations given in my presence and recorded by me."
[2] See note 1. See also "List of objects contemplated for purchase by Freer Gallery of Art,"
approved on February 1, 1939, Freer Gallery of Art Purchase List file, copy in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
48 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Eccentric ring with intertwined animals
Eastern Zhou dynasty, 5th-4th century B.C.E.
China
Jade (nephrite?)
Diam x D: 2.7 x 0.3 cm (1 1/16 x 1/8 in)
Purchase
Freer Gallery of Art F1939.27
Provenance:
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [1]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [2]
Notes:
[1] See "List of objects contemplated for purchase by Freer Gallery of Art," approved on February
1, 1939, Freer Gallery of Art Purchase List file, copy in object file. According to an annotation on
the list, the purchase was made from C. T. Loo & Co., New York acting as agent for Zhang Naiji
and the payment was made on April 17, 1939. John Lodge reported that Zhang Naiji did not
know the provenance of the piece, see J. Lodge's note, 1939, in object file. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
49 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Sword fitting
Western Han dynasty, 206-9 B.C.E.
China
Jade (nephrite)
H: 6 cm (2 3/8 in)
Purchase
Freer Gallery of Art F1939.28
Provenance:
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [1]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [2]
Notes:
[1] See "List of objects contemplated for purchase by Freer Gallery of Art," approved on February
1, 1939, Freer Gallery of Art Purchase List file, copy in object file. According to an annotation on
the list, the purchase was made from C. T. Loo & Co., New York acting as agent for Zhang Naiji
and the payment was made on April 17, 1939. Zhang Naiji was a well known collector of ancient
Chinese art objects and Chinese coins. While the earliest documentation of Zhang's ownership of
the jade dates to February 1939, it is known that Zhang left China in 1938 and did not return
there until 1946 [information kindly provided by Daisy Yiyou Wang, email correspondence of May
20, 2009, in object file]. At the time of acquisition the object was attributed to Late Zhou dynasty
and was said to have been excavated in Shouzhou, Anhui province, see J. E. Lodge's note,
1939, in F1939.6 object file.
[2] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
50 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant with two dragon heads
Eastern Zhou dynasty, Warring States period, 475-221 B.C.E.
China, probably Jincun, Henan province, Reputedly Shouzhou, Anhui
province
Jade (nephrite)
H x W x D: 5 x 14.2 x 45 cm (1 15/16 x 5 9/16 x 17 11/16 in)
Purchase
Freer Gallery of Art F1939.29
Provenance:
Probably excavated in Jincun, Henan province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] The pendant traditionally was said to have been excavated in Shouzhou, Anhui province
based on the information provided by Zhang Naiji to John E. Lodge at the time of acquisition, see
J. E. Lodge's note, 1939, in F1939.6 object file. However, the ornament is also stylistically
related to objects said to have come from the tombs at Jincun, see Thomas Lawton, Chinese Art
of the Warring States Period: Change and Continuity, 480-222 B.C., exh. cat. (Washington, D.
C.: Freer Gallery of Art, 1982), p. 141, no. 86.
[2] See object information sheet and "List of objects contemplated for purchase by Freer Gallery
of Art," approved on February 1, 1939, Freer Gallery of Art Purchase List file, copies in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
51 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of two facing dragons
Eastern Zhou dynasty, 475-221 B.C.E.
China, probably Jincun, Henan province, Reputedly Shouzhou, Anhui
province
Jade (nephrite?)
H x W x D: 5.3 x 9.1 x 0.5 cm (2 1/16 x 3 9/16 x 3/16 in)
Purchase
Freer Gallery of Art F1939.30
Provenance:
Probably excavated in Jincun, Henan province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] The pendant traditionally was said to have been excavated in Shouzhou, Anhui province
based on the information provided by Zhang Naiji to John E. Lodge at the time of acquisition, see
J. E. Lodge's note, 1939, in F1939.6 object file.
[2] See object information sheet and "List of objects contemplated for purchase by Freer Gallery
of Art," approved on February 1, 1939, Freer Gallery of Art Purchase List file, copies in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
52 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Ancestor tablet
Late Shang-Early Western Zhou dynasty, 12th-11th century B.C.E.
China
Jade
H x W x D: 17.9 x 1.6 x 1.1 cm (7 1/16 x 5/8 x 7/16 in)
Purchase
Freer Gallery of Art F1939.31
Provenance:
Reportedly excavated in Anyang, Henan province [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] According to information provided by Zhang Naiji to John E. Lodge at the time of acquisition,
see J. E. Lodge's note, 1939, in object file. Zhang Naiji stated that he had obtained the jades,
selected by the Freer Gallery from a group of about 350 pieces offered for sale
(F1939.6-F1939.26 and F1939.28-F1939.33), at the places of their excavation. Lodge
commented in his 1939 note: "I see no good reason to doubt [Zhang's] statement. I have,
therefore, specified Shou Chou, or An-yang, or Lo-yang (Chin Ts'un) as the source of a piece in
accordance with Mr. Chang's [Zhang's] designations given in my presence and recorded by me."
[2] See note 1. See also "List of objects contemplated for purchase by Freer Gallery of Art,"
approved on February 1, 1939, Freer Gallery of Art Purchase List file, copy in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
53 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Perforated disc of nearly opaque cream-white nephrite with dark flecks
Han dynasty, 206-220 B.C.E.
China
Jade (nephrite)
Diam: 11 cm (4 5/16 in)
Purchase
Freer Gallery of Art F1939.32
Provenance:
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [1]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] See object information sheet and "List of objects contemplated for purchase by Freer Gallery
of Art," approved on February 1, 1939, Freer Gallery of Art Purchase List file, copy in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file]. The object was said to have been
excavated in Shouzhou, Anhui province based on the information provided by Zhang Naiji to John
E. Lodge at the time of acquisition, see J. E. Lodge's note, 1939, in F1939.6 object file. However,
the original attribution to Late Zhou dynasty has been changed to Han dynasty and the Shouzhou
provenance has been ruled out.
[2] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
54 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of an open ring with two dragon heads
Eastern Zhou dynasty, Warring States period, 475-221 B.C.E.
China, probably Jincun, Henan province, Reputedly Shouzhou, Anhui
province
Jade
Diam x D: 7.1 x 0.5 cm (2 13/16 x 3/16 in)
Purchase
Freer Gallery of Art F1939.33
Provenance:
Probably excavated in Jincun, Henan province, China [1]
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [2]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [3]
Notes:
[1] The pendant traditionally was regarded to have been excavated in Shouzhou, Anhui province
based on the information provided by Zhang Naiji to John E. Lodge at the time of acquisition, see
J. E. Lodge's note, 1939, in F1939.6 object file. However, the comparable jade objects said to
have been found in Jincun suggest the Jincun provenance for the pendant, see Thomas Lawton,
Chinese Art of the Warring States Period: Change and Continuity, 480-222 B.C., exh. cat.
(Washington, D. C.: Freer Gallery of Art, 1982), p. 139, no. 83.
[2] See object information sheet and "List of objects contemplated for purchase by Freer Gallery
of Art," approved on February 1, 1939, Freer Gallery of Art Purchase List file, copies in object file.
According to an annotation on the list, the purchase was made from C. T. Loo & Co., New York
acting as agent for the owner and the payment was made on April 17, 1939. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
55 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Ornament (one edge and one surface chipped) of opaque purple, gray,
brown and cream-white nephrite
Han dynasty, B.C.E. 206-220 C.E.
China
Jade (nephrite?)
H x W x D: 3.3 x 5.2 x 0.4 cm (1 5/16 x 2 1/16 x 3/16 in)
Purchase
Freer Gallery of Art F1939.34
Provenance:
From at least 1939
Zhang Naiji (1899-1948), Shanghai and New York, from at least February 1939 [1]
From 1939
Freer Gallery of Art, purchased through C. T. Loo & Co., New York from Zhang Naiji on April 17,
1939 [2]
Notes:
[1] See "List of objects contemplated for purchase by Freer Gallery of Art," approved on February
1, 1939, Freer Gallery of Art Purchase List file, copy in object file. According to an annotation on
the list, the purchase was made from C. T. Loo & Co., New York acting as agent for the owner
and the payment was made on April 17, 1939. John Lodge reported that Zhang Naiji did not
know the provenance of the piece, see J. Lodge's note, 1939, in object file. Zhang Naiji was a
well known collector of ancient Chinese art objects and Chinese coins. While the earliest
documentation of Zhang's ownership of the jade dates to February 1939, it is known that Zhang
left China in 1938 and did not return there until 1946 [information kindly provided by Daisy Yiyou
Wang, email correspondence of May 20, 2009, in object file].
[3] See "List of objects contemplated for purchase by Freer Gallery of Art," cited in note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
56 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Palace Ladies Playing Double Sixes
內人雙陸圖
Artist: Traditionally attributed to Zhou Fang (ca. 730-ca. 800)
Calligrapher: Chu Deyi , frontispiece and colophon (1871-1942)
Southern Song dynasty, late 12th to mid-13th century
China
Ink and color on silk
H x W (overall image): 30.5 x 69.1 cm (12 x 27 3/16 in)
Purchase
Freer Gallery of Art F1939.37
Provenance:
1938
Mr. Lee, from at least May 25, 1938 [1]
From 1938 to 1939
C. T. Loo & Co., New York, purchased from Mr. Lee on May 25, 1938 [2]
From 1939
Freer Gallery of Art, purchased from C. T . Loo in July 1939 [3]
Notes:
[1] See C. T. Loo’s stockcard no. F417: “Painting on silk ‘Ladies at Chess Play’ 9th century,
attributed to Chow Fang. Tang dynasty,” Frank Caro Archive, Institute of Fine Arts, New York
University, copy in object file. According to a note on the stockcard, the painting was brought to
Loo’s gallery by “Mr. Lee” on May 25, 1938. It is not known whether Lee was the owner of the
painting or acted as an intermediary.
[2] See C. T. Loo’s stockcard, cited in note 1. In June 1938, the painting was sent to the Freer
Gallery for examination.
[3] See C. T. Loo’s invoice, dated July 6, 1939, copy in object file. According to Loo’s stockcard
cited in note 1, the purchase was made in January 1939. The right-hand section of the painting
with two standing figures was acquired by the Freer Gallery in 1960 and then reattached to the
painting. It is not known when the fragment had been cut. The colophon by Chu Deyi on the main
section of the painting, dated July 8-August 5, 1937, refers to a complete copy of the scroll in the
National Palace Museum, Taipei and concludes that a section of the painting “was cut away at
some point in a distant past.” See documentation for the painting in “Song and Yuan Dynasty
Painting and Calligraphy,”
http://www.asia.si.edu/SongYuan/F1939.37/F1939-37andF1960-4.Documentation.pdf. For
information on the acquisition of the right-hand section of the painting by the Freer Gallery, see
provenance record F1960.4.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 11/1/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
57 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Mirror with stylized feline masks
Eastern Han dynasty, 174 C.E.
China
Bronze
Diam x D: 18.3 x 1.5 cm (7 3/16 x 9/16 in)
Purchase
Freer Gallery of Art F1939.38
Provenance:
From at least 1901 to at least 1926
Qian Baoqing (courtesy name Zhongxuan) (active 1880s-late 1920s), Xiangyang, Hubei province,
China [1]
From at least 1938 to 1939
C. T. Loo & Co., New York from at least November 1938 [2]
From 1939
Freer Gallery of Art, purchased from C. T. Loo on July 6, 1939 [3]
Notes:
[1] According to Liu Xinyuan, Qigushi jinwen shu (Guangxu ren yin, 1902), p. 15: 7a, the mirror
was in the possession of Qian Baoqing by 1901. The mirror was published by Goto Shuichi (or
Morikazu) in Kanshiki kyo (Tokyo, Yuzankaku, 1926), pp. 199-200, where it was listed as still in
the Qian collection.
[2] See C. T. Loo's stockcard no. L 38/523: "Bronze mirror with inscriptions, Han," Frank Caro
Archive, Institute of Fine Arts, New York University, copy in object file. In December 1938, the
object was transferred to the Freer Gallery, see "List of objects owned by C. T. Loo and
Company, New York…[and] left by Mr. Loo on December 10, 1938 at the Gallery for
examination," copy in object file.
[3] See C. T. Loo's invoice dated July 6, 1939, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 3/17/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
58 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Dagger-axe (ge) inlaid with turquoise
Shang dynasty, ca. 1600-1050 B.C.E.
China
Bronze and turquoise
H x W x D: 39.4 x 9.9 x 1 cm (15 1/2 x 3 7/8 x 3/8 in)
Purchase
Freer Gallery of Art F1939.39
Provenance:
Reportedly excavated in Anyang, Henan province, China [1]
From at least 1938 to 1939
C. T. Loo & Co., New York from at least December 3, 1938 [2]
From 1939
Freer Gallery of Art, purchased from C. T. Loo on July 6, 1939 [3]
Notes:
[1] According to C. T. Loo & Co., An Exhibition of Chinese Bronzes, exh. cat. (New York: C. T.
Loo & Co., January 1939), cat. 43, pl. XIX.
[2] See "List of objects owned by C. T. Loo and Company, New York…[and] left by Mr. Loo on
December 10, 1938 at the Gallery for examination," with an annotation that the object was taken
back by Loo on December 23, 1938, copy in object file; it was returned to the Freer Gallery at the
end of next month, see "List of objects owned by C. T. Loo and Co., New York [and left] at the
Gallery for examination," with an annotation that the object was brought by Frank Caro on
January 31, 1939, copy in object file. See also Loo's stockcard no. 81439: "Two bronze daggers
with malachite inlay. Shan-Yin," Frank Caro Archive, Institute of Fine Arts, New York University,
copy in object file.
[3] See C. T. Loo's invoice, dated July 6, 1939, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
59 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Dagger-axe (ge) inlaid with turquoise
Shang dynasty, ca. 1600-1050 B.C.E.
China
Bronze and turquoise
H x W x D: 39.2 x 10.2 x 1.2 cm (15 7/16 x 4 x 1/2 in)
Purchase
Freer Gallery of Art F1939.40
Provenance:
Reportedly excavated in Anyang, Henan province, China [1]
From at least 1938 to 1939
C. T. Loo & Co., New York from at least December 3, 1938 [2]
From 1939
Freer Gallery of Art, purchased from C. T. Loo on July 6, 1939 [3]
Notes:
[1] According to C. T. Loo & Co., An Exhibition of Chinese Bronzes, exh. cat. (New York: C. T.
Loo & Co., January 1939), cat. 43, pl. XIX.
[2] See "List of objects owned by C. T. Loo and Company, New York…[and] left by Mr. Loo on
December 10, 1938 at the Gallery for examination," with an annotation that the object was taken
back by Loo on December 23, 1938, copy in object file; it was returned to the Freer Gallery at the
end of next month, see "List of objects owned by C. T. Loo and Co., New York [and left] at the
Gallery for examination," with an annotation that the object was brought by Frank Caro on
January 31, 1939, copy in object file. See also Loo's stockcard no. 81439: "Two bronze daggers
with malachite inlay. Shan-Yin," Frank Caro Archive, Institute of Fine Arts, New York University,
copy in object file.
[3] See C. T. Loo's invoice, dated July 6, 1939, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
60 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
9/10/2013
Lidded ritual food server (dou) with dragon interlace
Late Eastern Zhou dynasty, Early Warring States period, ca. late 5th-early 4th century B.C.E.
China
Bronze with gold inlay
H x W x D: 15.2 x 18.8 x 14.1 cm (6 x 7 3/8 x 5 9/16 in)
Purchase
Freer Gallery of Art F1939.41a-b
Provenance:
From at least 1939
C. T. Loo & Co., New York from at least January 1939 [1]
From 1939
Freer Gallery of Art, purchased from C. T. Loo on July 6, 1939 [2]
Notes:
[1] The vessel was exhibited by Loo in January 1939, see C. T. Loo & Co., An Exhibition of
Chinese Bronzes, exh. cat. (New York: C. T. Loo & Co., January 1939), cat. 32, pl. XVIII. See
also Loo's stockcard no. 81579: "Food vessel and cover (tou). Highly conventionalized dragon
motives in gold encircle the entire body with a leaf like decoration around the lip. Loop handles.
The cover removes to form a bowl. Green patina. Late Chou Period. Height 6 in," Frank Caro
Archive, Institute of Fine Arts, New York University, copy in object file.
[2] See C. T. Loo's invoice, dated July 6, 1939, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 8/31/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
61 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Landscape
Artist: Formerly attributed to Wen Zhengming (1470-1559)
Ming dynasty, first-half 17th century
China
Ink on paper
H x W (image): 31.4 x 290.3 cm (12 3/8 x 114 5/16 in)
Purchase
Freer Gallery of Art F1939.51
Provenance:
From 1856
Huang Fang (active 1835-1864), China [1]
Yu Liansan (1841-1912), China [2]
Zhang Ruiting (1878-1944), China [3]
From at least 1939
C. T. Loo & Co., New York, from at least January 31, 1939 [4]
From 1939
Freer Gallery of Art, purchased from C. T. Loo on November 30, 1939 [5]
Notes:
[1] Four Huang Fang’s collector seals are located on the painting.
[2] Two Yu Liansan’s collector seals are located on the painting.
[3] Three Zhang Ruiting’s collector seals are located on the painting. Two inscriptions on the
painting’s box read: “Treasure from the collection of Master Zhang.”
[4] The painting figures on “List of objects owned by C. T. Loo [and brought to] the Gallery for
examination,” annotated with information that it was left at the Freer Gallery by Frank Caro on
January 31, 1939, copy in object file.
[5] See C. T. Loo’s invoice, dated November 30, 1939, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
11/15/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
62 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Inscribed mirror with legendary figures
Period of Division, 200-499
China
Bronze
Diam x D: 17.6 x 1.4 cm (6 15/16 x 9/16 in)
Purchase
Freer Gallery of Art F1939.52
Provenance:
In 1939
C. T. Loo & Co., New York from May 24, 1939 [1]
From 1939
Freer Gallery of Art, purchased from C. T. Loo on November 30, 1939 [2]
Notes:
[1] See C. T. Loo's stockcard no. 86423: "Mirror. Decorated on the edge with a flat register of
birds, animals and flower motives. In the center low registers in low relief of human figures,
animals and pagodas, toward the border a narrow register of characters with Taoist inscriptions.
Diam 6 ¾. Han," Frank Caro Archive, Institute of Fine Arts, New York University, copy in object
file. The mirror was shipped to the Freer Gallery in November 1939, see Loo's Approval Memo,
dated November 6, 1939, copy in object file.
[2] See C. T. Loo's invoice, dated November 30, 1939, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 8/31/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
63 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lidded ritual wine ewer (guang) with dragons, elephants, rabbits,
birds, and fish
Late Shang dynasty, Late Anyang period, ca. 1200-1100 B.C.E.
China, Henan province, Anyang
Bronze
H x W x D (overall): 16.7 x 19.5 x 9.6 cm (6 9/16 x 7 11/16 x 3 3/4 in)
Purchase
Freer Gallery of Art F1939.53a-b
Provenance:
In 1939
C. T. Loo & Co., New York from March 23, 1939 [1]
From 1939
Freer Gallery of Art, purchased from C. T. Loo on November 30, 1939 [2]
Notes:
[1] See C. T. Loo's stockcard no. 81966: "Bronze wine vessel with cover, Chou," Frank Caro
Archive, Institute of Fine Arts, New York University, copy in object file. See also "List of objects
owned by C. T. Loo & Co., New York [left] at the Gallery for examination," with annotation that the
bronze was left by Loo at the Freer Gallery on May 14, 1939, in object file.
[2] See C. T. Loo's invoice, dated November 30, 1939, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 8/31/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
64 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Ornament with face and masks
Artist: Shijiahe culture (ca. 2500 -ca. 2000 B.C.E.)
Late Neolithic period, ca. 2000-1700 B.C.E.
China, Middle Yangzi valley, Hubei Province
Jade (nephrite)
H x W x D: 7.2 x 3.2 x 0.5 cm (2 13/16 x 1 1/4 x 3/16 in)
Purchase
Freer Gallery of Art F1939.54
Provenance:
Wu collection, Tianjin [1]
From at least 1937 to 1939
C. T. Loo & Co., Paris and New York from at least March 1937 [2]
From 1939
Freer Gallery of Art, purchased from C. T. Loo on November 30, 1939 [3]
Notes:
[1] According to information in C. T. Loo's Approval memorandum, dated November 6, 1939, in
object file.
[2] See C. T. Loo's stockcard no. LAP 5655: "Brownish jade in the form of a thin pillar, head
etched in center. Han," Frank Caro Archive, Institute of Fine Arts, New York University, copy in
object file. According to information on the stockcard, the object was shipped to Paris in March
1937 and returned to New York in November 1938; in September 1939 it was offered to Mr.
McKim; on November 6, 1939 it was shipped to the Freer Gallery.
[3] See C. T. Loo's invoice, dated November 30, 1939, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 3/17/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
65 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Forked blade (zhang)
Shang dynasty, ca. 1600-ca. 1050 B.C.E.
China
Jade (nephrite)
H x W x D: 41 x 6.5 x 1 cm (16 1/8 x 2 9/16 x 3/8 in)
Purchase
Freer Gallery of Art F1939.55
Provenance:
In 1939
C. T. Loo & Co., New York in September 1939 [1]
From 1939
Freer Gallery of Art, purchased from C. T. Loo on November 30, 1939 [2]
Notes:
[1] See C. T. Loo's stockcard no. 86519: "Jade knife, Shang," Frank Caro Archive, Institute of
Fine Arts, New York University, copy in object file. See also "List of objects owned by C. T. Loo &
Co., New York and [left] at the Gallery for examination," with an annotation that the piece was
delivered by Loo on November 4, 1939, copy in object file.
[2] See C. T. Loo's invoice, dated November 30, 1939, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 8/31/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
66 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Tartar horsemen
Artist: Zhao Lin (died ca. 1367)
Yuan dynasty, 1360
China
Ink and gold on paper
H x W (image): 23.8 x 108.3 cm (9 3/8 x 42 5/8 in)
Purchase
Freer Gallery of Art F1940.1
Provenance:
Gong Ben’ang (mid-19th-early 20th c.), China [1]
Wu Zhiying (1868-1934) and Lian Quan (1868-1931), studio name Xiaowanliutang, Hangzhou,
Zhejiang province, by bequest from Gong Ben’ang [2]
From at least 1939 to 1940
C. T. Loo & Co., New York, from at least January 31, 1939 [3]
From 1940
Freer Gallery of Art, purchased from C. T. Loo on February 21, 1940 [4]
Notes:
[1] Four Gong Ben’ang’s collector seals are located on the painting. See also A. G. Wenley, “A
Parallel Between Far Eastern and Persian Painting,” in Richard Ettinghausen, ed., Aus der Welt
der Islamischen Kunst: Festschrift für Ernst Kühnel zum 75. Geburtstag am 26.10.1957 (Berlin:
Verlag Gebr. Mann, 1959), p. 352.
[2] See inscription at the right side of the painting, translated as: “Foreign Horsemen, by Zhao
Lin. Authenticated and collected at the Entertainment Yards (or Center for the Arts?) in the
national capital [Beijing], respectfully presented by Xiaowanliutang.” The inscription is
accompanied by the Xiaowanliutang signature and seal. Xiaowanliutang was the studio name of
Lian Quan and Wu Zhiying. Two Lian Quan’s and Wu Zhiying’s collector seals are located on the
painting. On Gong Ben’ang’s bequest to Lian Quan, see Wenley 1959, p. 352.
[3] The painting figures on “List of objects owned by C. T. Loo [and brought to] the Gallery for
examination,” annotated with information that it was left at the Freer Gallery by Frank Caro on
January 31, 1939, copy in object file. See also C. T. Loo’s stockcard no. 81580: “Scroll painting
A. D. 1273-1368,” Frank Caro Archive, Institute of Fine Arts, New York University, copy in object
file.
[4] See C. T. Loo’s invoice, dated February 21, 1940, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
11/15/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
67 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant: Standing bird
Shang dynasty, Anyang period, ca. 1400-ca. 1050 B.C.E.
China
Jade (nephrite)
H x W x D: 11.8 x 8.2 x 1.2 cm (4 5/8 x 3 1/4 x 1/2 in)
Purchase
Freer Gallery of Art F1940.2
Provenance:
Reportedly excavated in Anyang, Henan province, China [1]
From at least 1939 to 1940
C. T. Loo & Co., New York from at least November 4, 1939 [2]
From 1940
Freer Gallery of Art, purchased from C. T. Loo on February 21, 1940 [3]
Notes:
[1] Information provided by C. T. Loo, see John E. Lodge's curatorial remark, dated 1941, in
object file.
[2] See "List of objects owned by C. T. Loo & Co., New York and [left] at the Gallery for
examination," with an annotation that the piece was delivered by Loo on November 4, 1939, copy
in object file.
[3] See C. T. Loo's invoice, dated February 21, 1940, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 8/31/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
68 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Hafted axe with dragons
Late Shang dynasty, Early Anyang period, ca. 1300-1200 B.C.E.
China, Henan province, Anyang
Bronze with turquoise inlay and jade (nephrite) blade
H x W x D (overall): 34.5 x 17.5 x 5.4 cm (13 9/16 x 6 7/8 x 2 1/8 in)
Purchase
Freer Gallery of Art F1940.10a-d
Provenance:
From 1939 to 1940
C. T. Loo & Co., New York from at September 26, 1939 [1]
From 1940
Freer Gallery of Art, purchased from C. T. Loo on May 3, 1940 [3]
Notes:
[1] See C. T. Loo's stockcard no. 86520: "Set of four pieces, bronze ornaments, Shang," Frank
Caro Archive, Institute of Fine Arts, New York University, copy in object file. According to
information on the stockcard the object was inventoried on September 26, 1939. See also "List of
objects owned by C. T. Loo & Co., New York and [left] at the Gallery for examination," with an
annotation that the piece was delivered by Loo to the Freer Gallery on November 4, 1939, copy in
object file.
[3] See C. T. Loo's invoice, dated May 3, 1940, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/17/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
69 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lidded ritual wine container (you) with taotie and dragons
Late Shang dynasty, Late Anyang period, ca. 1100-1050 B.C.E.
China, Henan province, Anyang
Bronze
H x W x D: 36.1 x 26.9 x 23.6 cm (14 3/16 x 10 9/16 x 9 5/16 in)
Purchase
Freer Gallery of Art F1940.11a-b
Provenance:
Reportedly excavated in Anyang, Henan province, China [1]
From 1939 to 1940
C. T. Loo & Co., New York from September 26, 1939 [2]
From 1940
Freer Gallery of Art, purchased from C. T. Loo on July 10, 1940 [3]
Notes:
[1] According to undated curatorial remark, in object file.
[2] See C.T. Loo's stockcard no. 86536: "Bronze Jar with cover, Shang," Frank Caro Archive,
Institute of Fine Arts, New York University, copy in object file. The object was brought to the Freer
Gallery for examination on November 6, 1939.
[3] See C. T. Loo's invoice, dated July 10, 1940, copy in object file. According to Loo's stockcard,
the vessel was sold on July 15, 1940.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
11/23/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
70 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Fitting in the form of an animal, possibly a tapir
Middle Eastern Zhou dynasty, ca. early 5th century B.C.E.
China, Shanxi province
Bronze
H x W x D: 11.2 x 18.3 x 6.3 cm (4 7/16 x 7 3/16 x 2 1/2 in)
Purchase
Freer Gallery of Art F1940.23
Provenance:
Reportedly excavated at Li-yü, Shanxi province, China [1]
From 1939 to 1940
C. T. Loo & Co., New York from at least September 26, 1939 [2]
From 1940
Freer Gallery of Art, purchased from C. T. Loo on November 9, 1940 [3]
Notes:
[1] According to Archibald G. Wenley's and John A. Pope's curatorial remark, dated 1944, in
object file.
[2] See C. T. Loo's stockcard no. 86542: "Bronze standing animal WEI, finely decorated with
designs of twisted dragons, bluish patina. Late Chou," Frank Caro Archive, Institute of Fine Arts,
New York Unviersity, copy in object file. The object was taken by Loo to the Freer Gallery in May
1940.
[3] See C. T. Loo's invoice, dated November 9, 1940, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
71 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Dagger-axe (ge)
Shang dynasty, ca. 13th-11th century B.C.E.
China
Jade (nephrite)
H x W x D: 26.7 x 10.3 x 0.9 cm (10 1/2 x 4 1/16 x 3/8 in)
Purchase
Freer Gallery of Art F1941.3
Provenance:
Reportedly excavated in Anyang, Henan province, China [1]
From at least 1940 to 1941
C. T. Loo and Co., New York from at least November 12, 1940 [2]
From 1941
Freer Gallery of Art, purchased from C. T. Loo on March 20, 1941 [3]
Notes:
[1] According to information provided by C. T. Loo to John E. Lodge, see John E. Lodge's
curatorial remark, dated 1941, in object file.
[2] See "List of objects owned by C. T. Loo, New York […] at the Freer Gallery," with an
annotation that the object was left by Loo on November 12, 1940, copy in object file.
[3] See C. T. Loo's invoice, dated March 20, 1941, where the object is described as "Knife jade
(ko) greenish patina with splashes. Anyang Shang," copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
72 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Broad chisel
Shang dynasty, Anyang period, ca. 1300-1200 B.C.E.
China
Bronze with turquoise inlay and jade (nephrite) blade
H x W x D (overall): 21.3 x 7.9 x 2.1 cm (8 3/8 x 3 1/8 x 13/16 in)
Purchase
Freer Gallery of Art F1941.4
Provenance:
Reportedly excavated in Anyang, Henan province, China [1]
From 1940 to 1941
C. T. Loo & Co., New York from November 1940 [2]
From 1941
Freer Gallery of Art, purchased from C. T. Loo on March 20, 1941 [3]
Notes:
[1] According to John Lodge's curatorial remark, dated 1941, in object file.
[2] See C. T. Loo's stockcard no. 86949: "One grayish jade hatchet with a bronze handle with
guard decorated in mosaic of turquoise inlay with mask designs. SHANG," Frank Caro Archive,
Institute of Fine Arts, New York University, copy in object file. The object was brought to the
Freer Gallery for examination on November 13, 1940.
[3] See C. T. Loo's invoice, dated March 20, 1941, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/8/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
73 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Dagger-axe (ge) with dragons
Late Shang dynasty, Early Anyang period, ca. 1300-1200 B.C.E.
China
Bronze with turquoise inlay and jade (nephrite) blade
H x W x D (overall): 41.9 x 10.6 x 0.9 cm (16 1/2 x 4 3/16 x 3/8 in)
Purchase
Freer Gallery of Art F1941.5
Provenance:
Reportedly excavated in Anyang, Henan province, China [1]
From 1940 to 1941
C. T. Loo & Co., New York from October 1940 [2]
From 1941
Freer Gallery of Art, purchased from C. T. Loo on March 20, 1941 [3]
Notes:
[1] According to John Lodge's curatorial remark, dated 1941, in object file.
[2] See C. T. Loo's stockcard no. 86942: "Jade knife with bronze handle. One large jade KU with
plain bronze handle inlayed with turquoise with designs of birds and an animal mask near the
guard. An Yang Shang," Frank Caro Archive, Institute of Fine Arts, New York University, copy in
object file. The object was brought by Loo to the Freer Gallery for examination on November 13,
1940.
[3] See C. T. Loo's invoice, dated March 20, 1941, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
74 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Garment hook inlaid with turquoise
Late Eastern Zhou or early Western Han dynasty, 3rd century B.C.E.
China
Bronze, gilded silver, and turquoise
H x W x D: 22.2 x 4.2 x 4.2 cm (8 3/4 x 1 5/8 x 1 5/8 in)
Purchase
Freer Gallery of Art F1941.6a-b
Provenance:
From 1940 to 1941
C. T. Loo & Co., New York from October 1940 [1]
From 1941
Freer Gallery of Art, purchased from C. T. Loo on March 20, 1941 [2]
Notes:
[1] See C.T. Loo's stockcard no. 86941: "One bronze buckle in the form of an animal with a tiger
holding on the back a running dragons, inlayed with turquoise, Warring States," Frank Caro
Archive, Institute of Fine Arts, New York University, copy in file. The object was brought to the
Freer Gallery for examination on November 13, 1940.
[2] See C. T. Loo's invoice, dated March 20, 1941, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 3/17/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
75 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Ritual grain server (gui) with masks and dragons
Late Shang dynasty, Late Anyang period, ca. 12th-11th century B.C.E.
China, Henan province, Anyang
Bronze
H x W: 13.9 x 21.2 cm (5 1/2 x 8 3/8 in)
Purchase
Freer Gallery of Art F1941.8
Provenance:
In 1941
C.T. Loo & Co., New York from April 1941 [1]
From 1941
Freer Gallery of Art, purchased from C. T. Loo on June 18, 1941 [2]
Notes:
[1] See C. T. Loo's stockcard no. 87101: "Bronze vessel. Kuei. decorated around foot and neck
with bands of running dragons separated by flanges. and a register of triangles with cicadas in
relief under the rim on the body broad t'ao t'ieh masks. All motives [?] with spirals. deeply carved
spiral background. Grey green patina. Inscribed. Shang," Frank Caro Archive, Institute of Fine
Arts, New York University, copy in object file. The object was brought by Loo to the Freer Gallery
for examination on April 29, 1941.
[2] See C. T. Loo's invoice, dated June 18, 1941, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
76 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bell (bo zhong)
Eastern Zhou dynasty, early 5th century B.C.E.
China
Bronze
H x W: 66.4 x 47 cm (26 1/8 x 18 1/2 in)
Purchase
Freer Gallery of Art F1941.9
Provenance:
From 1939 to 1941
C. T. Loo & Co., New York from at least March 1939 [1]
From 1941
Freer Gallery of Art, purchased from C. T. Loo on September 29, 1941 [2]
Notes:
[1] See C. T. Loo's stockcard no. 81926a: "Bell (chung) Bottom decorated by a panel of turning
dragons pattern. Large bosses formed by coiled snakes separated by registers of intertwined
dragons motives. Handle formed by 2 birds, swallowing the tail with spreaded wings over an
intertwined snakes pattern. Rough green patina. Late Chou," Frank Caro Archive, Institute of
Fine Arts, New York University, copy in object file. The object was sent to the Freer Gallery for
examination on May 2, 1939.
[2] See C. T. Loo's invoice, dated September 29, 1941, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
11/23/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
77 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lidded ritual ewer (he) with dragons
ca. 1200-1100 B.C.E.
China, Yangzi River Valley
Bronze
H x W x D (overall): 18.2 x 18.7 x 21 cm (7 3/16 x 7 3/8 x 8 1/4 in)
Purchase
Freer Gallery of Art F1942.1a-b
Provenance:
Excavated in Anyang, Henan province, China [1]
From 1940 to 1941
C. T. Loo & Co., New York from November 1940 [2]
From 1941
Freer Gallery of Art, purchased from C. T. Loo on September 29, 1941 [3]
Notes:
[1] According to Mizuno Seiichi, In Shu seidoki to tama (Tokyo, Nihon Keizai Shinbunsha, 1959),
p. 63, pls. 40, 41.
[2] See C. T. Loo's stockcard no. 87003: "Bronze jar with cover Chou Bronze TSUN with cover in
the form of a Human mask with ornaments. Turquoise patina SHANG," Frank Caro Archive,
Institute of Fine Arts, New York University, copy in object file. The object was taken by Loo to the
Freer Gallery for examination on January 17, 1941.
[3] See C. T. Loo's invoice, dated September 29, 1941, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 8/31/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
78 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lidded ritual wine container (you) in the form of two owls
Late Shang dynasty, Middle Anyang period, ca. 1200-1100 B.C.E.
China, Henan province, Anyang
Bronze
H x W: 24 x 21.3 cm (9 7/16 x 8 3/8 in)
Purchase
Freer Gallery of Art F1942.14a-b
Provenance:
From 1941 to 1942
C. T. Loo & Co., New York in November 1941 [1]
From 1942
Freer Gallery of Art, purchased from C. T. Loo on July 24, 1942 [2]
Notes:
[1] See C. T. Loo's stockcard no. 87515: "Bronze jar with cover SHANG," Frank Caro Archive,
Institute of Fine Arts, New York University, copy in object file. The vessel was brought by Loo to
the Freer Gallery for examination on March 19, 1942.
[2] See C. T. Loo's invoice, dated July 24, 1942, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 3/17/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
79 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Goblet (gu)
Shang dynasty, ca. 12th-11th century B.C.E.
China
Bronze
H x W: 29.3 x 16.7 cm (11 9/16 x 6 9/16 in)
Purchase
Freer Gallery of Art F1943.9
Provenance:
From 1941 to 1943
C. T. Loo & Co., New York from November 1941 [1]
From 1943
Freer Gallery of Art, purchased from C. T. Loo on September 14, 1943 [2]
Notes:
[1] See C. T. Loo's stockcard no. 87475: "Bronze Ku Shang," Frank Caro Archive, Institute of
Fine Arts, New York University, copy in object file. The object was brought to the Freer Gallery
for examination on March 20, 1942.
[2] See C. T. Loo's invoice, dated September 14, 1943, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 8/31/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
80 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Wine vessel (zun)
Shang dynasty, ca. 12th-11th century B.C.E.
China
Bronze
H x W: 29.7 x 23.1 cm (11 11/16 x 9 1/8 in)
Purchase
Freer Gallery of Art F1944.1
Provenance:
From 1941 to 1943
C. T. Loo & Co., New York from November 1941 [1]
From 1943
Freer Gallery of Art, purchased from C. T. Loo on December 8, 1943 [2]
Notes:
[1] See C. T. Loo's stockcard no. 87477: "Bronze Tsun relief [masks]. Shang," Frank Caro
Archive, Institute of Fine Arts, New York University, copy in object file.
[2] See C. T. Loo's invoice, dated December 8, 1943, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
11/23/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
81 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Mirror with mythical birds and animals
Eastern Han dynasty, 25-220
China
Bronze
Diam x D: 14.3 x 1 cm (5 5/8 x 3/8 in)
Purchase
Freer Gallery of Art F1944.3
Provenance:
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island [1]
From at least 1944
Tonying & Company, New York, from at least February 1944 [2]
From 1944
Freer Gallery of Art, purchased from Tonying & Company on February 7, 1944 [3]
Notes:
[1] According to information provided by Tonying & Company, see Tonying and Company’s
invoice, dated February 7, 1944, in which the mirror figures under no. B. 30: “Cricular Bronze
Mirror, Bird and animal design, gray and turquoise-green patina / Han,” copy in object file.
[2] The acquisition of the mirror by the Freer Gallery was approved by C. G. Abbot, the Secretary
of the Smithsonian Institution, on February 4, 1944, see “List of Objects Contemplated for
Purchase by the Freer Gallery of Art,” copy in object file.
[3] See invoice cited in note 1. See also A. G. Wenley’s letter to C. F. Yau, Tonying & Company,
dated February 5, 1944, in which Wenley confirms the purchase of the mirror along with seven
other mirrors from the Holmes collection (see records for F1944.4-F1944.10).
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
82 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Foliated mirror with felines and birds
Middle Tang dynasty, 8th century
China
Bronze
Diam x D: 19.3 x 1.4 cm (7 5/8 x 9/16 in)
Purchase
Freer Gallery of Art F1944.4
Provenance:
From at least 1929
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [1]
From at least 1944
Tonying & Company, New York, from at least February 1944 [2]
From 1944
Freer Gallery of Art, purchased from Tonying & Company on February 7, 1944 [3]
Notes:
[1] See Yamanaka & Company, To-So Seikwa: Select relics of the Tang and Sung Dynasties
from the Collections in Europe and America (Osaka, 1929), vol. 2, pl. 39.
[2] See Tonying & Company’s invoice, dated February 7, 1944, in which the mirror figures under
no. B. 33: “Bronze Polyfoliate Mirror, designs of floral scrolls, flying Phoenixes, etc. / Tang.” copy
in object file. The acquisition was approved by C. G. Abbot, the Secretary of the Smithsonian
Institution, on February 4, 1944, see “List of Objects Contemplated for Purchase by the Freer
Gallery of Art,” copy in object file.
[3] See invoice cited in note 2. See also A. G. Wenley’s letter to C. F. Yau, Tonying & Company,
dated February 5, 1944, in which Wenley confirms the purchase of the mirror along with seven
other mirrors from the Holmes collection (see records for F1944.3, F1944.5-F1944.10).
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
83 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Mirror with birds, animals, and grapes
Early Tang dynasty, late 7th-8th century
China
Bronze
Diam x D: 21.3 x 1.9 cm (8 3/8 x 3/4 in)
Purchase
Freer Gallery of Art F1944.5
Provenance:
From at least 1924
C. T. Loo et Cie., Paris, from at least 1924 [1]
From at least 1929
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [2]
From at least 1944
Tonying & Company, New York, from at least February 1944 [3]
From 1944
Freer Gallery of Art, purchased from Tonying & Company on February 7, 1944 [4]
Notes:
[1] See Zhu Deyi, P. Pelliot, Bronzes antiques de la Chine appartenant à C. T. Loo et Cie. (Paris
and Brussels: Librairie Nationale d’art et d’histoire, G. van Oest, 1924), pl. 36. According to Paul
Pelliot’s preface to the catalogue, the bronzes forming the C. T. Loo collection and selected for
the publication had been recently brought from China.
[2] See Yamanaka & Company, To-So Seikwa: Select relics of the Tang and Sung Dynasties
from the Collections in Europe and America (Osaka, 1929), vol. 2, pl. 37 A.
[3] See Tonying & Company’s invoice, dated February 7, 1944, in which the mirror figures under
no. B. 34: “Bronze Mirror, circular in form, ‘Grape and Sea-Horse’ design, fine patina / Tang” copy
in object file. The acquisition was approved by C. G. Abbot, the Secretary of the Smithsonian
Institution, on February 4, 1944, see “List of Objects Contemplated for Purchase by the Freer
Gallery of Art,” copy in object file.
[4] See invoice cited in note 2. See also A. G. Wenley’s letter to C. F. Yau, Tonying & Co., dated
February 5, 1944, in which Wenley confirms the purchase of the mirror along with seven other
mirrors from the Holmes collection (see records for F1944.3-F1944.4, F1944.6 -F1944.10).
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
84 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Mirror with birds
Late Eastern Zhou dynasty, Warring States period, 3rd century B.C.E.
China
Bronze
Diam x D: 10.2 x 0.5 cm (4 x 3/16 in)
Purchase
Freer Gallery of Art F1944.6
Provenance:
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island [1]
From at least 1944
Tonying & Company, New York, from at least February 1944 [2]
From 1944
Freer Gallery of Art, purchased from Tonying & Company on February 7, 1944 [3]
Notes:
[1] According to information provided by Tonying & Company, see Tonying and Company’s
invoice, dated February 7, 1944, copy in object file.
[2] See Tonying & Company’s invoice, dated February 7, 1944, in which the mirror figures under
no. B. 43: “Small Circular Bronze Mirror, design of close geometric pattern, with eight graceful
designs / T’sin,” copy in object file. The acquisition was approved by C. G. Abbot, the Secretary
of the Smithsonian Institution, on February 4, 1944, see “List of Objects Contemplated for
Purchase by the Freer Gallery of Art,” copy in object file.
[3] See invoice cited in note 2. See also A. G. Wenley’s letter to C. F. Yau, Tonying & Co., dated
February 5, 1944, in which Wenley confirms the purchase of the mirror along with seven other
mirrors from the Holmes collection (see records for F1944.3-F1944.5, F1944.7-F1944.10).
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
85 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Mirror with floral roundels
Sui dynasty, 581-618
China
Bronze
Diam x D: 18.5 x 1.3 cm (7 5/16 x 1/2 in)
Purchase
Freer Gallery of Art F1944.7
Provenance:
From at least 1933
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1933 [1]
From at least 1944
Tonying & Company, New York, from at least February 1944 [2]
From 1944
Freer Gallery of Art, purchased from Tonying & Company on February 7, 1944 [3]
Notes:
[1] See Umehara Sueji, Shina-Kodo Seikwa (Selected Relics of Ancient Chinese Bronzes from
Collections in Europe and America): Part II Ancient Mirrors (Osaka: Yamanaka & Co., 1933), vol.
2, pl. 121.
[2] See Tonying & Company’s invoice, dated February 7, 1944, in which the mirror figures under
no. B. 54: “Mirror, painted lacquer on bronze / Sui” copy in object file. The acquisition was
approved by C. G. Abbot, the Secretary of the Smithsonian Institution, on February 4, 1944, see
“List of Objects Contemplated for Purchase by the Freer Gallery of Art,” copy in object file.
[3] See invoice cited in note 2. See also A. G. Wenley’s letter to C. F. Yau, Tonying & Co., dated
February 5, 1944, in which Wenley confirms the purchase of the mirror along with seven other
mirrors from the Holmes collection (see records for F1944.3-F1944.6, F1944.8 -F1944.10).
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/8/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
86 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Square mirror with floral medallion, plant sprays, birds, and insects
Middle Tang dynasty, 8th century
China
Cast bronze, gold and silver sheets with chased decoration, and lacquer
H x W x D: 15.9 x 15.9 x 1.1 cm (6 1/4 x 6 1/4 x 7/16 in)
Purchase
Freer Gallery of Art F1944.8
Provenance:
From at least 1929 to at least 1938
Mrs. Christian R. (Bettie F.) Holmes (1971-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [1]
From at least 1944
Tonying & Company, New York, from at least February 1944 [2]
From 1944
Freer Gallery of Art, purchased from Tonying & Company on February 7, 1944 [3]
Notes:
[1] See Yamanaka & Company, To-So Seikwa: Select relics of the Tang and Sung Dynasties
from the Collections in Europe and America, vol. 2 (Osaka, 1929), pl. 47. According to this
source, the mirror reportedly was excavated at Mapo, Luoyang, Henan province. In 1938 Mrs.
Holmes lent the mirror to the Metropolitan Museum of Art, see Chinese Bronzes of the Shang
(1766-1122 B. C.) through the T’ang Dynasty (A.D. 618-906) (New York: Metropolitan Museum of
Art, October 19-November 27, 1938), cat. 245 (ill.).
[2] See Tonying & Company’s invoice, dated February 7, 1944, in which the mirror figures under
no. B. 81: “Fine Bronze Mirror, nearly square with rounded corners, decorated with Phoenix,
Butterflies, etc. / Tang” copy in object file. The acquisition was approved by C. G. Abbot, the
Secretary of the Smithsonian Institution, on February 4, 1944, see “List of Objects Contemplated
for Purchase by the Freer Gallery of Art,” copy in object file.
[3] See invoice cited in note 2. See also A. G. Wenley’s letter to C. F. Yau, Tonying & Co., dated
February 5, 1944, in which Wenley confirms the purchase of the mirror along with seven other
mirrors from the Holmes collection (see records for F1944.3-F1944.7, F1944.9 -F1944.10).
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
87 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
9/10/2013
Mirror with geometric decoration
Late Eastern Zhou, Warring States, or early Western Han dynasty, 3rd-2nd century B.C.E.
China
Bronze
Diam x D: 19.1 x 1.2 cm (7 1/2 x 1/2 in)
Purchase
Freer Gallery of Art F1944.9
Provenance:
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island [1]
From at least 1944
Tonying & Company, New York, from at least February 1944 [2]
From 1944
Freer Gallery of Art, purchased from Tonying & Company on February 7, 1944 [3]
Notes:
[1] According to information provided by Tonying & Company, see Tonying and Company’s
invoice, dated February 7, 1944, copy in object file.
[2] See Tonying & Company’s invoice, dated February 7, 1944, in which the mirror figures under
no. B. 156: “Cricular Bronze Mirror, with design of Sun and Sunray; beautiful green patina / Chin,”
copy in object file. The acquisition was approved by C. G. Abbot, the Secretary of the
Smithsonian Institution, on February 4, 1944, see “List of Objects Contemplated for Purchase by
the Freer Gallery of Art,” copy in object file.
[3] See invoice cited in note 2. See also A. G. Wenley’s letter to C. F. Yau, Tonying & Co., dated
February 5, 1944, in which Wenley confirms the purchase of the mirror along with seven other
mirrors from the Holmes collection (see records for F1944.3-F1944.8, F1944.10).
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
88 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Mirror with geometric decoration
Early Western Han dynasty, 2nd century B.C.E.
China
Bronze
H x W x D: 0.8 x 14.3 x 14.3 cm (5/16 x 5 5/8 x 5 5/8 in)
Purchase
Freer Gallery of Art F1944.10
Provenance:
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island [1]
From at least 1944
Tonying & Company, New York, from at least February 1944 [2]
From 1944
Freer Gallery of Art, purchased from Tonying & Company on February 7, 1944 [3]
Notes:
[1] According to information provided by Tonying & Company, see Tonying and Company’s
invoice, dated February 7, 1944, copy in object file.
[2] See Tonying & Company’s invoice, dated February 7, 1944, in which the mirror figures under
no. B. 61: “Cricular Mirror, with dark green patina; scroll and bird design / Tsin,” copy in object
file. The acquisition was approved by C. G. Abbot, the Secretary of the Smithsonian Institution,
on February 4, 1944, see “List of Objects Contemplated for Purchase by the Freer Gallery of Art,”
copy in object file.
[3] See invoice cited in note 2. See also A. G. Wenley’s letter to C. F. Yau, Tonying & Co., dated
February 5, 1944, in which Wenley confirms the purchase of the mirror along with seven other
mirrors from the Holmes collection (see records for F1944.3-F1944.9).
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
89 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Hinged garment hook with dragon
Late Eastern Zhou dynasty, Warring States period, 5th-4th century B.C.E.
China
Bronze with traces of paste inlay
H x W: 22.3 x 9.8 cm (8 3/4 x 3 7/8 in)
Purchase
Freer Gallery of Art F1944.57
Provenance:
From at least 1924
C. T. Loo et Cie., Paris, from at least 1924 [1]
From at least 1933
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1933 [2]
From at least 1944
Tonying & Company, New York, from at least February 1944 [3]
From 1944
Freer Gallery of Art, purchased from Tonying & Company on September 21, 1944 [4]
Notes:
[1] See Zhu Deyi, P. Pelliot, Bronzes antiques de la Chine appartenant à C. T. Loo et Cie. (Paris
and Brussels: Librairie Nationale d’art et d’histoire, G. van Oest, 1924), pl. 36. According to Paul
Pelliot’s preface to the catalogue, the bronzes forming the C. T. Loo collection and selected for
the publication had been recently brought from China.
[2] See Umehara Sueji, Shina-kodo Seikwa (Selected Relics of Ancient Chinese Bronzes from
Collections in Europe and America): Part III Miscellaneous Objects vol. 1 (Osaka: Yamanaka &
Co., 1933), pl. 65. Mrs. Holmes lent the object to the International Exhibition of Chinese Art at
Royal Academy of Fine Arts in London in 1935-36, see Catalogue of the International Exhibition
of Chinese Art, exh. cat. (London: Royal Academy of Arts, November 1935-March 7, 1936), cat.
535 (ill.).
[3] See “List of Objects Contemplated for Purchase by the Freer Gallery of Art,” approved by C.
G. Abbot, the Secretary of the Smithsonian Institution on February 4, 1944, copy in object file.
[4] See Tonying & Company’s invoice, dated September 21, 1944, in which the object figures
under no. B. 39: “Large Bronze Hook with hinged handle / Chou,” copy in object file. See also A.
G. Wenley’s letter to C. F. Yau, Tonying & Co., dated September 19, 1944, in which Wenley
confirms the purchase of the object.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
90 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lobed ladle with floral scrolls
Early or mid-Tang dynasty, late 7th-early 8th century
China, Shaanxi province, Probably Xi’an
Hammered silver with repoussé, chased, and ring-punched decoration
H x W x D: 31 x 6.1 x 4.5 cm (12 3/16 x 2 3/8 x 1 3/4 in)
Purchase
Freer Gallery of Art F1944.58
Provenance:
From at least 1929
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least January 1929 [1]
From at least 1944
Tonying & Company, New York, from at least February 1944 [2]
From 1944
Freer Gallery of Art, purchased from Tonying & Company on September 21, 1944 [3]
Notes:
[1] Mrs. Holmes lent the object to the 1929 exhibition in Berlin, Ausstellung Chinesischer Kunst
(Berlin: Gesellschaft für Ostasiatische Kunst and Preussischen Akademie der Künste, January 12
–April 2, 1929), cat. 425 (ill.) and to the International Exhibition of Chinese Art at Royal Academy
of Fine Arts in London in 1935-36, see Catalogue of the International Exhibition of Chinese Art,
exh. cat. (London: Royal Academy of Arts, November 1935-March 7, 1936), cat. 786 (ill.).
[2] See “List of Objects Contemplated for Purchase by the Freer Gallery of Art,” approved by the
Secretary of the Smithsonian Institution on February 4, 1944, copy in object file.
[3] See Tonying & Company’s invoice, dated September 21, 1944, in which the object figures
under no. G. 14: “Large Chinese Silver Ladle / Tang,” copy in object file. See also A. G. Wenley’s
letter to C. F. Yau, Tonying & Co., dated September 19, 1944, in which Wenley confirms the
purchase of the object.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
91 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
9/10/2013
Vase
Qing dynasty or early 20th century, Yongzheng reign mark, 1723-1735 or early 20th century
China, Jiangxi province, Jingdezhen
Porcelain with lead-silicate enamels over clear colorless glaze
H x W: 12.2 x 7.5 cm (4 13/16 x 2 15/16 in)
Purchase
Freer Gallery of Art F1945.5
Provenance:
From at least 1931
Charles Ernst Russell (1866-1960), London and Kingsford near Colchester, from at least 1931 [1]
C. T. Loo & Co., New York and Paris, purchased at the sale of Charles E. Russell's collection [2]
H. L. Hsieh, New York, purchased from C. T. Loo [3]
From probably 1944 to 1945
C. T. Loo & Co., New York, purchased back from Mr. Hsieh, probably in 1944 [4]
From 1945
Freer Gallery of Art, purchased from C. T. Loo on January 19, 1945 [5]
Notes:
[1] See R. L. Hobson et al., Chinese Ceramics in Private Collections (London: Halton & Truscott
Smith, 1931), p. 198, fig. 358. According to information provided by C. T. Loo, the vase was
brought to England by Russell in the 1920s, see John A. Pope' curatorial remark, dated 1949, in
object file.
[2] According to information provided by C. T. Loo to John A. Pope, see J. A. Pope's curatorial
remark, 1949, in object file.
[3] See C. T. Loo's stockcard no. NYL-44/562: "Porcelain bottle, eggshell, famille rose flowers
decorations on a pink background. Ku Yueh Hsuan style," Frank Caro Archive, Institute of Fine
Arts, New York University, copy in object file.
[4] See Loo's stockcard cited above.
[5] See C. T. Loo's invoice, dated January 19, 1945, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
11/17/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
92 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
The Buddhas Prabhutaratna and Sakyamuni seated sided by side
Sui dynasty, dated 609
China
Gilt bronze
H x W x D: 21.8 x 14.1 x 5.5 cm (8 9/16 x 5 9/16 x 2 3/16 in)
Purchase
Freer Gallery of Art F1945.30a-b
Provenance:
From at least 1938
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least October 1938 [1]
From at least 1944 to 1945
Tonying & Company, New York, from at least March 8, 1944 [2]
From 1945
Freer Gallery of Art, purchased from Tonying & Company on May 24, 1945 [3]
Notes:
[1] Mrs. Holmes lent the sculpture to the Metropolitan Museum of Art in New York in 1938, see
Chinese Bronzes of the Shang (1766-1122 B. C.) through the T’ang Dynasty (A.D. 618-906)
(New York: Metropolitan Museum of Art, October 19-November 27, 1938), cat. 275. See also A.
G. Wenley’s letter to C. F. Yau, Tonying and Co., dated May 22, 1945, copy in object file, in
which Wenley confirms acquisition of the sculpture and states that it came from Mrs. Christian R.
Holmes’s collection.
[2] See “List of Objects Contemplated for Purchase by the Freer Gallery of Art,” approved by the
Secretary of the Smithsonian Institution on March 8, 1944, copy in object file.
[3] See Tonying & Company’s invoice, dated May 24, 1945, in which the object figures under no.
B. 58: “Gilt bronze Shrine / Six Dynasties,” copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
93 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Buddha Bhaisajyaguru (Yao shih fo)
Period of Division, Northern Wei dynasty, ca. 500
China
Gilt bronze
H: 12.7 cm (5 in)
Purchase
Freer Gallery of Art F1945.31
Provenance:
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island [1]
From at least 1944 to 1945
Tonying & Company, New York, from at least March 8, 1944 [2]
From 1945
Freer Gallery of Art, purchased from Tonying & Company on May 24, 1945 [3]
Notes:
[1] See A. G. Wenley’s letter to C. F. Yau, Tonying and Co., dated May 22, 1945, copy in object
file, in which Wenley confirms acquisition of the sculpture and states that it came from Mrs.
Christian R. Holmes’s collection.
[2] See “List of Objects Contemplated for Purchase by the Freer Gallery of Art,” approved by the
Secretary of the Smithsonian Institution on March 8, 1944, copy in object file.
[3] See Tonying & Company’s invoice, dated May 24, 1945, in which the object figures under no.
B. 11: “Gilt Bronze figure of Buddha, standing on Lotus Pedestal / Six Dynasties,” copy in object
file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
94 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Horse and Groom, after Li Gonglin
臨李公麟〈人馬圖〉
Artist: Zhao Yong (1291-1361)
Yuan dynasty, 1347
China
Ink and color on paper
H x W (image): 31.5 x 73.5 cm (12 3/8 x 28 15/16 in)
Purchase
Freer Gallery of Art F1945.32
Provenance:
From at least 1764 to 1796
Hongli, the Qianlong emperor (1711-1799; reigned 1735-96), from at least 1764 [1]
From 1796 to 1820
Yongyan, the Jiaqing emperor (1760-1820; reigned 1796-1820), from 1796 [2]
About 1882
Possibly Zuo’an, in 1882 [3]
About 1930
Li Junzhi (1868- ca. 1930?), courtesy name (zi) Xiangquan, Ningjin, Hebei province, China, in
about 1930 [4]
Probably from 1936 to 1945
C. T. Loo & Co., New York and Paris, probably from 1936, not later than December 1938 [5]
From 1945
Freer Gallery of Art, purchased from C. T. Loo on June 9, 1945 [6]
Notes:
[1] The frontispiece is inscribed and signed by the Qianlong emperor and has three imperial
seals. The painting bears an inscription with the Qianlong emperor’s poem, his signature and the
date corresponding with February 2-March 2, 1764, accompanied by one imperial seal.
Additionally, twelve Qianlong emperor’s collector seals are located on the painting. See
documentation for the painting in “Song and Yuan Dynasty Painting and Calligraphy”,
http://www.asia.si.edu/SongYuan/F1945.32/F1945-32.Documentation.pdf. Six pre-Qianlong
collector seals remain unidentified.
[2] The Jiaqing emperor’s three collector seals are located on the painting. One of the Jiaqing
seals indicates that the painting is included in the third installment of the imperial catalogue, the
Shiqu baoji sanbian, compiled during Jiaqing emperor’s reign in 1816. The painting also bears
two seals referring to the Chunhuaxuan, (Belvedere of Pure Development), a hall the emperor
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 12/7/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
95 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
constructed in 1770 on the grounds of the summer palace at Yuanmingyuan. Presumably, the
painting was moved to this hall shortly after its construction and was kept there for the remainder
of Qianlong’s life. The painting may have been one of the objects from the imperial collections
that entered the Beijing art market after the destruction of the palace by the British and French
forces in October 1860, see “Song and Yuan Dynasty Painting and Calligraphy,” cited in note 1.
Two post-Jiaqing collector seals remain unidentified.
[3] Zuo’an (studio name) is the author of an inscription on the outside label slip. It is not known
whether Zuo’an was the owner of the scroll or only a hired calligrapher. The inscription includes
the date, which corresponds probably with January 20-February 17, 1882, see “Song and Yuan
Dynasty Painting and Calligraphy,” cited in note 1.
[4] According to information in Gao Shixian, Zhao Zhongmu “Lin Li Boshi Renma juan”
(Shanghai: Zhonghua shuju, ca. 1930?). Li was a landscape painter and an author of an
anthology of poetry by painters of the Qing dynasty, Qing huajia shishi (1930).
[5] See C. T. Loo’s stockcard no. 65067: “Scroll painting on paper in colors. Man in a red coat
standing by a black horse. Followed by an appreciation by the Emperor Ch’ien Lung by Chao
Yung – YUAN,” Frank Caro Archive, Institute of Fine Arts, New York University, copy in object
file. A note on the stockcard indicates that the painting could have been inventoried as early as
1936. In December 1938, the painting was sent to the Freer Gallery and was returned by the end
of that month. Between 1939 and 1944, the painting was offered to a number of private collectors
and galleries in United States, Paris, and London. Loo loaned it to an exhibition at the Vassar
College Art Gallery in 1940, see Chinese Painting: Seventy-Fifth Anniversary Exhibition
(Poughkeepsie, May 22-June 10, 1940), cat. 22, pl. IVB. In January 1944, the painting was
shipped to the Freer Gallery.
[6] See C. T. Loo’s invoice, dated June 9, 1945, copy in object file. According to Loo’s stockcard,
the painting was purchased by the Freer Gallery on June 20, 1945.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 12/7/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
96 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bottle
Qing dynasty, Yung Cheng reign, 1723-1735
China, Jiangxi province, Jingdezhen
Porcelain with cobalt pigment under colorless glaze and enamels over glaze
(doucai format)
H x W: 10.4 x 5.8 cm (4 1/8 x 2 5/16 in)
Purchase
Freer Gallery of Art F1945.39a-c
Provenance:
From 1941 to 1945
C. T. Loo & Co., New York, from September 1941[1]
From 1945
Freer Gallery of Art, purchased from C. T. Loo on November 29, 1945 [2]
Notes:
[1] See C. T. Loo's sockcard no. JD-41/13 where the vase is inventoried together with
F1945.40a-b: "Vase porcelain Yung Chêng. Pair of small porcelain vases, decoration "t'ou tsai"
on white background; with motives of flowers, bamboos and pine, dragons et waves designs.
Yung Chêng," Frank Caro Archive, Institute of Fine Arts, New York University, copy in object file.
The vase was brought to the Freer Gallery for examination on December 30, 1944.
[2] See C. T. Loo's invoice, dated November 29, 1945, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
11/23/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
97 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bottle
Qing dynasty, Yung Cheng reign, 1723-1735
China, Jiangxi province, Jingdezhen
Porcelain with cobalt pigment under colorless glaze and enamels over glaze
(doucai format)
H x W: 10.5 x 5.8 cm (4 1/8 x 2 5/16 in)
Purchase
Freer Gallery of Art F1945.40a-b
Provenance:
From 1941 to 1945
C. T. Loo & Co., New York, from September 1941[1]
From 1945
Freer Gallery of Art, purchased from C. T. Loo on November 29, 1945 [2]
Notes:
[1] See C. T. Loo's sockcard no. Jd-41/13 where the vase is inventoried together with
F1945.49a-b: "Vase porcelain Yung Chêng. Pair of small porcelain vases, decoration "t'ou tsai"
on white background; with motives of flowers, bamboos and pine, dragons et waves designs.
Yung Chêng," Frank Caro Archive, Institute of Fine Arts, New York University, copy in object file.
The vase was brought to the Freer Gallery for examination on December 30, 1944.
[2] See C. T. Loo's invoice, dated November 29, 1945, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
11/23/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
98 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Mirror with Queen Mother of the West (Xiwangmu) and Duke Father of
the East (Dongwanggong)
Eastern Han dynasty, 25-220
China
Iron with gold sheet and traces of silk
H x W x D: 1.8 x 16.6 x 16.6 cm (11/16 x 6 9/16 x 6 9/16 in)
Purchase
Freer Gallery of Art F1946.7
Provenance:
From at least 1926
Yamanaka & Company, New York, from at least 1926 [1]
From at least 1929
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [2]
From at least 1945 to 1946
Tonying & Company, New York, from at least January 17, 1945 [3]
From 1946
Freer Gallery of Art, purchased from Tonying & Company on February 18, 1946 [4]
Notes:
[1] See Yamanka & Company’s exhibition catalogue, Exhibition of Early Chinese Bronzes, Stone
Sculptures and Potteries (New York: Yamanaka & Co., 1926), cat. 26 (ill.). This source cites a
report according to which the mirror was excavated “on June 29 in the 14th year of the Republic
(1925)”, from the tomb of the Empress-wife of the Emperor Guangwu, located at Mangshan,
Luoyang, Henan province. It is impossible to verify the statements of this report. According to
Anneliese Bulling, the high quality gold sheet and the elegant design of the mirror support the
assumption that it was made for the wife of an emperor or for a member of his court. See A.
Bulling, “The Decoration of Mirrors of the Han Period: A Chronology,” Artibus Asiae:
Supplementum vol. 20 (1960), pp. 88-89, pl. 73.
[2] See Yamanaka & Company, To-So Seikwa: Select relics of the Tang and Sung Dynasties
from the Collections in Europe and America (Osaka, 1929), vol. 2, pl. 48. The publication cites
the report quoted in Yamanka 1926 but interprets the date of excavation as June 29, 1924.
[3] The mirror is included on “List of Objects Contemplated for Purchase by the Freer Gallery of
Art,” approved by A. Wetmore, the Secretary of the Smithsonian Institution, on January 17, 1945,
copy in object file.
[4] See Tonying & Company’s invoice, dated February 18, 1946, in which the mirror figures under
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
99 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
no. G. 6: “Chinese Bronze Mirror with gold back, decorated with chariots, men, birds and flowers /
Han,” copy in object file. See also A. G. Wenley’s letter to C. F. Yau, Tonying & Co., New York,
dated February 15, 1946, copy in object file, in which Wenley confirms the acquisition of the
mirror for the Freer Gallery’s collection.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
100 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Garment hook (daigou) with dragons and taotie
Western Han dynasty, 206 B.C.E.-8 C.E.
China
Gilt bronze with jade
H x W: 19.9 x 2.1 cm (7 13/16 x 13/16 in)
Purchase
Freer Gallery of Art F1946.8a-b
Provenance:
From at least 1933
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1933 [1]
From at least 1944 to 1946
Tonying & Company, New York, from at least February 4, 1944 [2]
From 1946
Freer Gallery of Art, purchased from Tonying & Company on February 18, 1946 [3]
Notes:
[1] See Umehara Sueji, Shina-kodo Seikwa (Selected Relics of Ancient Chinese Bronzes from
Collections in Europe and America): Part III Miscellaneous Objects vol. 1 (Osaka: Yamanaka &
Co., 1933), pl. 69. Mrs. Holmes lent the object to the International Exhibition of Chinese Art at
Royal Academy of Fine Arts in London in 1935-36, see Catalogue of the International Exhibition
of Chinese Art, exh. cat. (London: Royal Academy of Arts, November 1935-March 7, 1936), cat.
571 (ill.).
[2] The bronze is included on “List of Objects Contemplated for Purchase by the Freer Gallery of
Art,” approved by C. G. Abbot, the Secretary of the Smithsonian Institution on February 4, 1944,
copy in object file.
[3] See Tonying & Company’s invoice, dated February 18, 1946, in which the bronze figures
under no. B 59: “Gilt Bronze Buckle, inlaid with green jade, dragon decoration on both sides /
Han,” copy in object file. See also A. G. Wenley’s letter to C. F. Yau, Tonying & Co., New York,
dated February 15, 1946, copy in object file, in which Wenley confirms the acquisition of the
bronze for the Freer Gallery’s collection.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
101 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Toiletry box (lian) with cover
Han dynasty, 2nd-1st century B.C.E.
China
Bronze
H x W: 12 x 15.2 cm (4 3/4 x 6 in)
Purchase
Freer Gallery of Art F1946.11
Provenance:
From 1941 to 1946
C. T. Loo & Co., New York from April 1941 [1]
From 1946
Freer Gallery of Art, purchased from C. T. Loo on March 18, 1946 [2]
Notes:
[1] See C. T. Loo's stockcard no. 87101: "Bronze round box CHIN with cover decorated in cut in
designs of fighting animals, and two bands of lozenges around rim and foot. cover with a loop.
knob raising in the center of a four petal flower and, fighting animal turquoise patina. Late Chou,"
Frank Caro Archive, Institute of Fine Arts, New York University, copy in object file. In April 1941,
the object was brought to the Freer Gallery for examination and later returned to C. T. Loo. The
same year it was taken by Loo to Alfred F. Pillsbury but subsequently was returned. In December
1945, the vase was sent again to the Freer Gallery.
[2] See C. T. Loo's invoice, dated March 18, 1946, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
11/23/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
102 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Tripod (ding) with masks and cicadas
Late Shang dynasty, Middle or late Anyang period, ca. 12th-11th century B.C.E.
China
Bronze
H x W: 35.6 x 28.5 cm (14 x 11 1/4 in)
Purchase
Freer Gallery of Art F1946.31
Provenance:
From 1941 to 1946
C. T. Loo & Co., New York, from April 1941 [1]
From 1946
Freer Gallery of Art, purchased from C. T. Loo on October 31, 1946 [2]
Notes:
[1] See C. T. Loo's stockcard no. 87095: "Bronze tripod CHOU / Large vessel Ting with two
upright handles and on three straight legs. Decorated under the rim by a band of t'ao tieh mask
on a spiral ground. On the body a band of triangles with cicadas in relief. Legs ornated with
stylized cicadas. Green patina. Inscribed. Shang," Frank Caro Archive, Institute of Fine Arts,
New York University, copy in object file. The object was offered to two American collectors, first
to "Mr. Booth" and then to Alfred F. Pillsbury in 1941, but was subsequently returned to Loo. In
1943 the vessel was brought to the Freer Gallery and was returned to Loo after two months. On
January 30, 1945, the vessel was sent again to the Freer Gallery.
[2] See C. T. Loo's invoice, dated October 31, 1946, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 3/16/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
103 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lidded cylindrical tripod cup with dragon interlace
Western Han dynasty, 206 B.C.E.- 9 C.E.
China
Jade (nephrite)
H x W: 7.5 x 2.9 cm (2 15/16 x 1 1/8 in)
Purchase
Freer Gallery of Art F1947.10a-d
Provenance:
From at least 1939 to 1947
C. T. Loo & Co., New York, from at least January 10, 1939 [1]
From 1947
Freer Gallery of Art, purchased from C. T. Loo on May 7, 1947 [2]
Notes:
[1] The object was lent by C. T. Loo to the Arden Gallery in 1939; see 3000 Years of Chinese
Jade, exh. cat. (New York: Arden Gallery, January 10 - February 11, 1939), cat. 184 (ill.). See
also C. T. Loo's stockcard no. 80121: "Jade deep cylindrical tripod cup with one handle and a
cover surmounted by three small curled animals on a geometrical pattern. The cup is decorated
with two dragons and a t'ao t'ieh mask handle on a geometrical pattern. HAN," Frank Caro
Archive, Institute of Fine Arts, New York University, copy in object file. In June 1944, the cup was
brought to the Freer Gallery for examination.
[2] See C. T. Loo's invoice, dated May 7, 1947, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 3/16/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
104 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lidded incense burner (xianglu) with geometric decoration and
narrative scenes
Early Western Han dynasty, ca. 2nd century B.C.E.
China, Henan or Hebei province
Bronze with gold, silver, turquoise, and carnelian inlay
H x W: 17.9 x 10 cm (7 1/16 x 3 15/16 in)
Purchase
Freer Gallery of Art F1947.15a-b
Provenance:
To 1947
Jun Tsei Tai (1911-1992), Shanghai, to February 1947 [1]
1947
C. T. Loo & Co., New York, purchased from J. T. Tai in February 1947 [2]
From 1947
Freer Gallery of Art, purchased from C. T. Loo on July 8, 1947 [3]
Notes:
[1] See C. T. Loo's stockcard no. NYL-7/982: "Bronze hill-censer on a wide spreading foot with
three dragons in relief inlaid with gold, silver and various stones. Body decorated with bands of
abstract motives in gold, silver with turquoise and rubis. Cover with fine rows of hills with hunting
scenes, fighting animals and birds in gold, silver and hard stones inlaid, many stones missing
Late Chou," Frank Caro Archive, Institute of Fine Arts, New York University, copy in object file.
According to an annotation on the stockcard, Loo purchased the bronze from J. T. Tai.
[2] See C. T. Loo's stockcard cited in note 1.
[3] See C. T. Loo's invoice, date July 8, 1947, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 3/16/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
105 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Ritual wine container (hu) with masks and dragons
Late Shang dynasty, Middle Anyang period, ca. 12th century B.C.E.
China
Bronze
H x W x D: 38.1 x 27.4 x 22.7 cm (15 x 10 13/16 x 8 15/16 in)
Purchase
Freer Gallery of Art F1948.1
Provenance:
From 1947 to 1948
C. T. Loo & Co., New York, from at least May 6, 1947 [1]
From 1948
Freer Gallery of Art, purchased from C. T. Loo on June 21, 1948 [2]
Notes:
[1] See C. T. Loo's stockcard no. 87520: "Bronze ritual vessel large "HU" on a high oval rim foot.
Silvery and rough green patina. SHANG," Frank Caro Archive, Institute of Fine Arts, New York
University, copy in object file. According to an annotation on the stockcard, the bronze was
imported from China in 1947. On May 6, 1947, it was taken by Loo to the Freer Gallery for
examination.
[2] See C. T. Loo's invoice, dated June 21, 1948, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 3/16/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
106 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Portrait of Wang Huan
王渙像
Northern Song dynasty, ca. 1056
China
Ink and color on silk
H x W (image): 41.7 x 31.7 cm (16 7/16 x 12 1/2 in)
Purchase
Freer Gallery of Art F1948.10
Provenance:
From at least 1862 to 1868
Di Xuegeng (courtesy name Mannong) (1820-after 1897) [1]
From 1868 to not later than 1892
Wang, given by Di Xuegeng in 1868 [2]
From at least 1892
Shengyu (1850-1900), purchased from Wang prior to 1892 [3]
To about 1916
Wanyan Jingxian (ca. 1848-50 – ca. 1927-29) [4]
About 1916
Laiyuan Company, Shanghai [5]
From 1916 to 1948
Tonying and Company, New York [6]
From 1948
Freer Gallery of Art, purchased from C. F. Yau (Yao Shulai), Tonying and Company [7]
Notes:
[1] The painting was a part of an album of five portraits produced around the year 1056 and
collectively known as Suiyang wulao tu (Five Elders of Suiyang). Two other portraits from the
same set are in the collection of Yale University Art Gallery. The fifth portrait is in the collection of
Metropolitan Museum of Art in New York. The wooden covers of the album, the title page and a
number of colophons relating to the portraits are also in the Metropolitan Museum. The
information included in the colophons in the Metropolitan Museum collection along with those
recorded in the catalogue Tiewang shanhu (1600), makes it possible to reconstruct the history of
the painting. See Thomas Lawton, Chinese Figure Painting (Washington, DC: Smithsonian
Institution, 1973), p. 164-70 and “Song and Yuan Painting and Calligraphy,”
http://www.asia.si.edu/songyuan/F1948.10/F1948-10.Documentation.pdf, accessed on November
20, 2012.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/16/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
107 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[2] Di Xuegeng was forced to give the painting to the official named Wang. See Lawton 1973,
cited in note 1.
[3] See Lawton 1973, cited in note 1.
[4] The painting along with four other portraits from the set was reproduced in F. S. Kwen, A
Descriptive Catalogue of Ancient and Genuine Chinese Paintings (Guhua liuzhen) (Shanghai,
Laiyuan Company, 1916), cat. no. 60: “The Five Old Men of Suiyang (Album containing five
pictures).” The catalogue listed the set as owned by the Manchu collector, Wanyan Jingxian.
[5] See Kwen’s catalogue, cited in note 4. The catalogue illustrated sixty paintings from various
collections in China which were delivered to Charles Lang Freer for his purchase consideration by
Kwen’s associate, C. T. Loo in October 1916. Freer, however, did not make any purchases and
shortly thereafter the album was broken up. See Freer’s letters to Agnes E. Meyer, dated to
October 10, 1916 and October 24, 1916, Agnes E. Meyer Papers, Library of Congress.
[6] C. F. Yau (Yao Shulai) was a manager at the Tonying & Company’s branch in New York.
According to Yau’s statement, the Tonying & Company was the original American dealer for the
Suiyang wulao tu album, see Li Lin-ts’an, “The Five Old Men of Sui-yang,” National Palace
Museum Bulletin 8, no. 5 (November -December 1973), p. 10 and Ingrid Larsen, “‘Don’t Send
Ming or Later Pictures’: Charles Lang Freer and the First Major Collection of Chinese Painting in
an American Museum,” Ars Orientalis vol. 40 (2011), p. 26, 37, note 135.
[7] See A. G. Wenley’s letter to C. F. Yau, Tonying & Company, dated to July 12, 1948, copy in
object file, and Tonying & Company’s invoice, listing two paintings, F1948.10 and F1948.11,
dated to July 14, 1948, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/16/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
108 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Portrait of Feng Ping
馮平像
Northern Song dynasty, ca. 1056
China
Ink and color on silk
H x W (image): 42.4 x 32.6 cm (16 11/16 x 12 13/16 in)
Purchase
Freer Gallery of Art F1948.11
Provenance:
From at least 1862 to 1868
Di Xuegeng (courtesy name Mannong) (1820-after 1897) [1]
From 1868 to not later than 1892
Wang, given by Di Xuegeng in 1868 [2]
From at least 1892
Shengyu (1850-1900), purchased from Wang prior to 1892 [3]
To about 1916
Wanyan Jingxian (ca. 1848-50 – ca. 1927-29) [4]
About 1916
Laiyuan Company, Shanghai [5]
From 1916 to 1948
Tonying and Company, New York [6]
From 1948
Freer Gallery of Art, purchased from C. F. Yau (Yao Shulai), Tonying and Company [7]
Notes:
[1] The painting was a part of an album of five portraits produced around the year 1056 and
collectively known as Suiyang wulao tu (Five Elders of Suiyang). Two other portraits from the
same set are in the collection of Yale University Art Gallery. The fifth portrait is in the collection of
Metropolitan Museum of Art in New York. The wooden covers of the album, the title page and a
number of colophons relating to the portraits are also in the Metropolitan Museum. The
information included in the colophons in the Metropolitan Museum collection along with those
recorded in the catalogue Tiewang shanhu (1600), makes it possible to reconstruct the history of
the painting. See Thomas Lawton, Chinese Figure Painting (Washington, DC: Smithsonian
Institution, 1973), p. 164-70 and “Song and Yuan Painting and Calligraphy,”
http://www.asia.si.edu/songyuan/F1948.11/F1948-11.Documentation.pdf, accessed on November
20, 2012.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/16/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
109 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[2] Di Xuegeng was forced to give the painting to the official named Wang. See Lawton 1973,
cited in note 1.
[3] See Lawton 1973, cited in note 1.
[4] The painting along with four other portraits from the set was reproduced in F. S. Kwen, A
Descriptive Catalogue of Ancient and Genuine Chinese Paintings (Guhua liuzhen) (Shanghai,
Laiyuan Company, 1916), cat. no. 60: “The Five Old Men of Suiyang (Album containing five
pictures).” The catalogue listed the set as owned by the Manchu collector, Wanyan Jingxian.
[5] See Kwen’s catalogue, cited in note 4. The catalogue illustrated sixty paintings from various
collections in China which were delivered to Charles Lang Freer for his purchase consideration by
Kwen’s associate, C. T. Loo in October 1916. Freer, however, did not make any purchases and
shortly thereafter the album was broken up. See Freer’s letters to Agnes E. Meyer, dated to
October 10, 1916 and October 24, 1916, Agnes E. Meyer Papers, Library of Congress.
[6] C. F. Yau (Yao Shulai) was a manager at the Tonying & Company’s branch in New York.
According to Yau’s statement, the Tonying & Company was the original American dealer for the
Suiyang wulao tu album, see Li Lin-ts’an, “The Five Old Men of Sui-yang,” National Palace
Museum Bulletin 8, no. 5 (November -December 1973), p. 10 and Ingrid Larsen, “‘Don’t Send
Ming or Later Pictures’: Charles Lang Freer and the First Major Collection of Chinese Painting in
an American Museum,” Ars Orientalis vol. 40 (2011), p. 26, 37, note 135.
[7] See A. G. Wenley’s letter to C. F. Yau, Tonying & Company, dated to July 12, 1948, copy in
object file, and Tonying & Company’s invoice, listing two paintings, F1948.10 and F1948.11,
dated to July 14, 1948, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/16/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
110 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a disk (yuan) with raised knobs
Late Eastern Zhou dynasty, Warring States period, 475-221 B.C.E.
China, Probably Jincun, Henan province
Jade (nephrite)
Diam x D: 12.4 x 0.6 cm (4 7/8 x 1/4 in)
Purchase
Freer Gallery of Art F1948.12
Provenance:
To 1943
Yamanaka & Company, New York, to January 1943 [1]
From 1943 to 1948
C. T. Loo & Co., New York, purchased from Yamanaka & Company in January 1943 [2]
From 1948
Freer Gallery of Art, purchased from C. T. Loo on July 14, 1948 [3]
Notes:
[1] See C. T. Loo's stockcard no. NYL-43/481: "Round Jade Pi with a large hole and decorated
on both sides with a field of small coils, creamy grey patina. Later Chou Diam 5 (in a wooden
box)," Frank Caro Archive, Institute of Fine Arts, New York University, copy in object file.
According to an annotation on the stockcard, the pendant was purchased from Yamanaka &
Company.
[2] See C. T. Loo's stockcard cited in note 1. On June 1, 1944, the pendant was taken by Loo to
the Freer Gallery for examination.
[3] See C. T. Loo's invoice, dated July 14, 1948, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
111 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Garment hook (daigou)
Late Eastern Zhou dynasty, Warring States period, 4th-3rd century B.C.E.
China
Jade (nephrite)
H x W x D: 13.2 x 1.8 x 2.3 cm (5 3/16 x 11/16 x 7/8 in)
Purchase
Freer Gallery of Art F1948.13
Provenance:
To 1943
Yamanaka & Company, New York, to January 1943 [1]
From 1943 to 1948
C. T. Loo & Co., New York, purchased from Yamanaka & Company in January 1943 [2]
From 1948
Freer Gallery of Art, purchased from C. T. Loo on July 14, 1948 [3]
Notes:
[1] See C. T. Loo's stockcard no. NYL-43/482: "Jade buckle. Finely carved buckle in a yellowish
ivory colour covered with a field of small coils and a finely penciled abstract motif on each side
and terminated with horned dragon's head. Late Chou," Frank Caro Archive, Institute of Fine
Arts, New York University, copy in object file. According to an annotation on the stockcard, the
object was purchased from Yamanaka & Company.
[2] See C. T. Loo's stockcard cited in note 1. On June 1, 1944, the object was taken by Loo to the
Freer Gallery for examination.
[3] See C. T. Loo's invoice, dated July 14, 1948, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
112 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Fitting in the form of a quadruped with interlace
Late Eastern Zhou dynasty, Warring States period, 5th century B.C.E.
China, Probably Shanxi province, Liyu
Bronze
H x W: 11.8 x 20.4 cm (4 5/8 x 8 1/16 in)
Purchase
Freer Gallery of Art F1948.24
Provenance:
Excavated at Li-yü, Shanxi province, China, possibly in 1923 [1]
From 1947 to 1948
C. T. Loo & Co., New York, from August 1947 [2]
From 1948
Freer Gallery of Art, purchased from C. T. Loo on December 2, 1948 [3]
Notes:
[1] The animal might be identical with one of the two animals published by Georges Salles in
1934, see Georges Salles, "Les bronzes de Li-Yu," Revue des Arts Asiatiques vol. 8 (1934), pp.
156-7, pl. 50a. Salles described the two animals as at the time still held in Shanxi. See also
Thomas Lawton, Chinese Art of the Warring States Period: Change and Continuity, 480-222 B.
C. (Washington, DC: Freer Gallery of Art, 1982), pp. 78-79, no. 35.
[2] See C. T. Loo's stockcard no. CHL 7/936: "Small bronze animal perfect green patina Late
Chou "li Yu," Frank Caro Archive, Institute of Fine Arts, New York University, copy in object file.
According to an annotation on the stockcard, the object was imported directly from China. On
January 20, 1948, the object was taken by Loo to the Freer Gallery for examination.
[3] See C. T. Loo's invoice, dated December 2, 1948, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 3/16/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
113 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Garment hook (daigou) in the form of a Chinese lute with dragons
Late Eastern Zhou dynasty, Warring States period, ca. 4th century B.C.E.
China
Bronze with gold and silver inlay
H x W x D: 22.9 x 2.5 x 4.2 cm (9 x 1 x 1 5/8 in)
Purchase
Freer Gallery of Art F1948.26
Provenance:
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island [1]
From at least 1943 to 1948
Tonying & Company, New York, from at least 1943 [2]
From 1948
Freer Gallery of Art, purchased from Tonying & Company on December 8, 1948 [3]
Notes:
[1] According to an undated and unattributed note in the object file.
[2] The object was brought to the Freer Gallery for examination by C. F. Yau in 1943, see A. G.
Wenley’s letter to C. F .Yau, Tonying & Company, dated December 6, 1948, in object file.
[3] See Tonying & Company’s invoice, dated December 8, 1948, in which the object figures under
no. B. 60: “Gilt Bronze Buckle, with silver inlay dragon and other designs / Han,” copy in object
file. See also “List of Objects Contemplated for Purchase by the Freer Gallery of Art,” approved
by C. G. Abbot, the Secretary of the Smithsonian Institution, on February 4, 1944, copy in object
file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
114 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Garment hook (daigou) with geometric decoration
Late Eastern Zhou dynasty, Warring States period, 5th-4th century B.C.E.
China
Gilt bronze inlaid with turquoise
H x W: 21.2 x 1.7 cm (8 3/8 x 11/16 in)
Purchase
Freer Gallery of Art F1948.27
Provenance:
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island [1]
From at least 1943 to 1948
Tonying & Company, New York, from at least 1943 [2]
From 1948
Freer Gallery of Art, purchased from Tonying & Company on December 8, 1948 [3]
Notes:
[1] According to an undated and unattributed note in the object file.
[2] The object was brought to the Freer Gallery for examination by C. F. Yau in 1943, see letter
from A. G. Wenley to C. F .Yau, Tonying & Company, dated December 6, 1948, copy in object
file.
[3] See Tonying & Company’s invoice, dated December 8, 1948, in which the object figures under
no. B. 165-1: “Bronze Belt Hook, inlaid with turquoise and gold / Han,” copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
115 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lidded ritual wine container (hu) with masks and dragons
Late Shang dynasty, Early Anyang period, ca. 13th century B.C.E.
China, Henan province, Anyang
Bronze
H x W: 17.6 x 11.5 cm (6 15/16 x 4 1/2 in)
Purchase
Freer Gallery of Art F1949.5a-b
Provenance:
From 1947 to 1949
C. T. Loo & Co., New York, from August 1947 [1]
From 1949
Freer Gallery of Art, purchased from C. T. Loo on May 10, 1949 [2]
Notes:
[1] See C. T. Loo's stockcard no. CHL 7/942: "Small bronze hu with cover," Frank Caro Archive,
Institute of Fine Arts, New York University, copy in object file. According to an annotation on the
stockcard, the object was imported directly from China. In January 1948, Loo brought the object
to the Freer Gallery for examination.
[2] See C. T. Loo's invoice, dated May 10, 1949, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 3/2/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
116 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Belt hook (daigou) with dragon interlace
Late Eastern Zhou dynasty, Warring States period, 4th century B.C.E.
China
Bronze inlaid with gold and silver
H x W x D: 12.4 x 6.1 x 3 cm (4 7/8 x 2 3/8 x 1 3/16 in)
Purchase
Freer Gallery of Art F1949.6
Provenance:
To 1948
Jun Tsei Tai (1911-1992), Shanghai, to February 1948 [1]
From 1948 to 1949
C. T. Loo & Co., New York, purchased from J. T. Tai in February 1948 [2]
From 1949
Freer Gallery of Art, purchased from C. T. Loo on May 10, 1949 [3]
Notes:
[1] See C. T. Loo's stockcard no. 46086: "Bronze buckle, curved flat spoon shape with dragon's
head hook decorated with intertwined dragons in gold inlaid on silver ground, filled in with small
dots. Abstract motives on sides in similar inlaid. Late Chou," Frank Caro Archive, Institute of Fine
Arts, New York University, copy in object file. According to an annotation on the stockcard, Loo
purchased the bronze from J. T. Tai in China.
[2] See C. T. Loo's stockcard cited above. In June 1948, the object was taken by Loo to the Freer
Gallery for examination.
[3] See C. T. Loo's invoice, dated May 10, 1949, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 3/16/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
117 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Square lidded wine ewer (fangguang) with taotie, dragons, and birds
Early Western Zhou dynasty, ca. 1050-975 B.C.E.
China, Henan province, Luoyang
Bronze
H x W x D: 22.9 x 10.7 x 24.6 cm (9 x 4 3/16 x 9 11/16 in)
Purchase
Freer Gallery of Art F1949.10a-b
Provenance:
From at least 1948 to 1949
C. T. Loo & Co., New York, from at least January 22, 1948 [1]
From 1949
Freer Gallery of Art, purchased from C. T. Loo on July 1, 1949 [2]
Notes:
[1] See C. T. Loo's Approval List, dated February 3, 1948, with an annotation that the listed
objects had been left by Loo at the Freer Gallery on January 22, 1948.
[2] See C. T. Loo's invoice, dated July 1, 1949, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 3/2/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
118 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Garment hook (daigou) with interlace
Late Eastern Zhou dynasty, Warring States period, 5th-4th century B.C.E.
China
Bronze inlaid with gold
H x W x D: 10.6 x 1.8 x 2.2 cm (4 3/16 x 11/16 x 7/8 in)
Purchase
Freer Gallery of Art F1949.24
Provenance:
To 1948
Jun Tsei Tai (1911-1992), Shanghai, to November 1948 [1]
From 1948 to 1949
C. T. Loo & Co., New York, purchased from J. T. Tai in November 1948 [2]
From 1949
Freer Gallery of Art, purchased from C. T. Loo on November 7, 1949 [3]
Notes:
[1] See C. T. Loo's stockcard no. 46141: "Gild bronze buckle, curved rounded body with dragon's
head hook, entirely covered with floral motives in gold inlaid. Late Chou," Frank Caro Archive,
Institute of Fine Arts, New York University, copy in object file. According to an annotation on the
stockcard, Loo purchased the object from J. T. Tai in China.
[2] See C. T. Loo's stockcard cited in note 1. On February 21, 1949, the object was sent to the
Freer Gallery for examination.
[3] See C. T. Loo's invoice, dated November 7, 1949, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 3/17/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
119 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Garment hook (daigou) with geometric decoration
Late Eastern Zhou dynasty, Warring States period, ca. 5th-4th century B.C.E.
China
Bronze inlaid with gold and turquoise
H x W x D: 19.9 x 1.4 x 4 cm (7 13/16 x 9/16 x 1 9/16 in)
Purchase
Freer Gallery of Art F1949.25
Provenance:
To 1949
Jun Tsei Tai (1911-1992), Shanghai, to March 1949 [1]
1949
C. T. Loo & Co., New York, purchased from J. T. Tai in March 1949 [2]
From 1949
Freer Gallery of Art, purchased from C. T. Loo on November 7, 1949 [3]
Notes:
[1] See C. T. Loo's stockcard no. 46344: "Bronze buckle, long curved buckle inlaid with gold and
turquoise, Late Chou," Frank Caro Archive, Institute of Fine Arts, New York University, copy in
object file. According to an annotation on the stockcard, Loo purchased the object from J. T. Tai.
[2] See C. T. Loo's stockcard cited in note 1. On February 21, 1949, the object was sent to the
Freer Gallery for examination.
[3] See C. T. Loo's invoice, dated November 7, 1949, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 3/16/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
120 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Jun ware vase
Northern Song or Jin dynasty, 12th century
China, Henan province, Yuxian
Jun ware
Stoneware with Jun glaze and copper pigment
H x W: 28 x 12.8 cm (11 x 5 1/16 in)
Purchase
Freer Gallery of Art F1950.8
Provenance:
From 1947 to 1950
C. T. Loo & Co., New York, from November 1947 [1]
From 1950
Freer Gallery of Art, purchased from C. T. Loo on June 28, 1950 [2]
Notes:
[1] See C. T. Loo's stockcard no. CHL 7/939: "Porcellanous bottle vase, on high foot ring, pear
shaped body with tall tubular neck expanding towards the lip. Entirely coated with a grayish blue
glaze with large purplish red splashes imitating clouds so called sky after the rain. Chun ware
SUNG," Frank Caro Archive, Institute of Fine Arts, New York University, copy in object file.
According to an annotation on the stockcard, the object was acquired in China. On January 5,
1950, it was taken by Loo to the Freer Gallery for examination.
[2] See C. T. Loo's invoice, dated June 28, 1950, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
11/23/2009)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
121 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Dagger-axe (ge) with dragons
Late Shang dynasty, Early Anyang period, ca. 1300-1200 B.C.E.
China, Henan province, Anyang
Bronze with turquoise inlay
H x W: 9.6 x 41.1 cm (3 3/4 x 16 3/16 in)
Purchase
Freer Gallery of Art F1950.9
Provenance:
Reportedly excavated in Anyang, Henan province, China [1]
From 1947 to 1950
C. T. Loo & Co., New York, from 1947 [2]
From 1950
Freer Gallery of Art, purchased from C. T. Loo on June 28, 1950 [3]
Notes:
[1] According to information provided by C. T. Loo, see A. G. Wenely's curatorial remark, dated
1950, in object file.
[2] See C. T. Loo's stockcard no. CHL-7/961: "Bronze knife, animal handle, turquoise mosaique
An-Yang Shang green patina," Frank Caro Archive, Institute of Fine Arts, New York University,
copy in object file. According to an annotation on the stockcard, the object was acquired in China.
On May 10, 1950, it was taken by Loo to the Freer Gallery for examination.
[3] See C. T. Loo's invoice, dated June 28, 1950, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
122 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Gilt bronze plaque with animals in a landscape
Early Western Han dynasty, ca. 2nd century B.C.E.
China
Gilt bronze inlaid with jade, turquoise, carnelian, and silver
H x Diam: 2.8 x 9.5 cm (1 1/8 x 3 3/4 in)
Purchase
Freer Gallery of Art F1950.10
Provenance:
To 1948
Jun Tsei Tai (1911-1992), Shanghai, to February 1948 [1]
From 1948 to 1950
C. T. Loo & Co., New York, purchased from J. T. Tai in February 1948 [2]
From 1950
Freer Gallery of Art, purchased from C. T. Loo on June 28, 1950 [3]
Notes:
[1] See C. T. Loo's stockcard no. 46032: "Bronze cover, gilded and inlaid with jade and semi
precious stones, four mountain-like waves with animals, finely molded and covered with a heavy
gild, in the center a flat round jade knob Late Chou," Frank Caro Archive, Institute of Fine Arts,
New York University, copy in object file. According to an annotation on the stockcard, Loo
purchased the object from J. T. Tai in China.
[2] See C. T. Loo's stockcard cited in note 1. On June 9, 1950, the object was taken by Loo to
the Freer Gallery for examination.
[3] See C. T. Loo's invoice, dated June 28, 1950, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 3/17/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
123 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Ritual wine container (zun) with masks, dragons, and birds
Late Shang dynasty, Middle Anyang period, ca. 12th century B.C.E.
China, Henan province, Probably Anyang
Bronze
H x W: 36.6 x 37.4 cm (14 7/16 x 14 3/4 in)
Purchase
Freer Gallery of Art F1951.19
Provenance:
From at least 1949 to 1951
C. T. Loo & Co., New York, from at least May 11, 1949 [1]
From 1951
Freer Gallery of Art, purchased from C. T. Loo on November 28, 1951 [2]
Notes:
[1] See C. T. Loo's Approval Memorandum, with an annotation that the listed objects were left by
Loo at the Freer Gallery on May 11, 1949, copy in object file.
[2] According to information on Archival Vault Card, Registrar Office, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/26/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
124 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Man on horseback
Tang dynasty, ca. 700-750
China, Henan province, Possibly Luoyang
Earthenware with lead-silicate glazes and painted details
H x W x D: 39.5 x 11.7 x 34 cm (15 9/16 x 4 5/8 x 13 3/8 in)
Purchase
Freer Gallery of Art F1952.12
Provenance:
To 1948
Jun Tsei Tai (1911-1992), Shanghai, to February 1948 [1]
From 1948 to 1952
C. T. Loo & Co., New York, purchased from J. T. Tai in February 1948 [2]
From 1952
Freer Gallery of Art, purchased from C. T. Loo on June 25, 1952 [3]
Notes:
[1] See C. T. Loo's stockcard no. 46077: "Pottery equestrian statuette of a horse and rider,
wearing a hea[r]t shaped hat, wide sleeved green coat, black boots, astride on a greenish creamy
Alzan with large brownish splashes, trimmed mane and tail Central Asia, T'ang, Ht: 15 ¾ in.
Length: 15 in," Frank Caro Archive, Institute of Fine Arts, New York University, copy in object file.
According to an annotation on the stockcard, the object was acquired in China from J. T. Tai in
February 1948. According to some sources, the object belonged to a group of sixteen equestrian
figures reportedly excavated from a tomb at Luoyang, Henan province prior to 1943, see
Christie's, New York, Fine Chinese Ceramics, Jades and Works of Art, auction cat. (New York:
June 4, 1987), under lot 195 and Annette L. Juliano, Bronze, Clay and Stone: Chinese Art in the
C. C. Wang Family Collection (Seattle and London: University of Washington Press, 1988), under
cat. no. 54.
[2] See Loo's stockcard cited above. The object was transferred to the Freer Gallery in April
1948, see C. T. Loo's Approval Memorandum, dated April 14, 1948, copy in object file. In the
memorandum, Loo stated that the object was excavated in Sian Fu [Xi'an], Shaanxi province.
[3] See C. T. Loo's invoice, dated June 25, 1952.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/24/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
125 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Woman on horseback
Tang dynasty, ca. 700-750
China, Henan province, Possibly Luoyang
Earthenware with lead-silicate glazes and painted details
H x W x D: 43.1 x 14.8 x 37.6 cm (16 15/16 x 5 13/16 x 14 13/16 in)
Purchase
Freer Gallery of Art F1952.13
Provenance:
To 1948
Jun Tsei Tai (1911-1992), Shanghai, to February 1948 [1]
From 1948 to 1952
C. T. Loo & Co., New York, purchased from J. T. Tai in February 1948 [2]
From 1952
Freer Gallery of Art, purchased from C. T. Loo on June 25, 1952 [3]
Notes:
[1] See C. T. Loo's stockcard no. 46068: "Pottery statuette of a horse and a lady rider, wearing a
high top knot and an open bossom [sic], short jacket and riding breeches in green and yellow
glaze. Horse of mixed breed of Percheron and Arabian in creamy glaze and yellow and green
mane. Central Asia T'ang. Ht: 16 ins. Lt: 14 ½," Frank Caro Archive, Institute of Fine Arts, New
York University, copy in object file. According to an annotation on the stockcard, the object was
acquired in China from J. T. Tai in February 1948. According to some sources, the object
belonged to a group of sixteen equestrian figures reportedly excavated from a tomb at Luoyang,
Henan province prior to 1943, see Christie's, New York, Fine Chinese Ceramics, Jades and
Works of Art, auction cat. (New York: June 4, 1987), under lot195 and Annette L. Juliano,
Bronze, Clay and Stone: Chinese Art in the C. C. Wang Family Collection (Seattle and London:
University of Washington Press, 1988), under cat. no. 54.
[2] See Loo's stockcard cited above. The object was transferred to the Freer Gallery in April
1948. See C. T. Loo's Approval Memorandum, dated April 14, 1948, copy in object file. In the
memorandum, Loo stated that the object was excavated in Sian Fu [Xi'an], Shaanxi province.
[3] See C. T. Loo's invoice, dated June 25, 1952.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 6/23/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
126 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Groom
Tang dynasty, ca. 700-750
China
Earthenware with lead-silicate glazes and painted details
H x W: 20.7 x 6.7 cm (8 1/8 x 2 5/8 in)
Purchase
Freer Gallery of Art F1952.14
Provenance:
To 1948
Jun Tsei Tai (1911-1992), Shanghai, to February 1948 [1]
From 1948 to 1952
C. T. Loo & Co., New York, purchased from J. T. Tai in February 1948 [2]
From 1952
Freer Gallery of Art, purchased from C. T. Loo on June 25, 1952 [3]
Notes:
[1] See C. T. Loo's stockcard no. 46081: "Pottery statuette of a groom wearing a long green coat
with wide lapels. Brownish yellow boots, right arm uplifted as holding a horse bridle. Negro
groom, probably Ethiopian. Central Asia T'ang. Ht: 8 ins.," Frank Caro Archive, Institute of Fine
Arts, New York University, copy in object file. According to an annotation on the stockcard, the
object was acquired in China from J. T. Tai in February 1948.
[2] See C. T. Loo's stockcard cited above. The object was transferred to the Freer Gallery in April
1948. See C. T. Loo's Approval Memorandum, dated April 14, 1948, copy in object file. In the
memorandum, Loo stated that the object was excavated in Sian Fu [Xi'an], Shaanxi.
[3] See C. T. Loo's invoice, dated June 25, 1952.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 6/23/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
127 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bodhisattva, probably Avalokiteshvara (Guanyin)
Northern Wei dynasty, ca. 523
China, Henan province, Gongxian Cave Temples, Cave 1
Sandstone with traces of pigment
H x W x D (overall): 104.1 x 47.4 x 27.2 cm (41 x 18 11/16 x 10 11/16 in)
Purchase
Freer Gallery of Art F1952.15
Provenance:
Originally located in Gongxian Cave 1, niche 1, Henan province, China [1]
Ca. 1914
Friedrich Perzynski (1877-1965) [2]
Ca. 1929
Paul Kempner (1889-1956), Berlin, from at least January 1929 [3]
To 1944
Edgar Worch (1880-1972), New York, to February 1944 [4]
From 1944 to 1952
C. T. Loo & Co., New York, purchased from Edgar Worch in February 1944 [5]
From 1952
Freer Gallery of Art, purchased from C. T. Loo on June 25, 1952 [6]
Notes:
[1] The original location of the sculpture in the Gongxian cave was confirmed by Stanley Abe in
2001. The measurements and details of the sculpture correspond to a blank area to the right of a
seated Buddha sculpture in Cave 1, niche 1; the mirror image of the Freer sculpture is still in
place to the left of the Buddha, see Jan Stuart and Chang Qing, "Chinese Buddhist Sculpture in a
New Light at the Freer Gallery of Art," Orientations 34, 4 (April 2002), pp. 29 (ill.), 30-31.
[2] According to annotations on C. T. Loo's stockcard no. NLP-44/908 cited in note 4, the statue
was brought to Berlin by Friedrich Perzynski, a German expeditionist, collector, dealer, and
writer, in or about 1914.
[3] The sculpture was lent by Paul Kempner to an exhibition in Berlin in 1929, see Ausstellung
chinesischer Kunst, exh. cat. (Berlin: Gesellschaft für Ostasiatische Kunst; Preussische
Akademie der Künste, January 12 to April 2, 1929), cat. no. 242. The object was also included in
Otto Kümmel's 1930 publication occasioned by the Berlin exhibition and was listed there as in
Kempner's collection, see Otto Kümmel, ed., Chinesische Kunst: Zweihundert Hauptwerke der
Ausstellung der Gesellschaft für Ostasiatische Kunst in der Preussischen Akademie der Künste,
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
128 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Berlin, 1929 (Berlin: B. Cassirer, 1930), pl. 66.
[4] See C. T . Loo's stockcard no. NLP-44/908: "Stone Stupa revêtement with standing base
footed Bodhisattva wearing a long garment with hanging scarfs and sharp edged foldings, and
holding in his left hand raised to chest level between graciously sculptured fingers a lotus bud
(symbol of great purity) and the water bottle in his right hand, head slightly bending forward with
closed eyes and the face expressing the divine contentment. Headdress ornated with a lotus
petals and floral crown. The upper part of the halo missing. Bottom part repaired. First third of six
century A. D. Northern Wei," Frank Caro Archive, Institute of Fine Arts, New York University,
copy in object file. According to annotations on the stockcard, Loo purchased the sculpture from
Edgar Worch in February 1944.
[5] See C. T. Loo's stockcard cited in note 3. The sculpture was shipped to the Freer Gallery on
April 27, 1950; see "List of Objects Shipped to Freer Gallery of Art," dated April 27, 1950, copy in
object file. See also Loo's letter to Archibald Wenley, dated April 27, 1950, copy in object file.
[6] See C. T. Loo's invoice, dated June 25, 1952, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
129 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Kneeling winged monster
Period of Division, Northern Qi dynasty, 550-577
China, Hebei province, Northern Xiangtangshan, North Cave
Limestone relief
H x W x D: 80.5 x 55.7 x 30.5 cm (31 11/16 x 21 15/16 x 12 in)
Purchase
Freer Gallery of Art F1953.86
Provenance:
Originally located in the North Cave, northern Xiangtangshan, Hebei province, China [1]
From at least 1950 to 1953
C. T. Loo & Co., New York, from at least April 27, 1950 [2]
From 1953
Freer Gallery of Art, purchased from C. T. Loo on July 10, 1953 [3]
Notes:
[1] The removal of the sculpted figures and fragments from the Xiangtangshan caves began ca.
1909 at the time of political upheaval in China and continued throughout several decades, see
http://xts.uchicago.edu/, accessed on November 9, 2009. See also J. Keith Wilson and Daisy
Yiyou Wang, "The Early-Twentieth-Century 'Discovery' of the Xiangtangshan Caves," in
Katherine R. Tsiang et al., Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan,
exh. cat. (Chicago: Smart Museum of Art; Washington, DC: Arthur M. Sackler Gallery,
Smithsonian Institution, 2010), pp. 106-129 and Katherine R. Tsiang and J. Keith Wilson,
"Catalogue of Works in the Exhibition," in Katherine R. Tsiang et al., Echoes of the Past: The
Buddhist Cave Temples of Xiangtangshan, 2010, pp. 180-181, cat. no. 11 (ill.).
[2] See C. T. Loo's letter to Archibald Wenley, dated April 27, 1950, in which Loo discusses
shipping the sculpture along with F1953.87 to the Freer Gallery, and "List of Objects Shipped to
the Freer Gallery of Art", attached to the letter, copy in object file. See also Loo's stockcard no.
NN: "Two stone sculptures, Demons," Frank Caro Archives, Institute of Fine Arts, New York
University, copy in object file.
[3] See C. T. Loo's invoice, dated July 10, 1953, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
130 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Winged monster
Northern Qi dynasty, 550-577
China, Hebei province, Fengfeng, northern Xiangtangshan, North Cave
Limestone
H x W x D: 84.4 x 53.4 x 28 cm (33 1/4 x 21 x 11 in)
Purchase
Freer Gallery of Art F1953.87
Provenance:
Originally located in the North Cave, northern Xiangtangshan, Hebei province, China [1]
From at least 1950 to 1953
C. T. Loo & Co., New York, from at least April 27, 1950 [2]
From 1953
Freer Gallery of Art, purchased from C. T. Loo on July 10, 1953 [3]
Notes:
[1] The removal of the sculpted figures and fragments from the Xiangtangshan caves began ca.
1909 at the time of political upheaval in China and continued throughout several decades, see
http://xts.uchicago.edu/, accessed on November 9, 2009. See also J. Keith Wilson and Daisy
Yiyou Wang, "The Early-Twentieth-Century 'Discovery' of the Xiangtangshan Caves," in
Katherine R. Tsiang et al., Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan,
exh. cat. (Chicago: Smart Museum of Art; Washington, DC: Arthur M. Sackler Gallery,
Smithsonian Institution, 2010), pp. 106-129 and Katherine R. Tsiang and J. Keith Wilson,
"Catalogue of Works in the Exhibition," in Katherine R. Tsiang et al., Echoes of the Past: The
Buddhist Cave Temples of Xiangtangshan, 2010, pp. 178-179, cat. no. 10 (ill.).
[2] See C. T. Loo's letter to Archibald Wenley, dated April 27, 1950, in which Loo discusses
shipping the sculpture along with F1953.86 to the Freer Gallery, and "List of Objects Shipped to
the Freer Gallery of Art", attached to the letter, copy in object file. See also Loo's stockcard no.
NN: "Two stone sculptures, Demons," Frank Caro Archives, Institute of Fine Arts, New York
University, copy in object file.
[3] See C. T. Loo's invoice, dated July 10, 1953, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
131 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Garment hook
Late Eastern Zhou dynasty, Warring States period, ca. 4th-3rd century B.C.E.
China
Bronze with gilding and turquoise inlay
H x W x D: 24.7 x 2.6 x 4.4 cm (9 3/4 x 1 x 1 3/4 in)
Purchase
Freer Gallery of Art F1953.88
Provenance:
From at least 1952 to 1953
C. T. Loo & Co., New York, from at least May 8, 1952 [1]
From 1953
Freer Gallery of Art, purchased from C. T. Loo on July 13, 1953 [2]
Notes:
[1] See C. T. Loo's List of objects, dated May 8, 1952, with an annotation that the objects were
brought to the Freer Gallery on May 8, 1952, copy in object file. See also Loo's stockcard no.
LI-5/170: "One open-work belt-hook, inlaid with turquoise," Frank Caro Archive, Institute of Fine
Arts, New York University, copy in object file. According to information on the stockcard, the
object was acquired by Loo in China.
[2] See C. T. Loo's invoice, dated July 10, 1953, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/26/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
132 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Awaiting the Ferry at an Autumn River
Artist: Forgery of Sheng Mou (ca. 1310-1360)
Artist: Tan Jing (forger) (1911-1991)
Modern period, late 1947-early 1948
China
Ink on paper
H x W (image): 114.8 x 47.9 cm (45 3/16 x 18 7/8 in)
Purchase
Freer Gallery of Art F1954.12
Provenance:
From at least 1953 to 1954
C. C. Wang (1907-2003), New York, from at least February 2, 1953 [1]
From 1954
Freer Gallery of Art, purchased through Warren C. Cox & Associates, New York from C. C. Wang
in February 1954 [2]
Notes:
[1] The painting was delivered to the Freer Gallery by Warren E. Cox, acting on behalf of C. C.
Wang, on February 2, 1953, see “Chinese Paintings taken to the Freer Gallery of Art” list, dated
February 2, 1953, copy in object file. The painting belongs to a group of copies made in the late
1940's by Tan Jing (1911-1991), a well-established Shanghai collector. The original painting is in
the collection of the Shanghai Museum, see Xie Zhiliu, Tang, Wu dai, Song, Yuan ming ji
(Shanghai, 1957), no. 29, pl. 100. See also Wen Fong, “The Problem of Forgeries in Chinese
Painting: Part One,” Artibus Asiae vol. 25, no. 2/3 (1962), p. 110.
[2] See Warren E. Cox & Associates’ s invoice, dated February 12, 1954.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 12/7/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
133 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Vase of bottle shape with "onion" mouth
清乾隆彩繪詩畫瓶
Qing dynasty or modern, Qianlong reign, 1736-1795 or early 20th century
China, Jiangxi province, Jingdezhen
Jingdezhen ware
Porcelain with enamels over clear, colorless glaze
H x W: 17.2 x 9.5 cm (6 3/4 x 3 3/4 in)
Purchase
Freer Gallery of Art F1954.127a-b
Provenance:
1927
Probably Sale, Yamanaka & Company, London [1]
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, reportedly purchased from Yamanaka & Company [2]
1943
Yamanaka & Company, New York [3]
About 1949
H. L. Hsieh, New York, from at least October 1949 [4]
From 1949 to 1954
C. T. Loo & Co., New York, purchased from H. L. Hsieh in October 1949 [5]
From 1954
Freer Gallery of Art, purchased from C. T. Loo & Co. on December 8, 1954 [6]
Notes:
[1] According to Soame Jenyns, the vase belonged to Yamanaka & Company in 1927, see
Soame Jenyns, Later Chinese Porcelain: The Ch'ing Dynasty, 1644-1912 (London: Faber and
Faber, 1951), pl. 79, p. 93, note 23. In articles published in 1996 and 1998, Tomita Noboru
identified a vase of this form and decoration, which he described as "a pair with the Freer piece",
in a Yamanaka auction in London in February 1927, see Tomita Noboru, "Yamanaka Shokai
tenkan mokuroku kenkyu--sekai hen (Research on Yamanaka Exhibition Catalogues International Cases: Transfer of Cultural Artifacts in Modern China and Japan)," The Tohoku
Gakuin University Review 115 (1996), pp. 180-184 and Tomita Noboru, "Yamanaka Shokai
tenkan mokuroku kenkyu--Nihon hen; Chugoku kindai ni okeru bunbutsu ryushitsu to Nihon-shimo hen (zen) (Research on Yamanaka Exhibition Catalogues; Japanese Cases: Transfer of
Cultural Artifacts in Modern China and Japan)" Tosetsu 542 (May 1998), p. 68 and fig. 7.
[2] According to Collection of Chinese and Other Far Eastern Art Assembled by Yamanaka &
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
134 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Company, Inc. (New York, 1943), no. 1203 and Warren E. Cox, The Book of Potter and Porcelain
vol. II (New York: Crown Publishers, 1944), pp. 600-601, pl. 170.
[3] The vase was published in a brochure inventorying the selected objects from Yamanaka &
Company's collection in 1943, see Collection of Chinese and Other Far Eastern Art Assembled
by Yamanaka & Company, Inc. (New York, 1943), no. 1203 (ill. in color on the frontispiece). The
objects in the brochure were offered for sale as a part of the process of the firm's liquidation by
the office of Alien Property Custodian. Since the vase was not included in a series of public sales
of the Yamanaka & Company's stock which took place in May and June 1944, it must have been
sold between 1943 and 1944.
[4] See C. T. Loo's stockcard no. LI-9/140: "Porcelain bottle vase, pear shape body on high foot
ring, slim tall neck with bulbous top. Decorated in delicate famille rose enamels. Woman holding
a fan and two children in a blooming garden with rockery, foliated bulbous top. Two lines poem
with three red seals. Four character seal mark underfoot, in raised grey enamel. Imperial Ch'ien
Lung. Finest quality of Ku Yueh Hsuan," Frank Caro Archive, Institute of Fine Arts, New York
University, copy in object file. According to the stockcard, Loo purchased the vase from Hsieh in
October 1949. See also C. T. Loo's letter to Archibald G. Wenley, dated January 13, 1950, copy
in object file, in which Loo mentions Mr. Hsieh as the previous owner of the vase.
[5] See C. T. Loo's stockcard cited in note 4. According to information on an archival vault card,
Registrar Office, Loo left the object for examination at the Freer Gallery on November 30, 1949.
On October 9, 1950, the dealer took the vase back and brought it again to the Freer Gallery on
May 8, 1952.
[6] See C. T. Loo's invoice, dated December 8, 1954, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
135 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Covered jar
Northern Song dynasty, late 10th century
China, Zhejiang province, Lishui or Longquan
Longquan ware
Stoneware with celadon glaze
H x W: 37 x 16.5 cm (14 9/16 x 6 1/2 in)
Purchase
Freer Gallery of Art F1959.7a-b
Provenance:
From at least 1954 to 1959
C. T. Loo & Co., New York, from at least December 6, 1954 [1]
From 1959
Freer Gallery of Art, purchased from C. T. Loo on June 11, 1959 [2]
Notes:
[1] See John A. Pope's letter to Frank Caro of C. T. Loo & Co., dated December 6, 1954, in which
he requests shipment of the jar to the Freer Gallery, copy in object file.
[2] See C. T. Loo's invoice, issued by Frank Caro, dated June 11, 1959, copy on object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/26/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
136 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Ritual food vessel (ding)
Probably Anyang period, ca. 12th century B.C.E.
China
Bronze
H x W: 20.4 x 16.7 cm (8 1/16 x 6 9/16 in)
Purchase
Freer Gallery of Art F1959.15
Provenance:
From at least 1953 to 1959
C. T. Loo & Co., New York, from at least December 1, 1953 [1]
From 1959
Freer Gallery of Art, purchased from C. T. Loo & Co. on August 31, 1959 [2]
Notes:
[1] See C. T. Loo & Co.'s Approval Memorandum, dated December 1, 1953, where the object is
listed under stock no. FC-332: "Bronze sacrificial vessel, TING, on three high straight legs,
rounded body with upright lip, handles on rim. Decorated with diamond shaped field with bosses
in high relief and a band of stylized birds on meander background. Inscribed. Shang. Green
patina," copy in object file. A negative of the bronze's photograph is located in Frank Caro
Archive, Institute of Fine Arts, New York University, no. (15) cnmB 260-261; its envelope is
inscribed with information that the bronze came from Anyang.
[2] See C. T. Loo & Co.'s invoice, issued by Frank Caro, dated August 31, 1959.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/26/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
137 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Palace Ladies Playing Double Sixes
Artist: Traditionally attributed to Zhou Fang (ca. 730-ca. 800)
Southern Song dynasty, late 12th to mid-13th century
China
Ink and color on silk
H x W (overall image): 30.5 x 69.1 cm (12 x 27 3/16 in)
Gift of Jean-Pierre Dubosc, Lugano, Switzerland
Freer Gallery of Art F1960.4
Provenance:
About 1960
Jean-Pierre Dubosc (1903-1988), Paris and Lugano [1]
From 1960
Freer Gallery of Art, gift from Jean-Pierre Dubosc in 1960 [2]
Notes:
[1] Jean-Pierre Dubosc acquired the right-hand section of the painting "Palace Ladies Playing
Double Sixes" around 1960, see James Cahill, “The Return of the Absent Servants: Chou Fang’s
Double Sixes Restored,” Archives of the Chinese Art Society of America vol. 15 (1961), pp.
26-28. The main section of the painting was purchased by the Freer Gallery in 1939 from C. T.
Loo, Dubosc’s father in law, see provenance record for F1939.37. It is not known when the
painting was divided. The colophon by Chu Deyi on the main section of the painting, dated July
8-August 5, 1937, refers to a complete copy of the scroll in the National Palace Museum, Taipei
and concludes that a section of the painting “was cut away at some point in a distant past.” See
documentation for F1939.37/F960.4 in “Song and Yuan Dynasty Painting and Calligraphy,”
http://www.asia.si.edu/SongYuan/F1939.37/F1939-37andF1960-4.Documentation.pdf.
[2] After the acquisition, this recovered fragment was reattached to F1939.37 and the painting
has been restored, see Cahill 1961, cited in note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 11/1/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
138 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Figure in the form of a crouching stag with horns (forgery)
Modern period, 1900-1960
China
Earthenware
H x W x D: 17.2 x 17.5 x 6.3 cm (6 3/4 x 6 7/8 x 2 1/2 in)
Purchase
Freer Gallery of Art F1960.13
Provenance:
To 1950
Jun Tsei Tai (1911-1992), Hong Kong and New York, to August 1950 [1]
From 1950 to 1960
C. T. Loo & Co., New York, purchased from J. T. Tai in August 1950 [2]
From 1960
Freer Gallery of Art, purchased from C. T. Loo on July 22, 1960 [3]
Notes:
[1] See C. T. Loo's stockcard no. LI-5/153: "Pottery statuette of a standing deer with legs partly
folded. Three horned antler. Head and body incised with wide meander. White pottery oval hole
on back. Found in An Yang. Shang," Frank Caro Archive, Institute of Fine Arts, New York
University, copy in object file. According to an annotation on the stockcard, the object was
acquired from J. T. Tai in August 1950. Information that the figure was found in Anyang was
proved to be erroneous when the figure was confirmed to be a modern forgery.
[2] See C. T. Loo's stockcard cited in note 1.
[3] See Invoice issued by Executor of the Estate of C. T. Loo, dated July 22, 1960, copy in object
file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 6/1/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
139 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lidded ritual wine container (you) with dragons
Western Zhou dynasty, late 11th-early 10th century B.C.E.
China
Bronze
H x W: 22.2 x 19.7 cm (8 3/4 x 7 3/4 in)
Purchase
Freer Gallery of Art F1960.20a-b
Provenance:
To 1946
C. H. Yie, to November 1946 [1]
From 1946 to 1960
C. T. Loo & Co., New York, purchased from C. H. Yie in November 1946 [2]
From 1960
Freer Gallery of Art, purchased from C. T. Loo & Co. on August 11, 1960 [3]
Notes:
[1] See C. T. Loo's stockcard no. NYL-6/962 / E5009: "Bronze vessel (Yu) Decorated around the
foot by a narrow band of abstract motifs, around the edge, a band of back looking dragons and
two t'ao t'ieh masks in relief on a spiral background similar band on the cover. Handle terminated
by two monster heads and ornated by abstract motifs. Greenish grey patina with rust spots.
Inscribed. Early Chou Western," Frank Caro Archive, Institute of Fine Arts, New York University,
copy in object file. An annotation on the stockcard states that the object was acquired by C. T.
Loo from C. H. Yie in November 1946.
[2] See C. T. Loo's stockcard cited in note 1. The bronze was sent from New York to the Freer
Gallery by Frank Caro, C. T. Loo & Co. in November 1955, see Archival Vault Card, copy in
object file.
[3] See C. T. Loo & Co.'s invoice, approved on August 11, 1960, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/7/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
140 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Dish with rim of interlocking rings
Qing dynasty, early 18th century
China, Jiangxi province, Jingdezhen
Porcelain with enamels over clear glaze
H x W: 6.7 x 23.5 cm (2 5/8 x 9 1/4 in)
Purchase
Freer Gallery of Art F1961.15
Provenance:
From at least 1937 to 1961
C. T. Loo & Co., New York, from at least March 1937 [1]
From 1961
Freer Gallery of Art, purchased from C. T. Loo & Co. on May 3, 1961 [2]
Notes:
[1] See C. T. Loo's stockcard no. 85630 / LCP 48: "Large dish with openwork ring edge
decorated with dragons and floral designs in gold and polychrome. Ming," Frank Caro Archive,
Institute of Fine Arts, New York University, copy in object file. According to information on the
stockcard, the dish was returned to Loo's New York gallery from S. C. Davis in March 1937 and
then sent to Paris a month later to be returned in October 1938. In November 1955, the dish was
brought to the Freer Gallery for purchase consideration.
[2] See C. T. Loo's invoice, dated May 3, 1961, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/7/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
141 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Low round box with cover
Northern Song dynasty, 11th century
China, Hebei province
Ding ware
Porcelain with transparent ivory-toned glaze
H x Diam (overall): 4.6 x 10.7 cm (1 13/16 x 4 3/16 in)
Purchase
Freer Gallery of Art F1961.16a-b
Provenance:
From at least 1947 to 1961
C. T. Loo & Co., New York, from at least November 1947 [1]
From 1961
Freer Gallery of Art, purchased from C. T. Loo on May 3, 1961 [2]
Notes:
[1] See C. T. Loo's stockcard no. CHL 7/913 / RR35: "Porcelain round seal box on a low foot ring
expanding side to a straight border, cover slightly domed, finely potted and coated with a delicate
creamy white glaze from Yin Chou Yao. Sung," Frank Caro Archive, Institute of Fine Arts, New
York University, copy in object file. According to an annotation on the stockcard, the object was
imported from China in November 1947.
[2] See C. T. Loo & Co.'s invoice, dated May 3, 1961, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
142 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Dish with molded design of paired fish and lotus plants
Jin dynasty, 12th-mid 13th century
China, Hebei province
Ding ware
Porcelain with ivory-toned transparent glaze; metal rim
H x W: 6 x 30.4 cm (2 3/8 x 11 15/16 in)
Purchase
Freer Gallery of Art F1961.17
Provenance:
From at least 1954 or 1955 to 1961
C. T. Loo & Co., New York, from at least 1954 or 1955 [1]
From 1961
Freer Gallery of Art, purchased from C. T. Loo & Co. on May 3, 1961 [2]
Notes:
[1] See A. G. Wenley's letter to Frank Caro, dated April 25, 1961, in which he lists the dish
among the objects left with the Freer Gallery by Caro for consideration of purchase in 1954 and
1955, copy in object file.
[2] See C. T. Loo's & Co.'s invoice, dated May 3, 1961, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
143 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Dish
Jin dynasty, 12th-mid 13th century
China, Hebei province
Ding ware
Porcelain with ivory-toned transparent glaze; metal rim
H x W: 5.6 x 29.1 cm (2 3/16 x 11 7/16 in)
Purchase
Freer Gallery of Art F1961.18
Provenance:
From at least 1954 or 1955 to 1961
C. T. Loo & Co., New York, from at least 1954 or 1955 [1]
From 1961
Freer Gallery of Art, purchased from C. T. Loo & Co. on May 3, 1961 [2]
Notes:
[1] See A. G. Wenley's letter to Frank Caro, dated April 25, 1961, in which he lists the dish
among the objects left with the Freer Gallery by Caro for consideration of purchase in 1954 and
1955, copy in object file.
[2] See C. T. Loo's & Co.'s invoice, dated May 3, 1961, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
144 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bowl
Jin dynasty, 12th-13th century
China, Shaanxi province, Huangbao, Yaozhou kilns
Yaozhou ware
Stoneware with celadon glaze
H x W: 4.9 x 12.1 cm (1 15/16 x 4 3/4 in)
Purchase
Freer Gallery of Art F1961.19
Provenance:
From at least 1954 or 1955 to 1961
C. T. Loo & Co., New York, from at least 1954 or 1955 [1]
From 1961
Freer Gallery of Art, purchased from C. T. Loo & Co. on May 3, 1961 [2]
Notes:
[1] See A. G. Wenley's letter to Frank Caro, dated April 25, 1961, in which he lists the dish
among the objects left with the Freer Gallery by Caro for consideration of purchase in 1954 and
1955, copy in object file.
[2] See C. T. Loo's & Co.'s invoice, dated May 3, 1961, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
145 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bowl
Jin dynasty, 1115-1234
China, Shaanxi province
Yaozhou ware
Stoneware with celadon glaze
H x W: 3.7 x 9.4 cm (1 7/16 x 3 11/16 in)
Purchase
Freer Gallery of Art F1961.20
Provenance:
From at least 1954 or 1955 to 1961
C. T. Loo & Co., New York, from at least 1954 or 1955 [1]
From 1961
Freer Gallery of Art, purchased from C. T. Loo & Co. on May 3, 1961 [2]
Notes:
[1] See A. G. Wenley's letter to Frank Caro, dated April 25, 1961, in which he lists the dish
among the objects left with the Freer Gallery by Caro for consideration of purchase in 1954 and
1955, copy in object file.
[2] See C. T. Loo's & Co.'s invoice, dated May 3, 1961, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
146 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lidded ritual wine container (zun) in the form of a bird
Middle Eastern Zhou dynasty, ca. 5th century B.C.E.
China, Shanxi province
Bronze with gold inlay
H x W x D: 26.5 x 13.5 x 20 cm (10 7/16 x 5 5/16 x 7 7/8 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1961.30a-b
Provenance:
Reportedly excavated near Taiyuan, Shanxi province, China [1]
To 1915
Marcel Bing (1875-1920), Paris, to 1915 [2]
From 1915 to 1961
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC and Mt. Kisco, NY,
purchased jointly with Charles L. Freer (1854-1919) from Marcel Bing through C.T. Loo, Lai Yuan
& Co., New York in December 1915 [3]
From 1961
Freer Gallery of Art, gift of Eugene and Agnes E. Meyer, 1961 [4]
Notes:
[1] According to a note in C. T. Loo, Lai-Yuan & Co.'s invoice, issued to Mr. and Mrs. Eugene
Meyer on December 10, 1915, copy in object file. An excavation of a similar bird-shaped bronze
wine container from a fifth-century B. C. tomb in the area of Taiyuan in 1987 confirmed the
traditional attribution of the Freer bronze, see Thomas Lawton and Linda Merrill, Freer: A Legacy
of Art (Washington DC: Freer Gallery, Smithsonian Institution, 1993), pp. 223, 225, fig. 159.
[2] See correspondence between Charles Freer and Marcel Bing, dated November-December
1915, Freer Gallery of Art and Arthur M. Sackler Gallery Archives, copy in object file. See also
Lawton and Merrill 1993, cited in note 1.
[3] See C. T. Loo, Lai-Yuan & Co.'s invoice, cited in note 1. Shortly after the acquisition, the
Meyers lent the bronze to an exhibition at the Metropolitan Museum of Art in New York, see S. C.
Bosch Reitz, Catalogue of an Exhibition of Early Chinese Pottery and Sculpture, exh. cat. (New
York: Metropolitan Museum of Art, 1916), cat. 340 (ill.).
[4] See Agnes E. Meyer's Deed of Gift, dated December 21, 1961, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/7/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
147 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Ritual vessel (yi) with cover
Eastern Zhou dynasty, 6th century B.C.E.
China, Xingzheng
Bronze with semi-precious stone inlay
H x W x D (overall): 20.5 x 17.7 x 32 cm (8 1/16 x 6 15/16 x 12 5/8 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1961.31a-b
Provenance:
Possibly Ding collection, Weixian, Shandong province, China [1]
To 1915
Marcel Bing (1875-1920), Paris, to 1915 [2]
From 1915 to 1961
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC and Mt.
Kisco, NY, purchased jointly with Charles L. Freer (1854-1919) from Marcel Bing through C.T.
Loo, Lai Yuan & Co., New York in December 1915 [3]
From 1961
Freer Gallery of Art, gift of Eugene and Agnes E. Meyer, 1961 [4]
Notes:
[1] See C. T. Loo, Lai-Yuan & Co.'s invoice, cited in note 3. The invoice includes a note that the
bronze came from "Collection Ting of Wei-Shien."
[2] See correspondence between Charles Freer and Marcel Bing, dated November-December
1915, Freer Gallery of Art and Arthur M. Sackler Gallery Archives, copy in object file. See also
Thomas Lawton and Linda Merrill, Freer: A Legacy of Art (Washington DC: Freer Gallery,
Smithsonian Institution, 1993), pp. 220-221.
[3] See C. T. Loo, Lai-Yuan & Co.'s invoice, issued to Mr. and Mrs. Eugene Meyer on December
10, 1915, copy in object file. Shortly after the acquisition, the Meyers lent the bronze to an
exhibition at the Metropolitan Museum of Art in New York, see S. C. Bosch Reitz, Catalogue of an
Exhibition of Early Chinese Pottery and Sculpture, exh. cat. (New York, Metropolitan Museum of
Art, 1916), cat. 341 (ill.).
[4] See Agnes Meyer's Deed of Gift, dated December 21, 1961, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
148 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Square lidded wine container (fanghu) with geometric decoration
Late Eastern Zhou dynasty, Middle Warring States period, ca. 4th century B.C.E.
China
Bronze with copper, silver, and malachite inlay
H x W x D: 52.7 x 27.9 x 25.6 cm (20 3/4 x 11 x 10 1/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1961.32a-b
Provenance:
To 1915
Marcel Bing (1875-1920), Paris, to 1915 [1]
From 1915 to 1961
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC and Mt.
Kisco, NY, purchased jointly with Charles L. Freer (1854-1919) from Marcel Bing through C.T.
Loo, Lai Yuan & Co., New York in December 1915 [2]
From 1961
Freer Gallery of Art, gift of Eugene and Agnes E. Meyer, 1961[3]
Notes:
[1] See correspondence between Charles Freer and Marcel Bing, dated November-December
1915, Freer Gallery of Art and Arthur M. Sackler Gallery Archives, copy in object file. See also
Thomas Lawton and Linda Merrill, Freer: A Legacy of Art (Washington, DC: Freer Gallery,
Smithsonian Institution, 1993), pp. 220-221. According to a note in C. T. Loo, Lai-Yuan & Co.'s
invoice issued to Mr. and Mrs. Eugene Meyer, dated December 10, 1915, the bronze was
excavated from a tomb near Yü-Ling Fu (Yulin fu), Shaanxi, in 1913. This information was
included in S. C. Bosch Reitz, Catalogue of an Exhibition of Early Chinese Pottery and Sculpture,
exh. cat. (New York: Metropolitan Museum of Art, 1916), cat. 339 (ill.) and in a catalogue entry for
the bronze in Otto Kümmel's publication accompanying an exhibition organized by Gesellschaft
für Ostasiatische Kunst in Berlin in 1929, see Otto Kümmel, Zweihundert Hauptwerke der
Ausstellung der Gesellschaft für Ostasiatische Kunst in der Preussischen Akademie der Künste
(Berlin: Bruno Cassirer, 1930), no. 34. More recently, based on stylistic comparisons, Jenny So
proposed a Henan provenance for the bronze, see Jenny So, Eastern Zhou Ritual Bronzes from
the Arthur M. Sackler Collections, vol. 3 (Washington, DC: Arthur M. Sackler Gallery,
Smithsonian Institution, 1995), p. 49, fig. 79.
[2] See C. T. Loo, Lai-Yuan & Co.'s invoice, cited in note 1. See also Lawton and Merrill 1993,
cited in note 1. Shortly after the acquisition, the Meyers lent the bronze to an exhibition in
Metropolitan Museum of Art in New York, see S. C. Bosch Reitz 1916, cited in note 1.
[3] See Agnes E. Meyer's Deed of Gift, dated December 21, 1961, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
149 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lidded ritual ewer (guang) with taotie, dragons, birds, tigers,
elephants, fish, snakes, and humans
ca. 1100-1050 B.C.E.
China, Middle Yangzi Valley
Bronze
H x W x D: 31.4 x 31.5 x 14.4 cm (12 3/8 x 12 3/8 x 5 11/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1961.33a-b
Provenance:
From at least 1926 to 1961
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY,
from at least 1926 [1]
From 1961
Freer Gallery of Art, gift of Eugene and Agnes E. Meyer in 1961 [2]
Notes:
[1] See H. d'Ardenne de Tizac, L'Art Chinois Classique (Paris: Henri Laurens, 1926), p. 25, pls.
6-7.
[2] See Agnes Meyer's Deed of Gift, dated December 21, 1961, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 6/9/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
150 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Wind and Snow in the Fir Pines
風雪杉松圖
Artist: Li Shan (mid-12th to early 13th century)
Calligrapher: Wang Tingyun (1151-1202)
Calligrapher: Wang Wanqing (early-mid 13th cent.)
Calligrapher: Wang Shizhen (1526-1590)
Calligrapher: Wen Boren (1502-1575)
Calligrapher: Wang Wenzhi (1730-1802)
Calligrapher: Hongli, the Qianlong emperor (reigned 1735-96) (1711 - 1799)
Jin dynasty, late 12th century
China
Ink and color on silk
Colophons: ink on paper
H x W (image): 29.7 x 79.3 cm (11 11/16 x 31 1/4 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1961.34
Provenance:
To 1763
Hongli, the Qianlong emperor (1711-1799; reigned 1735-96) [1]
From 1763 to 1784
Peng Qifeng (1701-1784), Minister of War, given by the Qianlong emperor on February 18, 1763
[2]
From 1784
Peng Shaosheng (1740-1796), by descent from his father, Peng Qifeng [3]
Wu Yun (1811-1883) [4]
From at least 1909 to 1915
Pang Yuanji (1864-1949), Shanghai [5]
From 1915 to 1961
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY, purchased through C. T. Loo & Co. from Pang Yuanji on May 15, 1915 [6]
From 1961
Freer Gallery of Art, given by Agnes E. Meyer in December 1961 [7]
Notes:
[1] Seven Qianlong’s seals and an inscription of the emperor’s poem are located on the painting,
see “Song and Yuan Painting and Calligraphy,”
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/15/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
151 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
http://www.asia.si.edu/SongYuan/F1961.34/F1961-34.Documentation.pdf, accessed on May 23,
2012.
[2] Peng Qifeng, the high court official, received the handscroll as a gift from the Qianlong
emperor at a banquet held on February 18, 1763. The circumstances of the gift were recorded in
the colophon composed by Peng. After Peng’s death, his son, Peng Shaosheng, invited the
famous calligrapher Wang Wenzhi (1730-1802) to inscribe the colophon on the scroll, which he
did on May 6, 1786, see “Song and Yuan Painting and Calligraphy,” cited in note 1.
[3] See note 2.
[4] Eighteen Wu Yun’s collector seals are located on the painting, see “Song and Yuan Painting
and Calligraphy,” cited in note 1.
[5] Pang Yuanji’s collector seal is located on the painting. The painting is listed in the traditional
Chinese catalogue of Pang Yuanji’s collection, Xuzhai minghua lu (Shanghai: Shangyouxuan,
1909), 2:32a-36a as well as in the bilingual catalogue prepared by Pang on the occasion of the
Panama-Pacific International Exposition in San Francisco, see Pang Lai Ch’en [Pang Yuanji],
Biographies of Famous Chinese Paintings: From the Private Collections of L.C. Pang, Che-kiang,
China (Shanghai: Mercantile Printing Co., 1915), p. 76-77.
[6] The handscroll was among the paintings brought by Pang Yuanji, with the assistance of his
cousin Pang Zanchen and the dealer C. T. Loo, to the United States on the occasion of the
Panama-Pacific International Exposition in San Francisco in 1915, see Pang Lai Ch’en [Pang
Yuanji] 1915, p. 76-77. The Meyers examined the painting in New York prior to its transfer to San
Francisco in March and April 1915, see Eugene Meyer’s telegram to Charles L. Freer, April 30,
1915, Eugene Meyer Papers, Library of Congress, copy in object file. The purchase of the scroll
was confirmed by an invoice issued by C. T. Loo & Co. to Eugene Meyer on May 15, 1915.
[7] See Agnes Meyer’s Deed of Gift, dated December 21, 1961, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/15/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
152 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bottle
Jin dynasty, 13th century
China
Cizhou ware
Stoneware with iron-oxide decoration painted on iron glaze
H x W: 23.4 x 21.2 cm (9 3/16 x 8 3/8 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.16
Provenance:
From at least 1967 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC and Mt. Kisco, NY, from
at least July 24, 1967 [1]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [2]
Notes:
[1] The object is included in Agnes E. Meyer’s Deed of Gift, listed as no. 26 in the document’s
Annex, dated July 24, 1967, copy in object file.
[2] See Agnes E. Meyer’s Deed of Gift, cited in note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 11/3/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
153 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bringing a Lute to Visit a Friend
Artist: Formerly attributed to He Zhen (active early 12th century)
Ming dynasty, 16th century
China
Ink and color on silk
H x W (image): 146.8 x 85.2 cm (57 13/16 x 33 9/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.17
Provenance:
To 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY [1]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [2]
Notes:
[1] See Agnes E. Meyer’s Deed of Gift, dated July 24, 1967, where the painting is listed as no. 2
in the document’s Annex, copy in object file.
[2] See Deed of Gift, cited in note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/16/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
154 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
The Drunken Monk
醉僧圖
Artist: Traditionally attributed to Li Gonglin (ca. 1049-1106)
Calligrapher: Frontispiece by Qianlong (reigned 1735-1796)
Inscription: Three inscriptions by Qianlong (reigned 1735-1796)
Colophon: Two colophons by Qianlong (reigned 1735-1796)
Colophon: Colophon attributed to Su Shi (1037-1101)
Colophon: Colophon by Dongcun (13th-14th century?)
Southern Song dynasty, mid-12th to mid-13th century
China
Ink and color on paper
H x W (image): 32.5 x 60.8 cm (12 13/16 x 23 15/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.18
Provenance:
Xiang Yuanbian (1515-1590) [1]
Zhang Liu (active mid-17th century) [2]
Liang Qingbiao (1620-1691) [3]
An Qi (1683-after 1742) [4]
Hongli, the Qianlong emperor (1711-1799; reigned 1735-96) [5]
Yongyan, the Jiaqing emperor (1760-1820; reigned 1796-1820) [6]
From at least 1909 to 1915
Pang Yuanji (1864-1949), Shanghai [7]
From 1915 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY, purchased through C. T. Loo & Co. from Pang Yuanji on May 15, 1915 [8]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [9]
Notes:
[1] Thirty seven collector seals of Xiang Yuanbian are located on the scroll, see “Song and Yuan
Painting and Calligraphy,”
http://www.asia.si.edu/SongYuan/F1968.18/F1968-18.Documentation.pdf, accessed on May 23,
2012.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/16/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
155 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[2] Two collector seals of Zhang Liu appear on the scroll. Zhang Liu was a mounter of paintings
and calligraphy from Yangzhou in the Yangzi delta who later became an art dealer and both
supplied and mounted numerous works for the northern collector Liang Qingbiao. See “Song and
Yuan Painting and Calligraphy,” cited in note 1.
[3] Four collector seals of Liang Qingbiao are located on the scroll. See “Song and Yuan Painting
and Calligraphy,” cited in note 1.
[4] Six collector seals of An Qi are located on the scroll. See “Song and Yuan Painting and
Calligraphy,” cited in note 1. The painting was recorded by An Qi in the catalogue of his
collection, An Qi, Moyuan huiguani (preface 1742) (Beijing: Hanwenzhai, 1914), vol. 4, juan, Bei
song, 1:7a-8a.
[5] The Qianlong emperor contributed seven written texts to the scroll, accompanied by sixteen
personal seals. In addition, twenty-six Qianlong collection seals appear on the scroll. See “Song
and Yuan Painting and Calligraphy,” cited in note 1. The painting was recorded in the imperial
catalogue published in 1793, see Wang Jie et al., Shiqu baoji xubian (Taibei: National Palace
Museum, 1971), vol. 5, p. 2697.
[6] One Jiaqing’s seal has been identified on the scroll, see See “Song and Yuan Painting and
Calligraphy,” cited in note 1.
[7] Pang Yuanji’s collector seal is located on the scroll. The outside label slip bears an inscription
written by the calligrapher He Weipu (1842-1922): “Drunken Monk, by Li Boshi [Li Gonglin].
Treasured in the collection of Xuzhai [Pang Yuanji],” see “Song and Yuan Painting and
Calligraphy,” cited in note 1. The painting is listed with detailed description in the catalogue of
Pang Yuanji’s collection , Pang Yuanji, Xuzhai minghua lu (Shanghai: Shangyouxuan, 1909),
1:1a-4b. as well as in the bilingual catalogue compiled by Pang on the occasion of the
Panama-Pacific International Exposition in San Francisco, Pang Lai Ch’en [Pang Yuanji],
Biographies of Famous Chinese Paintings: From the Private Collections of L.C. Pang, Che-kiang,
China (Shanghai: Mercantile Printing Co., 1915), p. 28-29.
[8] The scroll was among the paintings brought by Pang Yuanji with the assistance of his cousin
Pang Zanchen and the dealer C. T. Loo, to the United States on the occasion of the
Panama-Pacific International Exposition in San Francisco in 1915, see Pang Lai Ch’en [Pang
Yuanji] 1915, p. 28-29. The Meyers examined the painting in New York prior to its transfer to
San Francisco in March and April 1915, see Eugene Meyer’s telegram to Charles L. Freer, April
30, 1915, Eugene Meyer Papers, Library of Congress, copy in object file. The purchase of the
scroll was confirmed by C. T. Loo & Co.’s invoice, issued to Eugene Meyer on May 15, 1915.
Agnes E. Meyer recorded the painting in her book Chinese Painting: As Reflected in the Thought
and Art of Li Lung-mien, 1070-1106 (New York: Duffield & Co., 1923), p. 365, no. 61.
[9] See Agnes E. Meyer’s Deed of Gift, dated July 24, 1967, where the painting is listed as no. 3
in the document’s Annex, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/16/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
156 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Tube (cong)
Shang dynasty, ca. 1600-1050 B.C.E.
China
Jade (nephrite)
H x W x D: 18.4 x 8.9 x 8.8 cm (7 1/4 x 3 1/2 x 3 7/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.24
Provenance:
From at least 1967 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC and Mt. Kisco, NY, from
at least July 24, 1967 [1]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [2]
Notes:
[1] The jade is included in Agnes E. Meyer’s Deed of Gift, listed as no. 10 in the document’s
Annex, dated July 24, 1967, copy in object file.
[2] See Agnes E. Meyer’s Deed of Gift, cited in note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 11/3/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
157 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Ritual food vessel (qui)
Western Zhou dynasty, 11th-10th century B.C.E.
China
Bronze
H x W: 17 x 33 cm (6 11/16 x 13 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.28
Provenance:
Possibly the Qing dynasty imperial collection [1]
To 1915
Marcel Bing (1875-1920), Paris, to 1915 [2]
From 1915 to 1961
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC and Mt. Kisco, NY,
purchased jointly with Charles L. Freer (1854-1919) from Marcel Bing through C.T. Loo, Lai Yuan
& Co., New York in December 1915 [3]
From 1968
Freer Gallery of Art, gift of Eugene and Agnes E. Meyer, 1968 [4]
Notes:
[1] A bronze qui with a very similar decoration and inscription has been included in the catalogue
Xi Qing xujian, jiabian, one of the four imperial catalogues compiled during the reign of Emperor
Qianlong, in years 1781/82-1793/94, see Xi Qing xujian, jiabian (Shanghai: Shangwu
yinshuguan, 1911), vol. 6, p. 41a-b. See also Rong Geng, "Xi Qing jinwen zhenwei cunyi biao,"
Yanjing xuebao 5 (June 1929), p. 838. This bronze was possibly among the treasures taken from
the Yuanmingyuan (Old Summer Palace) by French and English troops in 1860 or from the
palace in Peking during the Boxer Rebellion in 1900.
[2] See correspondence between Charles Freer and Marcel Bing, dated November-December
1915, Freer Gallery of Art and Arthur M. Sackler Gallery Archives, copy in object file. See also
Thomas Lawton and Linda Merrill, Freer: A Legacy of Art (Washington, DC: Freer Gallery of Art,
Smithsonian Institution, 1993), pp. 220-223, 226 (fig. 160).
[3] See C. T. Loo, Lai-Yuan & Co.'s invoice issued to Mr. and Mrs. Eugene Meyer on December
10, 1915, copy in object file. Shortly after the acquisition, the Meyers lent the bronze to an
exhibition in Metropolitan Museum of Art in New York, see S. C. Bosch Reitz, Catalogue of an
Exhibition of Early Chinese Pottery and Sculpture, exh. cat. (New York, Metropolitan Museum of
Art, 1916), cat. 336 (ill.).
[4] See Agnes Meyer's Deed of Gift, dated July 24, 1967, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
158 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Ritual grain server (gui) with taotie and dragons
Early Western Zhou dynasty, ca. 1045 B.C.E.
China
Bronze
H x W x D: 23 x 37.6 x 37 cm (9 1/16 x 14 13/16 x 14 9/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.29
Provenance:
Excavated at Liangshan in Shouzhang xian, Shandong province, China, in mid-19th century [1]
Zhong Yangtian (Zhong Yanpei) collection, Jining, Shandong province [2]
Li Zongdai (active 1849-1896) collection [3]
Pulun (1869-1925/27) collection [4]
Huang Jun (1880-1952) collection [5]
Possibly Ding collection, Weixian, Shandong province [6]
To 1915
Marcel Bing (1875-1920), Paris, to 1915 [7]
From 1915 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC and Mt. Kisco, NY,
purchased jointly with Charles L. Freer (1854-1919) from Marcel Bing through C.T. Loo, Lai Yuan
& Co., New York in December 1915 [8]
From 1968
Freer Gallery of Art, gift of Eugene and Agnes E. Meyer, 1968 [9]
Notes:
[1] The gui is said to be one of seven bronze vessels unearthed in Shouzhang xian. For the
discussion of the circumstances of the discovery of these vessels and their subsequent
ownership history see Thomas Lawton, "A Group of Early Western Chou Period Bronze Vessels,"
Ars Orientalis vol. 10 (1975), pp. 111-121. According to Lawton, the earliest known dated
reference to the vessels is provided by Xu Zonggan (1796-1866), in Jizhou jinshi zhi, 1845 (the
preface is dated September 24, 1843). Alternative date for the discovery of the bronzes is
provided by Fang Junyi (died 1899), in Zhuiyizhai yiqi kaoshi (completed 1894, published 1935).
Fang states that the vessels (he lists only six bronzes, including the Freer gui) had been found at
Shouzhang xian during the Xianfeng period (1851-61), see Lawton 1975, p. 116. Rong Geng
(1894-1983) records that six vessels, including the Freer gui, were found at Shouzhang during
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/3/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
159 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
the Daoguang period (1821-50), see Rong Geng, Shang Zhou yiqi tongkao (Beijing: Hafo Yanjing
xueshe, 1941), vol. 1, p. 340, vol. 2, pl. 152, no. 281.
[2] Xu Zonggan states that the group of seven vessels had been acquired "recently" by Zhong
Yangtian, see Xu Zonggan, Jizhou jinshi zhi (Nantong: Privately published, 1845), as cited by
Lawton 1971, pp. 111-112. See also Chen Mengjia (1911-1966), "Xi Zhou tongqi duandai"
(Chronology of Western Chou Bronze Vessels), part 2, in Kaogu xuebao 10 (December 1955), p.
96, as cited by Lawton 1975, p. 114, n. 13.
[3] According to Chen Mengjia, Li Zongdai (active 1849-1896) succeeded Zhong Yangtian as the
owner of the vessel, see Chen Mengjia 1955, p. 96, as cited by Lawton 1975, p. 114, n. 13.
[4] Pulun (1869-1925/27) was a fifth generation descendant of the Qianlong Emperor (reigned
1735-96), and the first son of Zaizhi (1839-1880), see Chen Mengjia 1955, p. 96, as cited by
Lawton 1975, p. 114, n. 13.
[5] The bronze was reproduced in Huang Jun (1880-1952), Zunguzhai suojian jijin tu (Beiping:
Zunguzhai, 1936), vol. 2, p. 7a.
[6] See C. T. Loo, Lai-Yuan & Co.'s invoice issued to Mr. and Mrs. Eugene Meyer, dated
December 10, 1915, copy in object file. According to a note on the invoice, the vessel came from
"Collection Ting of Wei-Shien."
[7] See correspondence between Charles Freer and Marcel Bing, dated November-December
1915, Freer Gallery of Art and Arthur M. Sackler Gallery Archives, copy in object file.
[8] See C. T. Loo, Lai-Yuan & Co.'s invoice cited in note 6. See also Thomas Lawton and Linda
Merrill, Freer: A Legacy of Art (Washington DC: Freer Gallery, Smithsonian Institution, 1993), pp.
220-221, 223, 226. Shortly after the purchase, the Meyers lent the bronze to an exhibition in
Metropolitan Museum of Art in New York in 1916, see S. C. Bosch Reitz, Catalogue of an
Exhibition of Early Chinese Pottery and Sculpture, exh. cat. (New York, Metropolitan Museum of
Art, 1916), cat. 335 (ill.).
[9] See Agnes E. Meyer's Deed of Gift, dated July 24, 1967, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/3/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
160 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Tube (cong)
Artist: Liangzhu culture (ca. 3300-ca. 2250 B.C.E.)
Late Neolithic period, ca. 3300-2250 B.C.E.
China, Lake Tai region
Jade (nephrite)
H x W x D: 20.4 x 8.1 x 8.1 cm (8 1/16 x 3 3/16 x 3 3/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.30
Provenance:
From at least 1967 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC and Mt. Kisco, NY, from
at least July 24, 1967 [1]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [2]
Notes:
[1] The object is included in Agnes E. Meyer’s Deed of Gift, listed as no. 16 in the document’s
Annex, dated July 24, 1967, copy in object file.
[2] See Agnes E. Meyer’s Deed of Gift, cited in note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 11/3/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
161 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Cizhou ware bottle
Northern Song dynasty, 11th-early 12th century
China, Shaanxi province
Cizhou ware
Stoneware with white slip under clear colorless glaze and copper-green
lead-silicate glaze
H x W: 40.2 x 22.6 cm (15 13/16 x 8 7/8 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.31
Provenance:
From at least 1967 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC and Mt. Kisco, NY, from
at least 1967 [1]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [2]
Notes:
[1] The object is included in Agnes E. Meyer’s Deed of Gift, listed as no. 17 in the document’s
Annex, dated July 24, 1967, copy in object file.
[2] See Agnes E. Meyer’s Deed of Gift, cited in note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 11/3/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
162 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lidded ritual container (hu) with painted decoration
Han dynasty, 206 B.C.E.-220 C.E.
China
Bronze
H x W: 16.8 x 13.2 cm (6 5/8 x 5 3/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.32a-b
Provenance:
To 1916
C. T. Loo, Lai-Yuan & Co., New York, to April 1, 1916 [1]
From 1916 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY,
purchased from C. T. Loo, Lai-Yuan & Co. on April 1, 1916 [2]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [3]
Notes:
[1] See C. T. Loo, Lai-Yuan & Co.’s invoice issued to Mrs. Eugene Meyer and dated February 29,
1916, where the bronze is listed as “Round bowl with cover, painted design,” copy in object file.
A stamped note on the invoice states that the payment for the bronze was received by Loo on
April 1, 1916. The invoice includes three other bronzes (see records for F1968.33, F1968.34a-b,
and F1968.35a-b) which with F1968.32a-b form a group probably made as a set to be used as
mingqi (funerary objects). The four vessels reportedly came from Changsha, Hunan province,
however, there is no certainty of their provenance, see Eugene and Agnes E. Meyer Memorial
Exhibition, exh. cat. (Washington, D.C.: Freer Gallery of Art, Smithsonian Institution, 1971), pp.
28-29 (ill.) and Diane M. Nelson, “Bronze ‘Ming-ch’i’ Vessels with Painted Decoration: A Regional
Study in Han Pictorialism,” Artibus Asiae 42, 2/3 (1980), pp. 147-8.
[2] See C. T. Loo, Lai-Yuan & Co.’s invoice, cited in note 1.
[3] See Agnes E. Meyer’s Deed of Gift, where the object is listed as no. 18 in the document’s
Annex, dated July 24, 1967, copy in object file. The object was accessioned to the Freer Gallery’s
collection in 1968.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
12/19/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
163 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Basin with painted decoration
Han dynasty, 206 B.C.E.-220 C.E.
China
Bronze
H x W: 8.1 x 15.7 cm (3 3/16 x 6 3/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.33
Provenance:
To 1916
C. T. Loo, Lai-Yuan & Co., New York, to April 1, 1916 [1]
From 1916 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY,
purchased from C. T. Loo, Lai-Yuan & Co. on April 1, 1916 [2]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [3]
Notes:
[1] See C. T. Loo, Lai-Yuan & Co.’s invoice issued to Mrs. Eugene Meyer and dated February 29,
1916, where the bronze is listed as “Round bronze vase with two small rings, painted with
polychrome floral design,” copy in object file. A stamped note on the invoice states that the
payment for the bronze was received by Loo on April 1, 1916. The invoice includes three other
bronzes (see records for F1968. 32a-b, F1968.34a-b, and F1968.35a-b) which with F1968.33
form a group probably made as a set to be used as mingqi (funerary objects). The four vessels
reportedly came from Changsha, Hunan province, however, there is no certainty of their
provenance, see Eugene and Agnes E. Meyer Memorial Exhibition, exh. cat. (Washington, D.C.:
Freer Gallery of Art, Smithsonian Institution, 1971), pp. 28-29 (ill.) and Diane M. Nelson, “Bronze
‘Ming-ch’i’ Vessels with Painted Decoration: A Regional Study in Han Pictorialism,” Artibus Asiae
42, 2/3 (1980), pp. 147-8.
[2] See C. T. Loo, Lai-Yuan & Co.’s invoice, cited in note 1.
[3] See Agnes E. Meyer’s Deed of Gift, where the object is listed as no. 19 in the document’s
Annex, dated July 24, 1967, copy in object file. The object was accessioned to the Freer Gallery’s
collection in 1968.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
12/19/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
164 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lidded food cauldron (ding) with painted decoration
Han dynasty, 206 B.C.E.-220 C.E.
China
Bronze
H x W: 13.5 x 16.9 cm (5 5/16 x 6 5/8 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.34a-b
Provenance:
To 1916
C. T. Loo, Lai-Yuan & Co., New York, to April 1, 1916 [1]
From 1916 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY,
purchased from C. T. Loo, Lai-Yuan & Co. on April 1, 1916 [2]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [3]
Notes:
[1] See C. T. Loo, Lai-Yuan & Co.’s invoice issued to Mrs. Eugene Meyer and dated February 29,
1916, where the bronze is listed as “Tripot incense burner with cover, painted floral design,” copy
in object file. A stamped note on the invoice states that the payment for the bronze was received
by Loo on April 1, 1916. The invoice includes three other bronzes (see records for F1968. 32a-b,
F1968.33, and F1968.35a-b) which with F1968.34a-b form a group probably made as a set to be
used as mingqi (funerary objects). The four vessels reportedly came from Changsha, Hunan
province, however, there is no certainty of their provenance, see Eugene and Agnes E. Meyer
Memorial Exhibition exh. cat. (Washington, D.C.: Freer Gallery of Art, Smithsonian Institution,
1971), pp. 28-29 (ill.) and Diane M. Nelson, “Bronze ‘Ming-ch’i’ Vessels with Painted Decoration:
A Regional Study in Han Pictorialism,” Artibus Asiae 42, 2/3 (1980), pp. 147-8.
[2] See C. T. Loo, Lai-Yuan & Co.’s invoice, cited in note 1.
[3] See Agnes E. Meyer’s Deed of Gift, where the object is listed as no. 20 in the document’s
Annex, dated July 24, 1967, copy in object file. The object was accessioned to the Freer Gallery’s
collection in 1968.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
12/19/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
165 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lidded square ritual wine vessel (fanghu) with painted decoration
Han dynasty, 206 B.C.E.-220 C.E.
China
Bronze
H x W: 17.8 x 10.9 cm (7 x 4 5/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.35a-b
Provenance:
To 1916
C. T. Loo, Lai-Yuan & Co., New York, to April 1, 1916 [1]
From 1916 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY,
purchased from C. T. Loo, Lai-Yuan & Co. on April 1, 1916 [2]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [3]
Notes:
[1] See C. T. Loo, Lai-Yuan & Co.’s invoice issued to Mrs. Eugene Meyer and dated February 29,
1916, where the bronze is listed as “Square bronze vase with cover, painted with polychrome
floral designs,” copy in object file. A stamped note on the invoice states that the payment for the
bronze was received by Loo on April 1, 1916. The invoice includes three other bronzes (see
records for F1968. 32a-b, F1968.33, and F1968.34a-b) which with F1968.35a-b form a group
probably made as a set to be used as mingqi (funerary objects). The four vessels reportedly
came from Changsha, Hunan province, however, there is no certainty of their provenance, see
Eugene and Agnes E. Meyer Memorial Exhibition exh. cat. (Washington, D.C.: Freer Gallery of
Art, Smithsonian Institution, 1971), pp. 28-29 (ill.) and Diane M. Nelson, “Bronze ‘Ming-ch’i’
Vessels with Painted Decoration: A Regional Study in Han Pictorialism,” Artibus Asiae 42, 2/3
(1980), pp. 147-8.
[2] See C. T. Loo, Lai-Yuan & Co.’s invoice, cited in note 1.
[3] See Agnes E. Meyer’s Deed of Gift, where the object is listed as no. 21 in the document’s
Annex, dated July 24, 1967, copy in object file. The object was accessioned to the Freer Gallery’s
collection in 1968.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
12/19/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
166 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Tube (cong)
Artist: Liangzhu culture (ca. 3300-ca. 2250 B.C.E.)
Late Neolithic period, ca. 3300-2250 B.C.E.
China, Lake Tai region
Jade (nephrite)
H x W x D: 10.5 x 6.7 x 6.6 cm (4 1/8 x 2 5/8 x 2 5/8 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.36
Provenance:
From at least 1967 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC and Mt. Kisco, NY, from
at least July 24, 1967 [1]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [2]
Notes:
[1] The object is included in Agnes E. Meyer’s Deed of Gift, listed as no. 22 in the document’s
Annex, dated July 24, 1967, copy in object file.
[2] See Agnes E. Meyer’s Deed of Gift, cited in note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 11/3/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
167 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Plaque in the form of a tiger
Qing dynasty, 19th century
China
Jade
H x W: 11.5 x 21.5 cm (4 1/2 x 8 7/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.37
Provenance:
From at least 1929 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, Washington, DC, and Mt.
Kisco, NY, from at least January 12, 1929 [1]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [2]
Notes:
[1] Eugene and Agnes E. Meyer lent the jade to an exhibition in Berlin in 1929, see Ausstellung
Chinesischer Kunst Veranstaltet von der Gesellschaft für Ostasiatische Kunst und der
Preußischen Akademie der Künste Berlin, exh. cat. (Berlin, January 12 – April 2, 1929), cat. 220
(ill.).
[2] See Agnes E. Meyer’s Deed of Gift, dated July 24, 1967, where the object is listed as no. 23
in the document’s Annex, copy in object file. The object was accessioned to the Freer Gallery’s
collection in 1968.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
12/19/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
168 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Harvesting knife (hu) with dragons
Eastern Zhou dynasty, 5th-4th century B.C.E.
China
Jade (nephrite)
H x W x D (overall): 19.2 x 6.7 x 0.5 cm (7 9/16 x 2 5/8 x 3/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.38
Provenance:
From at least 1929 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, Washington, DC, and Mt.
Kisco, NY, from at least January 12, 1929 [1]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [2]
Notes:
[1] Eugene and Agnes E. Meyer lent the jade to an exhibition in Berlin in 1929, see Ausstellung
Chinesischer Kunst Veranstaltet von der Gesellschaft für Ostasiatische Kunst und der
Preußischen Akademie der Künste Berlin, exh. cat. (January 12 – April 2, 1929), cat. 222 (ill.).
[2] See Agnes E. Meyer’s Deed of Gift, dated July 24, 1967, where the object is listed as no. 23
in the document’s Annex, copy in object file. The object was accessioned to the Freer Gallery’s
collection in 1968.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
12/19/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
169 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Guardian figure
Tang dynasty, early 8th century
China
Earthenware with pigments
H x W x D (a - figure): 59.6 x 22.1 x 15.7 cm (23 7/16 x 8 11/16 x 6 3/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.41a-b
Provenance:
From at least the 1950s to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC and Mt. Kisco, NY, from
at least the 1950s [1]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [2]
Notes:
[1] An undated photograph, depicting Eugene and Agnes Meyer at their Mt. Kisco house in the
1950s, shows the sculpture together with F1968.42a-b standing on the fireplace mantel, see the
Agnes Meyer papers, Library of Congress, call no. PR CN 1975:127. The photograph has been
reproduced in Merlo J. Pusey, Eugene Meyer (New York: Alfred A. Knopf, 1974), opposite p. 337.
[2] The object is included in Agnes E. Meyer’s Deed of Gift, listed as no. 1 together with F1968.42
in the document’s Annex, dated July 24, 1967, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/3/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
170 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Guardian figure
Tang dynasty, early 8th century
China
Earthenware with pigments
H x W x D (figure): 60 × 22.2 × 16 cm (23 5/8 × 8 3/4 × 6 5/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.42a-b
Provenance:
From at least the 1950s to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC and Mt. Kisco, NY, from
at least the 1950s [1]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [2]
Notes:
[1] An undated photograph depicting Eugene and Agnes Meyer at their Mt. Kisco house in the
1950s, shows the sculpture together with F1968.41a-b standing on the fireplace mantel, see the
Agnes Meyer papers, Library of Congress, call no. PR CN 1975:127. The photograph has been
reproduced in Merlo J. Pusey, Eugene Meyer (New York: Alfred A. Knopf, 1974), opposite p. 337.
[2] The object is included in Agnes E. Meyer’s Deed of Gift, listed as no. 1 together with F1968.41
in the document’s Annex, dated July 24, 1967, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/3/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
171 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Scholar's Dwelling in the Mountains
Artist: Formerly attributed to Ma Yuan (active late 12th-early 13th century)
Ming dynasty, ca. 1500
Zhe School
China
Ink and color on silk
H x W (image): 134 x 74 cm (52 3/4 x 29 1/8 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.43
Provenance:
To about 1914
Pang Yuanji (1864-1949), Shanghai [1]
From about 1914 to 1915
Yamanaka and Company, New York, purchased from Pang Yuanji [2]
From 1915 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY, purchased from Yamanaka and Company in June 1915 [3]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [4]
Notes:
[1] See letter from Agnes E. Meyer to Charles Freer, June 14, 1915, Agnes E. Meyer Papers,
Library of Congress, copy in file.
[2] See letter from Agnes E. Meyer to Charles Freer, cited in note 1.
[3] See letter from Agnes E. Meyer to Charles Freer, cited in note 1. In the letter, Agnes Meyer
stated that she and her husband, Eugene Meyer, bought the painting, at the time attributed to Ma
Yuan, from Ushikubo Daijiro of Yamanka and Company, who in turned had purchased it from
Pang Yuanji’s collection in 1914.
[4] See Agnes E. Meyer’s Deed of Gift, dated July 24, 1967, where the painting is listed as no. 27
in the document’s Annex, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/16/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
172 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Awaiting the Ferry
Artist: Formerly attributed to Xia Gui (active ca. 1195-1230)
Ming dynasty, 16th century
Zhe School
China
Ink on silk
H x W (image): 146 x 74.3 cm (57 1/2 x 29 1/4 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.44
Provenance:
Pang Yuanji (1864-1949), Shanghai [1]
To 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY [2]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [3]
Notes:
[1] Pang Yuanji’s collector seal is located on the scroll.
[2] See Agnes Meyer’s Deed of Gift, dated July 24, 1967, listed as no. in the document’s Annex,
copy in object file.
[3] See note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/15/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
173 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bodhisattva, possibly Avalokiteshvara (Guanyin)
Northern Qi dynasty, 550-577
China, Hebei province, Fengfeng, southern Xiangtangshan, Cave 2
Limestone with traces of pigment
H x W x D (overall): 172.5 x 51.8 x 42.9 cm (67 15/16 x 20 3/8 x 16 7/8 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.45
Provenance:
Originally located in Cave 2, southern Xiangtangshan, Hebei province, China [1]
1914
Charles Vignier (1863-1934), Paris and C. T. Loo (1880-1957), Paris, in April 1914 [2]
From at least 1916 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY, purchased from C. T. Loo, not later than March 13, 1916 [3]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [4]
Notes:
[1] The removal of the sculpted figures and fragments from the Xiangtangshan caves began ca.
1909 at the time of political upheaval in China and continued throughout several decades, see
http://xts.uchicago.edu/, accessed on August 2010. See also J. Keith Wilson and Daisy Yiyou
Wang, "The Early-Twentieth-Century 'Discovery' of the Xiangtangshan Caves," in Katherine R.
Tsiang et al., Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan, exh. cat.
(Chicago: Smart Museum of Art; Washington, DC: Arthur M. Sackler Gallery, Smithsonian
Institution, 2010), pp. 106-129 and Katherine R. Tsiang and J. Keith Wilson, "Catalogue of Works
in the Exhibition," in Katherine R. Tsiang et al., Echoes of the Past: The Buddhist Cave Temples
of Xiangtangshan, 2010, pp. 208-209, cat. no. 22 (ill.).
[2] The sculpture was published in April 1914 as owned by Charles Vignier, a symbolist poet,
dealer, and collector, see "Early Chinese Sculpture," The Burlington Magazine for Connoisseurs
vol. 25, no. 133 (April 1914), pp. 40, 43 (pl. 2, D). C. T. Loo shared with Vignier the ownership of
this and other Xiangtangshan sculptures published in the Burlington Magazine article. According
to Loo, it was his Beijing office that secured the sculptures in China, see C. T. Loo, "Preface" in
C. T. Loo and Co., An Exhibition of Chinese Stone Sculptures (New York: C. T. Loo and Co.,
1940), np. See also J. Keith Wilson and Daisy Yiyou Wang 2010, pp. 107-108.
[3] See Eugene Meyer’s letter to S. C. Bosch-Reitz, dated March 13, 1916, Metropolitan Museum
of Art Archives, New York. In the letter, Meyer stated that he had acquired the sculpture recently
and offered to loan it to the Metropolitan Museum. See also Metropolitan Museum of Art Bulletin
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
vol. 11, no. 5 (May 1916), p. 120-121 and C. T. Loo, "Preface" in C. T. Loo and Co. 1940. The
sculpture was returned to the Meyers probably by the end of 1916; the Meyers lent it again to the
Metropolitan Museum from 1923 to 1934. See correspondence between Agnes E. Meyer and S.
C. Bosch-Reitz, September 1923 and correspondence between Agnes E. Meyer and H. E.
Winlock, November 1934, Metropolitan Museum of Art Archives. The sculpture was published in
Osvald Sirén, Chinese Sculpture From the Fifth to the Fourteenth Century (London: Benn, Ltd.,
1925), vol. 1, p. 129, vol. 4, pl. 472.
[4] See Agnes E. Meyer's Deed of Gift, dated July 24, 1967, where the sculpture is listed as no.
29 in the document's Annex, copy in object file. The object was accessioned to the Freer
Gallery's collection in 1968.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
175 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Round axe with flanges
Late Shang dynasty, Anyang period, ca. 1300-1050 B.C.E.
China, Henan province, Probably Anyang
Jade (nephrite)
H x W x D: 22.5 x 20.3 x 1.1 cm (8 7/8 x 8 x 7/16 in)
Diam (hole): 6.4 cm (2 1/2 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.48
Provenance:
Duanfang (1861-1911) [1]
From at least 1929 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY,
from at least January 12, 1929 [2]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [3]
Notes:
[1] The jade is included in Duanfang’s catalogue of his jade collection, published posthumously
in 1936 with a preface by Wang Dalong, see Duanfang, Taozhai gu yu tu vol. 1 (Shanghai,
1936), p. 1a. Duanfang was a late Qing dynasty government official and a well-known collector
of Chinese art. See also Thomas Lawton, A Time of Transition: Two Collectors of Chinese Art
(Spencer Museum of Art, University of Kansas, 1991), pp. 37-39, fig. 36.
[2] Eugene and Agnes E. Meyer lent the jade to an exhibition in Berlin in 1929, see Ausstellung
Chinesischer Kunst Veranstaltet von der Gesellschaft für Ostasiatische Kunst und der
Preußischen Akademie der Künste Berlin, exh. cat. (Berlin, January 12 – April 2, 1929), cat. 151.
[3] See Agnes E. Meyer’s Deed of Gift, dated July 24, 1967, where the jade is listed as no. 32 in
the document’s Annex, copy in object file. The object was accessioned to the Freer Gallery’s
collection in 1968.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/3/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
176 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Base with dragons
Han dynasty, 206 B.C.E.-220 C.E.
China
Bronze with gilding
H x W: 15.5 x 16 cm (6 1/8 x 6 5/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.49a-b
Provenance:
From at least 1908
Duanfang (1861-1911) [1]
From at least 1967 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC and Mt. Kisco, NY, from
at least 1967 [2]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [3]
Notes:
[1] The bronze is included in Duanfang’s catalogue of his bronze collection, originally published in
1908, see Duanfang, Taozhai ji jin lu (Shanghai gu ji chu ban she, 1995), p. 6:59a. Duanfang was
a late Qing dynasty government official and a well known collector of Chinese art. For the
discussion of Duanfang’s collection see Thomas Lawton, A Time of Transition: Two Collectors of
Chinese Art (Spencer Museum of Art, University of Kansas, 1991), pp. 5-45.
[2] The object is included in Agnes E. Meyer’s Deed of Gift, listed as no. 33 in the document’s
Annex, dated July 24, 1967, copy in object file.
[3] See Agnes E. Meyer’s Deed of Gift, cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
12/19/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
177 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Jar
Yuan or Ming dynasty, 14th-15th century
China
Cizhou ware
Stoneware with white slip and iron decoration under clear colorless glaze.
H x W: 36.5 x 31.6 cm (14 3/8 x 12 7/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.50
Provenance:
From at least 1916 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC and Mt.
Kisco, NY, from at least 1916 [1]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer in 1968 [2]
Notes:
[1] Eugene and Agnes E. Meyer lent the jar to the Metropolitan Museum of Art exhibition in 1916,,
see S. C Bosch Reitz, Catalogue of An Exhibition of Early Chinese Pottery and Sculpture, exh.
cat. (New York: Metropolitan Museum of Art, 1916), cat. 323 (ill.).
[2] The object is included in Agnes E. Meyer’s Deed of Gift, listed as no. 34 in the document’s
Annex, dated July 24, 1967, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
178 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Buddhist stele
Northern Wei dynasty, dated 511
China, Probably Henan province
Limestone
H x W x D: 30.4 x 18.6 x 10.6 cm (11 15/16 x 7 5/16 x 4 3/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.53
Provenance:
From at least 1916 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC and Mt.
Kisco, NY, from at least 1916 [1]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer, 1968 [2]
Notes:
[1] Eugene and Agnes E. Meyer lent the stele to the Metropolitan Museum of Art exhibition in
1916, see S. C Bosch Reitz, Catalogue of An Exhibition of Early Chinese Pottery and Sculpture,
exh. cat. (New York: Metropolitan Museum of Art, 1916), cat. 323 (ill.).
[2] The object is included in Agnes E. Meyer’s Deed of Gift, listed as no. 37 in the document’s
Annex, dated July 24, 1967, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
179 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Buddhist stele
Period of Division, Northern Wei dynasty, ca. 520s
China
Stone
H x W x D: 99.6 x 81.2 x 27.7 cm (39 3/16 x 31 15/16 x 10 7/8 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.54
Provenance:
From at least 1925 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY [1]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer, 1968 [2]
Notes:
[1] The stele is documented as a part of the Meyer collection in Osvald Sirén, Chinese Sculpture
From the Fifth to the Fourteenth Century (London: Benn, Ltd., 1925), vol. 1, p. 48, vol. 2, pl. 183.
[2] The stele is included in Agnes E. Meyer’s Deed of Gift, listed as no. 38 in the document’s
Annex, dated July 24, 1967, copy in object file. It was accessioned to the Freer Gallery’s
collection in 1968.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
12/19/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
180 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Tomb lining tile
Period of Division, Wei kingdom, 220-265
China
Unglazed earthenware
H x W x D: 38.2 x 38.5 x 6.3 cm (15 1/16 x 15 3/16 x 2 1/2 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1968.55
Provenance:
From at least 1967 to 1968
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY [1]
From 1968
Freer Gallery of Art, given by Agnes E. Meyer, 1968 [2]
Notes:
[1] The object is included in Agnes E. Meyer’s Deed of Gift, listed as no. 39 in the document’s
Annex, dated July 24, 1967, copy in object file.
[2] See Agnes E. Meyer’s Deed of Gift, cited in note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 11/3/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
181 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Jar
Joseon period, 19th century
Korea, Gyeonggi-do province, Gwangju county, Bunwon-ri, Bunwon kilns
Bunwon ware
Porcelain with cobalt pigment under transparent, colorless glaze
H x W: 30.5 x 31.8 cm (12 x 12 1/2 in)
Purchase
Freer Gallery of Art F1970.6a-c
Provenance:
From at least 1969 to 1970
Daisho Commercial & Industrial Co., Ltd, Tokyo, from at least February 12, 1969 [1]
From 1970
Freer Gallery of Art, purchased from Daisho Commercial & Industrial Co., Ltd., March 16, 1970
[2]
Notes:
[1] See correspondence dated February 12, 1969, authorizing Mr. Yoshinobu Daisho to ship the
object, along with two other objects, to the Freer Gallery, copy in object file. A receipt, dated May
13, 1969, confirms the delivery of the objects to the Freer Gallery for the consideration for
purchase, copy in object file.
[2] See Invoice issued by the Daisho Commercial & Industrial Co., Ltd, dated March 16, 1970,
copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 6/9/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
182 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Birds in Wintry Trees
Artist: Formerly attributed to Li Di (active late 12th-early 13th century)
Ming dynasty, 16th-17th century
China
Hanging scroll mounted on panel; ink and color on silk
H x W (image): 195.1 x 97.5 cm (76 13/16 x 38 3/8 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1970.32
Provenance:
To 1916
Pang Yuanji (1864-1949), Shanghai [1]
From 1916 to 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY, purchased from Pang Yuanji in 1916 [2]
From 1970
Freer Gallery of Art, bequeathed by Agnes E. Meyer in 1970 [3]
Notes:
[1] The painting was published and illustrated in Pang Yuanji’s catalogue, Antique Famous
Chinese Paintings Collected by P’ang Lai Ch’en, vol. 1 (Shanghai, Privately published by Pang
Yuanji, 1916), no. 26: “Li Ti, Old Cedar and Winter Birds.”
[2] In 1916 Pang Yuanji, with the assistance of Pang Zanchen and Seaouke Yue, sent a group of
paintings illustrated in Antique Famous Chinese Paintings Collected by P’ang Lai Ch’en
catalogue to New York and showed them to Charles Freer. See Ingrid Larsen, “‘Don’t Send Ming
or Later Pictures’: Charles Lang Freer and the First Major Collection of Chinese Painting in an
American Museum,” Ars Orientalis vol. 40 (2011), p. 23. Freer made a selection of paintings for
his collection and advised the Meyers and Louisine Havemeyer with their acquisitions. Freer’s
copy of the 1916 Pang catalogue includes pencil annotations indicating that this painting was
purchased by Agnes E. Meyer.
[3] See Deed of Gift, signed by Agnes E. Meyer’s children and dated to May 31, 1971, where the
painting is listed under no. 1, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/16/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
183 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Wintry Trees and Sheep
寒林牧羊圖
Artist: Anonymous
Yuan dynasty, mid 14th century
China
Ink on silk
H x W: 112 x 48.3 cm (44 1/8 x 19 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1970.33
Provenance:
Luo Zhenyu (1866-1940) [1]
To 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY
From 1970
Freer Gallery of Art, bequeathed by Agnes E. Meyer in 1970 [2]
Notes:
[1] An inscription on the outside label written by Luo Zhenyu includes a reference to “the Xuetang
collection,” see “Song and Yuan Painting and Calligraphy,”
http://www.asia.si.edu/SongYuan/F1970.33/F1970-33.Documentation.pdf, accessed on June 7,
2012.
[2] The painting is included in Agnes E. Meyer’s will and testament dated December 23, 1969,
copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/15/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
184 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Listening to the Pines in a Riverside Pavilion
Artist: Formerly attributed to Xu Daoning (ca. 1000-after 1066)
Ming dynasty, 16th century
Zhe School
China
Hanging scroll mounted on panel; ink on silk
H x W (image): 199.5 x 106.2 cm (78 9/16 x 41 13/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1970.36
Provenance:
Hsiang Yuan-Pien (1525-1590) [1]
To 1916
Pang Yuanji (1864-1949), Shanghai [2]
From 1916 to 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY, purchased from Pang Yuanji in 1916 [3]
From 1970
Freer Gallery of Art, bequeathed by Agnes E. Meyer in 1970 [4]
Notes:
[1] The Ming collector’s, Hsiang Yuan-pien’s seal is located on the painting, see Eugene and
Agnes E. Meyer Memorial Exhibition (Washington: Freer Gallery of Art, Smithsonian Institution,
1973), p. 56, no. 25 (ill.).
[2] The painting was published and illustrated in Pang Yuanji’s catalogue, Antique Famous
Chinese Paintings Collected by P’ang Lai Ch’en (Tang Wudai Song Yuan minghua), vol. 1
(Shanghai, Privately published by Pang Yuanji, 1916), no. 20: “Hsü Toa Ning, Listening to the
Pines at the Hermitage.” Pang Yuanji’s collector seal is located on the painting.
[3] In 1916 Pang Yuanji, with the assistance of dealers Pang Zanchen and Seaouke Yue, sent a
group of paintings illustrated in Antique Famous Chinese Paintings Collected by P’ang Lai Ch’en
catalogue to New York where they were shown to Charles Freer. See Ingrid Larsen, “‘Don’t Send
Ming or Later Pictures’: Charles Lang Freer and the First Major Collection of Chinese Painting in
an American Museum,” Ars Orientalis vol. 40 (2011), p. 23. Freer made a selection of twenty one
paintings for his collection and advised the Meyers and Louisine Havemeyer with their
acquisitions. Freer’s copy of the 1916 Pang catalogue includes pencil annotations indicating that
this painting was purchased by Agnes E. Meyer.
[4] The painting is included in a codicil to Agnes E. Meyer’s will and testament, dated December
23, 1969, copy in object file
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/15/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
185 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lidded ritual food cauldron (ding) with dragons
Eastern Zhou dynasty, ca. 600-500 B.C.E.
China
Bronze
H x W: 31.8 x 35.8 cm (12 1/2 x 14 1/8 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1970.38a-b
Provenance:
From at least 1969 to 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY [1]
From 1970
Freer Gallery of Art, bequeathed by Agnes E. Meyer [2]
Notes:
[1] The object is included in Agnes E. Meyer’s will and testament dated December 23, 1969, copy
in object file.
[2] See Agnes E. Meyer’s will and testament cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
12/19/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
186 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Round axe with flanges
Late Shang dynasty, late Anyang period, 12th-11th century B.C.E.
China
Jade
H x W x D: 19.8 x 20 x 0.8 cm (7 13/16 x 7 7/8 x 5/16 in)
Diam (opening): 6.2 cm (2 7/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1970.39
Provenance:
Duanfang (1861-1911) [1]
From at least 1969 to 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY [2]
From 1970
Freer Gallery of Art, bequeathed by Agnes E. Meyer, 1970 [3]
Notes:
[1] The jade is included in Duanfang’s catalogue of his jade collection, published posthumously in
1936 with a preface by Wang Dalong, see Duanfang, Taozhai gu yu tu, vol. 1 (Shanghai, 1936),
p. 1:3a. Duanfang was a late Qing government official and a well known collector of Chinese art.
See also Thomas Lawton, A Time of Transition: Two Collectors of Chinese Art (Spencer Museum
of Art, University of Kansas, 1991), pp. 37-39, fig. 37. An inscription on the box with which the
jade was acquired reads: “Zhou, gu bi, Tao zhai zhen cang"; a reference to the Taozhai,
Duanfang’s studio provides another indication that the jade was in Duanfang’s collection.
[2] The object is included in Agnes E. Meyer’s will and testament dated December 23, 1969, copy
in object file.
[3] See Agnes E. Meyer’s will and testament cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
12/20/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
187 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Harvesting knife (hu)
Late Neolithic period, ca. 2000-1700 B.C.E.
China
Jade (nephrite)
H x W x D: 22.3 x 6.9 x 0.5 cm (8 3/4 x 2 11/16 x 3/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1970.40
Provenance:
Possibly Duanfang (1861-1911) [1]
From at least 1969 to 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY [2]
From 1970
Freer Gallery of Art, bequeathed by Agnes E. Meyer [3]
Notes:
[1] An inscription on the box with which the jade was acquired, “Zhou, Ting, Taozhai zhen cang,"
provides a reference to the Taozhai, Duanfang’s studio, indicating that the jade may have been
part of the Duanfang collection. The jade is not included in Duanfang’s jade catalogue, Taozhai
gu yu tu, published posthumously in 1936 in Shanghai, but it is known that not all jades
assembled by Duanfang were included in the catalogue.
[2] The object is included in a codicil to Agnes E. Meyer’s will and testament, dated December 23,
1969, copy in object file.
[3] See a codicil to Agnes E. Meyer’s will and testament cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
12/20/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
188 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Hizen ware bottle in tea-whisk form
Edo period, 1650-1670
Japan, Saga prefecture, Arita
Arita ware, early enamel type
Porcelain with enamels over colorless glaze
H x W: 25.1 x 15 cm (9 7/8 x 5 7/8 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1970.41
Provenance:
From at least 1967 to 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC and Mt. Kisco, NY, from
at least 1967 [1]
From 1970
Freer Gallery of Art, gift of Eugene and Agnes E. Meyer on June 21, 1971 [2]
Notes:
[1] The vase was examined and stored for Agnes E. Meyer at the Freer Gallery in 1967, see W.
T. Chase’s note, dated June 1967, in object file.
[2] Agnes E. Meyer expressed a wish of donating the vase to the Freer Gallery in a letter to John
A. Pope, dated January 28, 1969. The vase was acquired from Agnes E. Meyer Estate, see Deed
of Gift, dated May 31, 1971, copy in object file, where the object is listed as no. 4.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 11/3/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
189 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Body of incense burner, missing rim and foot
Northern Song dynasty, 11th century
China, Hebei province, Cizhou county, Guantai kilns
Cizhou ware
Stoneware with white slip and pigment under colorless glaze
H x W: 14.6 x 14.9 cm (5 3/4 x 5 7/8 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1970.47
Provenance:
From at least 1916 to 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY, from at least 1916 [1]
From 1970
Freer Gallery of Art, bequeathed by Agnes E. Meyer [2]
Notes:
[1] Eugene and Agnes E. Meyer lent this fragment of an incense burner to the Metropolitan
Museum of Art exhibition in 1916, see S. C Bosch Reitz, Catalogue of An Exhibition of Early
Chinese Pottery and Sculpture, exh. cat. (New York: Metropolitan Museum of Art, 1916), cat. 111
(ill.).
[2] The object is included in a codicil to Agnes E. Meyer’s will and testament, dated December 23,
1969, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
190 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Jar
Northern Song dynasty or later, late 11th-early 12th century or later
China, Possibly Shaanxi province
Cizhou ware
Stoneware with white slip under transparent glaze, area of copper-green
glaze
H x W: 10.8 x 13.8 cm (4 1/4 x 5 7/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1970.48
Provenance:
From at least 1969 to 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY,
from at least 1969 [1]
From 1970
Freer Gallery of Art, bequeathed by Agnes E. Meyer [2]
Notes:
[1] The object is included in a codicil to Agnes E. Meyer’s will and testament, dated December 23,
1969, copy in object file.
[2] See a codicil to Agnes E. Meyer’s will and testament cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 11/3/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
191 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Tomb tile
Han dynasty, 206 B.C.E.-220 C.E.
China
Unglazed pottery
H x W x D: 21.6 x 57.5 x 14 cm (8 1/2 x 22 5/8 x 5 1/2 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1970.49
Provenance:
From at least 1969 to 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY,
from at least 1969 [1]
From 1970
Freer Gallery of Art, bequeathed by Agnes E. Meyer [2]
Notes:
[1] The object is included in a codicil to Agnes E. Meyer’s will and testament, dated December 23,
1969, copy in object file.
[2] See a codicil to Agnes E. Meyer’s will and testament cited in note 2.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 11/3/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
192 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Relief fragment with a female figure
Allegedly Ptolemaic Dynasty, 305-30 B.C.E.
Egypt
Limestone
H x W: 37.4 x 24.2 cm (14 3/4 x 9 1/2 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1970.50
Provenance:
From at least 1969 to 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY [1]
From 1970
Freer Gallery of Art, bequeathed by Agnes E. Meyer [2]
Notes:
[1] The object is included in a codicil to Agnes E. Meyer’s will and testament, dated December 23,
1969, copy in object file.
[2] See a codicil to Agnes E. Meyer’s will and testament cited in note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/21/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
193 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Jar
Three Kingdoms period, Silla kingdom, mid to late 5th century
Korea
Stoneware with natural ash glaze
H x W: 29.3 x 24.8 cm (11 9/16 x 9 3/4 in)
Purchase and partial gift of Lt. General William Cassidy
Freer Gallery of Art F1972.13
Provenance:
From at least 1970 to 1972
Lt. General William F. Cassidy (1908-2002), Indialantic, FL, from at least December 1, 1970 [1]
From 1972
Freer Gallery of Art, given by Lt. General William F. Cassidy on December 1, 1972 [2]
Notes:
[1] See a receipt dated December 1, 1970, acknowledging the delivery of the object owned by Lt.
General Cassidy to the Freer Gallery for study and consideration for purchase, copy in object file.
The receipt indicates that it was sent from Mrs. A. D. Wilder at 1422 N. Ivanhoe, Arlington, VA.
Lt. General William F. Cassidy was stationed in Japan at the outbreak of the Korean War in
1950, and served as a senior logistics advisor to the Republic of Korea Army between 1958 and
1959.
A typewritten label which was attached to the piece reads, "Found: Bunwhang-sa Temple, vicinity
of Koungju [sic]." Properly, this refers to Bunhwangsa (Temple), vicinity of Gyongju.
[2] See Invoice issued by William Cassidy on December 1, 1972, copy in object file. The object
was purchased from Cassidy for a nominal fee, and thus is considered a gift.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 11/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
194 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pillow
Northern Song dynasty, 1063
China, Probably southern Shaanxi province
Cizhou-type ware
Stoneware with white slip under transparent colorless glaze
H x W x D (overall): 19.2 x 39.8 x 10 cm (7 9/16 x 15 11/16 x 3 15/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1974.2
Provenance:
To 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY [1]
From 1970 to 1974
Eugene and Agnes E. Meyer Foundation, New York
From 1974
Freer Gallery of Art, bequeathed by Agnes E. Meyer [2]
Notes:
[1] The object was part of the Estate of Agnes E. Meyer.
[2] The object was transferred to the Freer Gallery on January 9, 1973. In 1974 it was confirmed
that the transfer of this object to the Freer Gallery from the Eugene and Agnes E. Meyer
Foundation had been approved by the foundation’s Board of Directors on December 14, 1972
and the object was accessioned into the collection.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 11/3/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
195 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lid of a container, possibly a pou
Shang dynasty, ca. 1200-1100 B.C.E.
China, Yangzi River valley
Bronze
H x W: 7.8 x 23.7 cm (3 1/16 x 9 5/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1974.3
Provenance:
To 1916
Lai-Yuan & Co., New York, to March 1916 [1]
From 1916 to 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY,
bought from Lai-Yuan & Co., on March 6, 1916 [2]
From 1970 to 1974
Eugene and Agnes E. Meyer Foundation, New York [3]
From 1974
Freer Gallery of Art, bequeathed by Agnes E. Meyer [4]
Notes:
[1] See Invoice, issued by C. T. Loo, Lai-Yuan & Co. to Mr. and Mrs. Eugene Meyer, dated March
6, 1916, no. 30962: “Circular bronze cover from a Ting with 3 raised panthers amidst scrolls of
thunder (Lug Wan) Seu-Ning-Koo or black quicksilver patina – Shang dynasty,” in object file.
[2] See Lai-yuan & Co.'s invoice cited in note 1.
[3] The object was part of the Estate of Agnes E. Meyer.
[4] The object was transferred to the Freer Gallery on January 9, 1973. In 1974 it was confirmed
that the transfer of this object to the Freer Gallery from the Eugene and Agnes E. Meyer
Foundation had been approved by the foundation’s Board of Directors on December 14, 1972
and the object was accessioned into the collection.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 12/7/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
196 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Probably Bodhisattva Avalokitesvara (Guanyin)
Tang dynasty, 618-907
China, Henan Province, Luoyang, Probably Longmen Grottos
Limestone with traces of pigment
H x W x D (overall): 49.3 x 35.5 x 9 cm (19 7/16 x 14 x 3 9/16 in)
Gift of Eugene and Agnes E. Meyer
Freer Gallery of Art F1974.4a-b
Provenance:
Probably originally located in the southern part of Xishan, Longmen caves, Luoyang, Henan
province [1]
To 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY [2]
From 1970 to 1974
Eugene and Agnes E. Meyer Foundation, New York
From 1974
Freer Gallery of Art, bequeathed by Agnes E. Meyer [3]
Notes:
[1] Chang Qing, "Search and Research: The Provenance of Longmen Images in the Freer
Collection," Orientations 34, 5 (May 2003), pp. 18, 19, fig. 4.
[2] The object was part of the Estate of Agnes E. Meyer.
[3] The object was transferred to the Freer Gallery on January 9, 1973. In 1974 it was confirmed
that the transfer of this object to the Freer Gallery from the Eugene and Agnes E. Meyer
Foundation had been approved by the foundation’s Board of Directors on December 14, 1972
and the object was accessioned to the collection.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 11/3/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
Lamp
Three Kingdoms period, Silla kingdom, late 5th century
Korea
Unglazed stoneware
H x W x D: 13.5 x 17.2 x 17.2 cm (5 5/16 x 6 3/4 x 6 3/4 in)
Purchase
Freer Gallery of Art F1974.14a-c
Provenance:
From at least 1970 to 1974
Mayuyama & Co., Ltd, from at least December 18, 1970 [1]
From 1974
Freer Gallery of Art, purchased from Mayuyama & Co., Ltd., May 1, 1974 [2]
Notes:
[1] See correspondence dated December 18, 1970, authorizing Mayuyama & Company to ship
the object to the Freer Gallery, copy in object file. In Shipping Statement made by Mayuyama &
Co., Ltd, dated February 3, 1971, the vessel is listed as "Ceremonial Vessel, from Shimane-ken,
North-West of Japan, excavated in the 2nd year of Kyowa (1802 A.D.)" An invoice, also issued
by Mayuyama & Co., Ltd, on May 1, 1974, classified the vessel as "Japanese pottery ceremonial
vessel; Suiko period; from Shimane-ken; Sue type."
[2] See Invoice issued by Mayuyama & Co., Ltd, on May 1, 1974, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
11/10/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
198 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Wine flask (you) with handle and cover
Shang dynasty, ca. 1300-1028 B.C.E.
China
Bronze
H x W: 31 cm (12 3/16 in)
Transfer from the National Museum of Natural History, Smithsonian
Institution
Freer Gallery of Art F1974.31a-b
Provenance:
From 1941 to 1942
C. T. Loo & Co., New York from April 1941 [1]
From 1942 to 1951
Eduard von der Heydt (1882-1964), Ascona, Switzerland, purchased from C. T. Loo on
September 3, 1942 and lent to the Buffalo Museum of Science, Buffalo, New York [2]
1951
US Government vested Eduard von der Heydt's property under the provisions of "Trading with
the Enemy Act" by vesting order, dated August 21, 1951 [3]
From 1964 to 1973
National Museum of Natural History, Smithsonian Institution, from March 1964 [4]
From 1973
Freer Gallery of Art, transferred from National Museum of Natural History in 1973 [5]
Notes:
[1] See C. T. Loo's stockcard no. 87129: "Bronze jar with cover and handle Chou Ht 12 1/2 ins /
Bronze vessel. Yu with cover. Decorated around foot and neck by bands of spiral motives. Cover
surmounted by a knob. Handle terminated by snake's heads and ornated by lozenges and
triangles. Rough green patina with red [rust?] splashes. Shang," Frank Caro Archive, Institute of
Fine Arts, New York University, copy in object file. According to information on the stockcard, the
object was inventoried in April 1941. In November that year, Loo exhibited the bronze at his
gallery in New York, see Exhibition of Chinese Arts, exh. cat. (New York: C. T. Loo & Co.,
November 1, 1941-April 30, 1942), cat. 35 (ill.).
[2] See C. T. Loo's stockcard cited in note 1. According to information on the stockcard, the
object was sent to Buffalo Museum of Science on August 31, 1942. See also "Catalogue of the
Von der Heydt Loan to the Buffalo Museum of Science: Loan Material from Baron Von der Heydt,
as of March 1949," where the object is documented under an inventory card no. 42133, copy in
object file. According to the inventory card, the object was purchased on September 8, 1943.
[3] See Vesting Order No. 18344, August 21, 1951, Office of Alien Property, Department of
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
Justice. Eduard von der Heydt exhausted all the legal remedies against the forfeiture of his
property provided to him by the Trading with the Enemy Act.
[4] Attorney General, Robert Kennedy authorized transfer of the von der Heydt collection from
Buffalo Museum of Science to the custody of the Smithsonian Institution in March 1964. The
collection was transferred to the National Museum of Natural History. In 1966 US Congress
legislated transferring the title of the von der Heydt collection to the Smithsonian Institution, see
Public Law 89-503, 80 Stat. 287, July 18, 1966. The object was accessioned under no. 448077,
see "Smithsonian Office of Anthropology Accession Data," copy in object file.
[5] The object was among 13 objects in the von der Heydt collection transferred from National
Museum of Natural History to the Freer Gallery of Art, see "Smithsonian Institution Intramural
Transfer of Specimens" memorandum, dated January 29, 1973, copy in object file. It was
accessioned to the permanent collection in 1974.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
200 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Jar
Three Kingdoms period, Silla kingdom, first half 6th century
Korea
Unglazed stoneware with traces of natural ash glaze
H x W x D: 27.5 x 23.5 x 23.5 cm (10 13/16 x 9 1/4 x 9 1/4 in)
Purchase
Freer Gallery of Art F1975.11.1
Provenance:
Possibly in possession of a Japanese owner [1]
From at least 1974 to 1975
Gilpin House, Alexandria, VA, from at least 1974 [2]
From 1975
Freer Gallery of Art, purchased from Gilpin House, June 30, 1975 [3]
Notes:
[1] According to a handwritten note that appears to have been provided by the owner, copy in
object file: "Stone-ware; very old ancient people as talk Yamato Minzukut (tribe), made and used
daily for corn, water, food, etc., buried under ground. Japanese name Yayoizhiki-Doki may be
4,000 or 2,000 years old. Shell-mound. Old Tomb of Noblemen in Tokyo, Nara and many. This
apparatus was not Korea's, so old time civilization advanced from our country. My grandfather
very fond of curios, but many times fire burned many old curios."
[2] See a receipt issued by the Freer Gallery on October 17, 1974, acknowledging the delivery of
the object from Gilpin House Antiques to the Freer for the consideration for purchase, copy in
object file.
[3] See Invoice issued by Gilpin House to the Freer Gallery on June 30, 1975, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated
11/10/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
201 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Torso of a Standing Buddha
Gupta dynasty, 5th century
India, Mathura
Red sandstone
H x W: 32.5 x 15.5 cm (12 13/16 x 6 1/8 in)
Transfer from the National Museum of Natural History, Smithsonian
Institution
Freer Gallery of Art F1976.15
Provenance:
From 1940 to 1946
C. T. Loo & Co., New York, from November 1940 [1]
From 1946 to 1951
Eduard von der Heydt (1882-1964), Ascona, Switzerland, purchased from C. T. Loo in April 1946
and lent to the Buffalo Museum of Science, Buffalo, New York [2]
1951
US Government vested Eduard von der Heydt's property under the provisions of "Trading with
the Enemy Act" by vesting order, dated August 21, 1951 [3]
From 1964 to 1973
National Museum of Natural History, Smithsonian Institution, from March 1964 [4]
From 1973
Freer Gallery of Art, transferred from National Museum of Natural History in 1973 [5]
Notes:
[1] See C. T. Loo's stockcard no. NYJ-1: "Small torso of a Buddha in red sand stone from Matura,
first Century A. D.," Frank Caro Archive, New York University, copy in object file. According to the
stockcard, Loo purchased the sculpture in November 1940 in India. According to J. E. van
Lohuzien-de Leeuw, the sculpture was acquired by Loo probably through Gabriel
Jouveau-Dubreuil (1885-1945), Pondicherry, see J. E. van Lohuzien-de Leeuw, Indische
Skulpturen der Sammlung Eduard von der Heydt/Indian Sculptures in the von der Heydt
Collection (Zurich: Atlantis Verlag, 1964), p. 42. In 1942 Loo exhibited the sculpture in his New
York gallery, see C. T. Loo & Co., An Exhibition of the Sculpture of Greater India: A Fully
Illustrated Catalogue, exh. cat. (New York: C. T. Loo & Co., 1942), cat. 28 (ill.).
[2] See C. T. Loo's stockcard cited in note 1. See also "Catalogue of the Von der Heydt Loan to
the Buffalo Museum of Science: Loan Material from Baron Von der Heydt, as of March 1949,"
where the sculpture is documented under an inventory card no. 4648.3, copy in object file.
According to information on the inventory card, Eduard von der Heydt purchased the sculpture
from C. T. Loo in April 1946.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/19/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
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Freer Gallery of Art and Arthur M. Sackler Gallery
[3] See Vesting Order No. 18344, August 21, 1951, Office of Alien Property, Department of
Justice. Eduard von der Heydt exhausted all the legal remedies against the forfeiture of his
property provided to him by the Trading with the Enemy Act.
[4] Attorney General, Robert Kennedy authorized transfer of the von der Heydt collection from
Buffalo Museum of Science to the custody of the Smithsonian Institution in March 1964. The
collection was transferred to the National Museum of Natural History. In 1966 US Congress
legislated transferring the title of the von der Heydt collection to the Smithsonian Institution, see
Public Law 89-503, 80 Stat. 287, July 18, 1966. The sculpture was accessioned under no.
448111, see "Smithsonian Office of Anthropology Accession Data," copy in object file.
[5] The sculpture was among 13 objects in the von der Heydt collection transferred from National
Museum of Natural History to the Freer Gallery of Art, see "Smithsonian Institution Intramural
Transfer of Specimens" memorandum, dated January 29, 1973, copy in object file. The sculpture
was accessioned to the Freer Gallery Study Collection under no. FSC-S-13 and subsequently
transferred to the permanent collection in August 1976.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/19/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
203 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Winged monster
Northern Qi dynasty, Northern Qi dynasty, 550-577
China, Hebei province, Fengfeng, northern Xiangtangshan, North Cave
Limestone
H x W x D (overall): 79 x 57.5 x 31.6 cm (31 1/8 x 22 5/8 x 12 7/16 in)
Transfer from the National Museum of Natural History, Smithsonian
Institution
Freer Gallery of Art F1977.8
Provenance:
Originally located in the North Cave, northern Xiangtangshan, Hebei province, China [1]
1936
An antique shop, Beijing, 1936 [2]
From 1939 to 1941
C. T. Loo & Co., New York, from at least November 1939 [3]
From 1941 to 1951
Eduard von der Heydt (1882-1964), Ascona, Switzerland, purchased from C. T. Loo on April 3,
1941 and lent to the Buffalo Museum of Science, Buffalo, New York [4]
From 1951 to 1964
US Government vested Eduard von der Heydt's property under the provisions of "Trading with
the Enemy Act" by vesting order, dated August 21, 1951 [5]
From 1964 to 1973
National Museum of Natural History, Smithsonian Institution, from March 1964 [6]
From 1973
Freer Gallery of Art, transferred from National Museum of Natural History on January 29, 1973 [7]
Notes:
[1] The removal of the sculpted figures and fragments from the Xiangtangshan caves began ca.
1909 at the time of political upheaval in China and continued throughout several decades, see
http://xts.uchicago.edu/, accessed on November 9, 2009. See also J. Keith Wilson and Daisy
Yiyou Wang, "The Early-Twentieth-Century 'Discovery' of the Xiangtangshan Caves," in
Katherine R. Tsiang et al., Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan,
exh. cat. (Chicago: Smart Museum of Art; Washington, DC: Arthur M. Sackler Gallery,
Smithsonian Institution, 2010), pp. 106-129 and Katherine R. Tsiang and J. Keith Wilson,
"Catalogue of Works in the Exhibition," in Katherine R. Tsiang et al., Echoes of the Past: The
Buddhist Cave Temples of Xiangtangshan, 2010, pp. 182-183, cat. no. 12 (ill.).
[2] Mizuno Seiichi and Nagahiro Toshio illustrated the sculpture and described it as being in the
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
possession of a Beijing antique shop in a publication based on a survey they had conducted in
1936, see Mizuno Seiichi and Nagahiro Toshio, Kyodosan sekkutsu [The Buddhist Cave-Temples
of Hsiang-t'ang-ssu on the Frontier of Honan and Hopei] (Kyoto: Toho bunka gakuin Kyoto
Kenkyujo, Showa 12, 1937), p. 105, pl. 6b.
[3] See C. T. Loo's stockcard no. 80954: "Two stone slabs, high relief decoration of monster,
Wei," Frank Caro Archive, Institute of Fine Arts, New York University, copy in object file. The
sculpture was inventoried together with F1977.9 in November 1939. On December 30, 1939, the
sculpture was illustrated in an advertisement for An Exhibition of Chinese Stone Sculptures at C.
T. Loo & Co. in New York, January 5-27, in Art News 38, 13 (December 30, 1939), back cover;
see also C. T. Loo, An Exhibition of Chinese Stone Sculptures (New York: C. T .Loo and Co.,
1940), cat. no. 30, pl. 23.
[4] See C. T. Loo's stockcard cited above. The sculpture was sent by C. T. Loo directly to the
Buffalo Museum of Science, see C. T. Loo's letters to Chauncey Hamlin, dated April 3, 1941 and
April 9, 1941, Chauncey Hamlin Papers, Buffalo Museum of Science, Buffalo, New York, copy in
object file. See also "Catalogue of the Von der Heydt Loan to the Buffalo Museum of Science:
Loan Material from Baron Von der Heydt, as of March 1949," where the sculpture is documented
together with F1977.9 under an inventory card no. 4151, copy in object file.
[5] See Vesting Order No. 18344, August 21, 1951, Office of Alien Property, Department of
Justice. Eduard von der Heydt exhausted all the legal remedies against the forfeiture of his
property provided to him by the Trading with the Enemy Act.
[6] Attorney General, Robert Kennedy authorized transfer of the von der Heydt collection from
Buffalo Museum of Science to the custody of the Smithsonian Institution in March 1964. The
collection was transferred to the National Museum of Natural History. In 1966 US Congress
legislated transferring the title of the von der Heydt collection to the Smithsonian Institution, see
Public Law 89-503, 80 Stat. 287, July 18, 1966. The sculpture was accessioned under no.
448098 B, see "Smithsonian Office of Anthropology Accession Data," copy in object file.
[7] The sculpture was among 13 objects in the von der Heydt collection transferred from National
Museum of Natural History to the Freer Gallery of Art, see "Smithsonian Institution Intramural
Transfer of Specimens" memorandum, dated January 29, 1973, copy in object file. It was
accessioned to the Freer Gallery Study Collection under no. SC-S-10 in 1973 and subsequently
accessioned to the permanent collection in 1977.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
Kneeling winged monster
Period of Division, Northern Qi dynasty, 550-577
China, Hebei province, Northern Xiangtangshan, North Cave
Limestone relief
H x W x D (overall): 79 x 53.3 x 30.5 cm (31 1/8 x 21 x 12 in)
Transfer from the National Museum of Natural History, Smithsonian
Institution
Freer Gallery of Art F1977.9
Provenance:
Originally located in the North Cave, northern Xiangtangshan, Hebei province, China [1]
From 1939 to 1941
C. T. Loo & Co., New York, from at least November 1939 [2]
From 1941 to 1951
Eduard von der Heydt (1882-1964), Ascona, Switzerland, purchased from C. T. Loo on April 3,
1941 and lent to the Buffalo Museum of Science, Buffalo, New York [3]
From 1951 to 1964
US Government vested Eduard von der Heydt's property under the provisions of "Trading with
the Enemy Act" by vesting order, dated August 21, 1951 [4]
From 1964 to 1973
National Museum of Natural History, Smithsonian Institution, from March 1964 [5]
From 1973
Freer Gallery of Art, transferred from National Museum of Natural History on January 29, 1973 [6]
Notes:
[1] The removal of the sculpted figures and fragments from the Xiangtangshan caves begun ca.
1909 at the time of political upheaval in China and continued throughout several decades, see
http://xts.uchicago.edu/, accessed on November 9, 2009. See also J. Keith Wilson and Daisy
Yiyou Wang, "The Early-Twentieth-Century 'Discovery' of the Xiangtangshan Caves," in
Katherine R. Tsiang et al., Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan,
exh. cat. (Chicago: Smart Museum of Art; Washington, DC: Arthur M. Sackler Gallery,
Smithsonian Institution, 2010), pp. 106-129 and Katherine R. Tsiang and J. Keith Wilson,
"Catalogue of Works in the Exhibition," in Katherine R. Tsiang et al., Echoes of the Past: The
Buddhist Cave Temples of Xiangtangshan, 2010, pp. 184-185, cat. no. 13 (ill.).
[2] See C. T. Loo's stockcard no. 80954: "Two stone slabs, high relief decoration of monster,
Wei," Frank Caro Archive, Institute of Fine Arts, New York University, copy in object file. The
sculpture was inventoried together with F1977.8 in November 1939. In 1940 it was exhibited by
Loo in New York, see C. T. Loo, An Exhibition of Chinese Stone Sculptures (New York: C. T .Loo
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
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Freer Gallery of Art and Arthur M. Sackler Gallery
and Co., 1940), cat. no. 30, pl. 23.
[3] See C. T. Loo's stockcard cited above. The sculpture was sent by C. T. Loo directly to the
Buffalo Museum of Science, see C. T. Loo's letters to Chauncey Hamlin, dated April 3, 1941 and
April 9, 1941, Chauncey Hamlin Papers, Buffalo Museum of Science, Buffalo, New York, copy in
object file. See also "Catalogue of the Von der Heydt Loan to the Buffalo Museum of Science:
Loan Material from Baron Von der Heydt, as of March 1949," where the sculpture is documented
together with F1977.8 under an inventory card no. 4151, copy in object file.
[4] See Vesting Order No. 18344, August 21, 1951, Office of Alien Property, Department of
Justice. Eduard von der Heydt exhausted all the legal remedies against the forfeiture of his
property provided to him by the Trading with the Enemy Act.
[5] Attorney General, Robert Kennedy authorized transfer of the von der Heydt collection from
Buffalo Museum of Science to the custody of the Smithsonian Institution in March 1964. The
collection was transferred to the National Museum of Natural History. In 1966 US Congress
legislated transferring the title of the von der Heydt collection to the Smithsonian Institution, see
Public Law 89-503, 80 Stat. 287, July 18, 1966. The sculpture was accessioned under no.
448098 A, see "Smithsonian Office of Anthropology Accession Data," copy in object file.
[6] The sculpture was among 13 objects in the von der Heydt collection transferred from National
Museum of Natural History to the Freer Gallery of Art, see "Smithsonian Institution Intramural
Transfer of Specimens" memorandum, dated January 29, 1973, copy in object file. It was
accessioned to the Freer Gallery Study Collection under no. SC-S-11 in 1973 and subsequently
accessioned to the permanent collection in 1977.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
Ritual wine vessel (zun)
Shang dynasty, ca. 12th-11th century B.C.E.
China
Bronze
H x W: 29.2 x 22 cm (11 1/2 x 8 11/16 in)
Transfer from the National Museum of Natural History, Smithsonian
Institution
Freer Gallery of Art F1978.29
Provenance:
From 1939 to 1942
C. T. Loo & Co., New York, from May 1939 [1]
From 1942 to 1951
Eduard von der Heydt (1882-1964), Ascona, Switzerland, purchased from C. T. Loo on July 6,
1942 and lent to the Buffalo Museum of Science, Buffalo, New York [2]
1951
US Government vested Eduard von der Heydt's property under the provisions of "Trading with
the Enemy Act" by vesting order, dated August 21, 1951 [3]
From 1964 to 1973
National Museum of Natural History, Smithsonian Institution, from March 1964 [4]
From 1973
Freer Gallery of Art, transferred from National Museum of Natural History in 1973 [5]
Notes:
[1] See C. T. Loo's stockcard no. 86418: "Tsun. Decorated by two bands. In the center two t'ao
t'ieh masks between strait flanges, and on the lower part a band of confronted stylized dragons
and flanges smooth grey green patina Early Chou," Frank Caro Archive, Institute of Fine Arts,
New York University, copy in object file.
[2] See C. T. Loo's stockcard cited in note 1. According to an annotation on the stockcard, the
bronze was sent by Loo directly to the Buffalo Museum of Science. See also "Catalogue of the
Von der Heydt Loan to the Buffalo Museum of Science: Loan Material from Baron Von der Heydt,
as of March 1949," where the bronze is documented under an inventory card no. 42102-a, copy
in object file. According to this document, the bronze was purchased in June 1942.
[3] See Vesting Order No. 18344, August 21, 1951, Office of Alien Property, Department of
Justice. Eduard von der Heydt exhausted all the legal remedies against the forfeiture of his
property provided to him by the Trading with the Enemy Act.
[4] Attorney General, Robert Kennedy authorized transfer of the von der Heydt collection from
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/15/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
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Buffalo Museum of Science to the custody of the Smithsonian Institution in March 1964. The
collection was transferred to the National Museum of Natural History. In 1966 US Congress
legislated transferring the title of the von der Heydt collection to the Smithsonian Institution, see
Public Law 89-503, 80 Stat. 287, July 18, 1966. The bronze was accessioned under no. 448094,
see "Smithsonian Office of Anthropology Accession Data," copy in object file.
[5] The bronze was among 13 objects in the von der Heydt collection transferred from National
Museum of Natural History to the Freer Gallery of Art, see "Smithsonian Institution Intramural
Transfer of Specimens" memorandum, dated January 29, 1973, copy in object file. The bronze
was accessioned to the Freer Gallery Study Collection under no. FSC-B-86 and subsequently
transferred to the permanent collection in August 1978.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/15/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
Water buffalo
Shang dynasty, ca. 1300-1050 B.C.E.
China
Marble
H x W x D: 8.4 x 8 x 15.3 cm (3 5/16 x 3 1/8 x 6 in)
Transfer from the National Museum of Natural History, Smithsonian
Institution
Freer Gallery of Art F1978.30
Provenance:
1940
C. T. Loo & Co., New York, from at least January 1940 [1]
From 1940 to 1951
Eduard von der Heydt (1882-1964), Ascona, Switzerland, purchased from C. T. Loo on
September 21, 1940 and lent to the Buffalo Museum of Science, Buffalo, New York [2]
1951
US Government vested Eduard von der Heydt's property under the provisions of "Trading with
the Enemy Act" by vesting order, dated August 21, 1951 [3]
From 1964 to 1973
National Museum of Natural History, Smithsonian Institution, from March 1964 [4]
From 1973
Freer Gallery of Art, transferred from National Museum of Natural History in 1973 [5]
Notes:
[1] The sculpture was exhibited by C. T. Loo in January 1940, see C. T. Loo & Co., An Exhibition
of Chinese Stone Sculptures (New York, 1940), cat. 4 (ill.). According to the catalogue's entry,
the sculpture was found in Anyang. See also "China's Monumentality in Stone," Art Digest
(January 15, 1940), pp. 15, 31.
[2] See "Catalogue of the Von der Heydt Loan to the Buffalo Museum of Science: Loan Material
from Baron Von der Heydt, as of March 1949," where the sculpture is documented under an
inventory card no. 40108, copy in object file.
[3] See Vesting Order No. 18344, August 21, 1951, Office of Alien Property, Department of
Justice. Eduard von der Heydt exhausted all the legal remedies against the forfeiture of his
property provided to him by the Trading with the Enemy Act.
[4] Attorney General, Robert Kennedy authorized transfer of the von der Heydt collection from
Buffalo Museum of Science to the custody of the Smithsonian Institution in March 1964. The
collection was transferred to the National Museum of Natural History. In 1966 US Congress
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
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legislated transferring the title of the von der Heydt collection to the Smithsonian Institution, see
Public Law 89-503, 80 Stat. 287, July 18, 1966. The bronze was accessioned under no. 448091,
see "Smithsonian Office of Anthropology Accession Data," copy in object file.
[5] The bronze was among 13 objects in the von der Heydt collection transferred from National
Museum of Natural History to the Freer Gallery of Art, see "Smithsonian Institution Intramural
Transfer of Specimens" memorandum, dated January 29, 1973, copy in object file. The bronze
was accessioned to the Freer Gallery Study Collection under no. FSC-S-7 and subsequently
transferred to the permanent collection in August 1978.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/22/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
211 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Dagger-axe (ge)
Late Zhou dynasty, Warring States period, 475-221 B.C.E.
China
Jade (nephrite?) with traces of vermilion
H x W x D: 27.8 x 11 x 0.5 cm (10 15/16 x 4 3/8 x 3/16 in)
Transfer from the National Museum of Natural History, Smithsonian
Institution
Freer Gallery of Art F1978.31
Provenance:
From at least 1940 to 1942
C. T. Loo & Co., New York, from at least October 1940 [1]
From 1942 to 1951
Eduard von der Heydt (1882-1964), Ascona, Switzerland, purchased from C. T. Loo on August
27, 1942 and lent to the Buffalo Museum of Science, Buffalo, New York [2]
1951
US Government vested Eduard von der Heydt's property under the provisions of "Trading with
the Enemy Act" by vesting order, dated August 21, 1951 [3]
From 1964 to 1973
National Museum of Natural History, Smithsonian Institution, from March 1964 [4]
From 1973
Freer Gallery of Art, transferred from National Museum of Natural History in 1973 [5]
Notes:
[1] See C. T. Loo's stockcard no. 86945: "Jade knife. Decayed chicken bone jade knife, symbol
of power with incised designs of lines. Shang," Frank Caro Archive, Institute of Fine Arts, New
York University, copy in object file. According to an annotation on the stockcard, the jade was
acquired for Loo by Mr. Chow in October 1940.
[2] See Loo's stockcard cited in note 1. The jade was sent to Buffalo Museum of Science on July
30, 1942. See also "Catalogue of the Von der Heydt Loan to the Buffalo Museum of Science:
Loan Material from Baron Von der Heydt, as of March 1949," where the jade is documented
under an inventory card no. 42136, copy in object file. According to the inventory card, the jade
was acquired from Loo on September 14, 1942.
[3] See Vesting Order No. 18344, August 21, 1951, Office of Alien Property, Department of
Justice. Eduard von der Heydt exhausted all the legal remedies against the forfeiture of his
property provided to him by the Trading with the Enemy Act.
[4] Attorney General, Robert Kennedy authorized transfer of the von der Heydt collection from
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/15/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
Buffalo Museum of Science to the custody of the Smithsonian Institution in March 1964. The
collection was transferred to the National Museum of Natural History. In 1966 US Congress
legislated transferring the title of the von der Heydt collection to the Smithsonian Institution, see
Public Law 89-503, 80 Stat. 287, July 18, 1966. The jade was accessioned under no. 448078,
see "Smithsonian Office of Anthropology Accession Data," copy in object file.
[5] The jade was among 13 objects in the von der Heydt collection transferred from National
Museum of Natural History to the Freer Gallery of Art, see "Smithsonian Institution Intramural
Transfer of Specimens" memorandum, dated January 29, 1973, copy in object file. The jade was
accessioned to the Freer Gallery Study Collection under no. FSC-S-8 and subsequently
transferred to the permanent collection in August 1978.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/15/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
213 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Fragment of standing Bodhisattva
Northern Wei dynasty, 500-535
China, Henan province
Sandstone with traces of polychrome
H x W: 65.5 x 26.7 cm (25 13/16 x 10 1/2 in)
Transfer from the National Museum of Natural History, Smithsonian
Institution
Freer Gallery of Art F1978.32
Provenance:
From probably 1936 to 1941
C. T. Loo & Co., New York, probably from October 1936, not later than January 1938 [1]
From 1941 to 1951
Eduard von der Heydt (1882-1964), Ascona, Switzerland, purchased from C. T. Loo in April 1941
and lent to the Buffalo Museum of Science, Buffalo, New York [2]
1951
US Government vested Eduard von der Heydt's property under the provisions of "Trading with
the Enemy Act" by vesting order, dated August 21, 1951 [3]
From 1964 to 1973
National Museum of Natural History, Smithsonian Institution, from March 1964 [4]
From 1973
Freer Gallery of Art, transferred from National Museum of Natural History in 1973 [5]
Notes:
[1] See C. T. Loo's stockcard no. 65055: "Standing Bodhisattva holding a lotus in his right hand.
Stone. Legs missing. Wei dynasty: 220-265 A. D. Black marble base," Frank Caro Archive,
Institute of Fine Arts, New York University, copy in object file. Notes on the stockcard indicate
that the sculpture was inventoried by Loo in October 1936. In January 1938, the sculpture was
exhibited by Loo at the Art Club of Chicago, see "Exhibitions of Oriental Art," Parnassus vol. 10,
no. 1 (January 1938), pp. 36 (ill.), 37.
[2] See Loo's stockcard cited in note 1. See also "Catalogue of the Von der Heydt Loan to the
Buffalo Museum of Science: Loan Material from Baron Von der Heydt, as of March 1949," where
the sculpture is documented under an inventory card no. 4151, copy in object file.
[3] See Vesting Order No. 18344, August 21, 1951, Office of Alien Property, Department of
Justice. Eduard von der Heydt exhausted all the legal remedies against the forfeiture of his
property provided to him by the Trading with the Enemy Act.
[4] Attorney General, Robert Kennedy authorized transfer of the von der Heydt collection from
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 6/8/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
214 of 333
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Freer Gallery of Art and Arthur M. Sackler Gallery
Buffalo Museum of Science to the custody of the Smithsonian Institution in March 1964. The
collection was transferred to the National Museum of Natural History. In 1966 US Congress
legislated transferring the title of the von der Heydt collection to the Smithsonian Institution, see
Public Law 89-503, 80 Stat. 287, July 18, 1966. The sculpture was accessioned under no.
448099, see "Smithsonian Office of Anthropology Accession Data," copy in object file.
[5] The sculpture was among 13 objects in the von der Heydt collection transferred from National
Museum of Natural History to the Freer Gallery of Art, see "Smithsonian Institution Intramural
Transfer of Specimens" memorandum, dated January 29, 1973, copy in object file. It was
accessioned to the Freer Gallery Study Collection under no. FSC-S-9 and subsequently
transferred to the permanent collection in August 1978.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 6/8/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
215 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Miniature sarcophagus/reliquary
Tang dynasty, 618-907
China
Gray limestone
H x W x D: 32.7 x 21.8 x 48.5 cm (12 7/8 x 8 9/16 x 19 1/8 in)
Transfer from the National Museum of Natural History, Smithsonian
Institution
Freer Gallery of Art F1978.33a-b
Provenance:
From at least 1936 to 1940
C. T. Loo & Co., New York, from at least June 1936 [1]
From 1940 to 1951
Eduard von der Heydt (1882-1964), Ascona, Switzerland, purchased from C. T. Loo on
September 23, 1940 and lent to the Buffalo Museum of Science, Buffalo, New York [2]
1951
US Government vested Eduard von der Heydt's property under the provisions of "Trading with
the Enemy Act" by vesting order, dated August 21, 1951 [3]
From 1964 to 1973
National Museum of Natural History, Smithsonian Institution, from March 1964 [4]
From 1973
Freer Gallery of Art, transferred from National Museum of Natural History in 1973 [5]
Notes:
[1] See C. T. Loo's stockcard no. MT 516: "Stone sarcophagus, top decorated with finely incised
floral designs. Sides with animals, the emblems of the four seasons. Tang," Frank Caro Archive,
Institute of Fine Arts, New York University, copy in object file. According to an annotation on the
stockcard, the object was lent to Rhode Island School of Design, Providence for consideration of
purchase in June 1936.
[2] See C. T. Loo's stockcard cited in note 1 which provides the date of acquisition as September
23, 1940. See also "Catalogue of the Von der Heydt Loan to the Buffalo Museum of Science:
Loan Material from Baron Von der Heydt, as of March 1949," where the object is documented
under an inventory card no. 40113, copy in object file. The inventory card cites two acquisition
dates: July 1940 and October 1, 1940.
[3] See Vesting Order No. 18344, August 21, 1951, Office of Alien Property, Department of
Justice. Eduard von der Heydt exhausted all the legal remedies against the forfeiture of his
property provided to him by the Trading with the Enemy Act.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/15/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
[4] Attorney General, Robert Kennedy authorized transfer of the von der Heydt collection from
Buffalo Museum of Science to the custody of the Smithsonian Institution in March 1964. The
collection was transferred to the National Museum of Natural History. In 1966 US Congress
legislated transferring the title of the von der Heydt collection to the Smithsonian Institution, see
Public Law 89-503, 80 Stat. 287, July 18, 1966. The object was accessioned under no. 448097,
see "Smithsonian Office of Anthropology Accession Data," copy in object file.
[5] The sarcophagus was among 13 objects in the von der Heydt collection transferred from
National Museum of Natural History to the Freer Gallery of Art, see "Smithsonian Institution
Intramural Transfer of Specimens" memorandum, dated January 29, 1973, copy in object file.
The sarcophagus was accessioned to the Freer Gallery Study Collection under no. FSC-S-12
and subsequently transferred to the permanent collection in August 1978.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 2/15/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
217 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lion head
Satavahana dynasty, 2nd century
India, Andhra Pradesh, Amaravati
Limestone, probably referred to as marble
H x W x D (overall): 52 x 28 x 38 cm (20 1/2 x 11 x 14 15/16 in)
Transfer from the National Museum of Natural History, Smithsonian
Institution
Freer Gallery of Art F1978.34
Provenance:
From at least 1935 to 1942
C. T. Loo & Co., Paris and New York, from at least June 14, 1935 [1]
From 1942 to 1951
Eduard von der Heydt (1882-1964), Ascona, Switzerland, purchased from C. T. Loo on August
27, 1942 and lent to the Buffalo Museum of Science, Buffalo, New York [2]
1951
US Government vested Eduard von der Heydt's property under the provisions of "Trading with
the Enemy Act" by vesting order, dated August 21, 1951 [3]
From 1964 to 1973
National Museum of Natural History, Smithsonian Institution, from March 1964 [4]
From 1973
Freer Gallery of Art, transferred from National Museum of Natural History in 1973 [5]
Notes:
[1] The sculpture was exhibited by C. T. Loo in his gallery in Paris in 1935, see C. T. Loo & Cie.,
Exposition de sculptures et bronzes anciens de L'Inde, exh. cat. (Paris: C. T. Loo & Cie., June
15-July 31, 1935), cat. 6, pl. 3. In June 1936 the sculpture was sent by Loo for purchase
consideration to St. Louis City Art Museum, see C. T. Loo's stockcard no. J-216: "Large stone
head of a lion on a marble base Amaravati. 2nd A.D.," Frank Caro Archive, Institute of Fine Arts,
New York University, copy in object file. In 1939 Loo included the sculpture in an exhibition at
Vassar College Art Gallery, see Sculpture of India: Eliza Buffington Memorial Exhibition, exh. cat.
(Poughkeepsie: Vassar College Art Gallery, April 12-May 12, 1939), cat. 9, pl. 3. Chauncey
Hamlin in a letter to Eduard von der Heydt cited Alfred Salmony's statement according to which
the sculpture previously belonged to the lot acquired by Gabriel Jonveau-Dubreuil (1885-1945)
when he lived in Madras, India, see Hamlin to von der Heydt, August 28, 1942, Chauncey Hamlin
Papers, Buffalo Museum of Art.
[2] See Loo's stockcard cited in note 1. According to an annotation on the stockcard, the
sculpture was sent to Buffalo on July 30, 1942 and sold to von der Heydt on August 27, 1942.
See also "Catalogue of the Von der Heydt Loan to the Buffalo Museum of Science: Loan Material
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 6/8/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
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Freer Gallery of Art and Arthur M. Sackler Gallery
from Baron Von der Heydt, as of March 1949," where the object is documented under an
inventory card no. 42131, copy in object file. The inventory card provides September 8, 1943 as
an acquisition date.
[3] See Vesting Order No. 18344, August 21, 1951, Office of Alien Property, Department of
Justice. Eduard von der Heydt exhausted all the legal remedies against the forfeiture of his
property provided to him by the Trading with the Enemy Act.
[4] Attorney General, Robert Kennedy authorized transfer of the von der Heydt collection from
Buffalo Museum of Science to the custody of the Smithsonian Institution in March 1964. The
collection was transferred to the National Museum of Natural History. In 1966 US Congress
legislated transferring the title of the von der Heydt collection to the Smithsonian Institution, see
Public Law 89-503, 80 Stat. 287, July 18, 1966. The object was accessioned under no. 448110,
see "Smithsonian Office of Anthropology Accession Data," copy in object file.
[5] The sculpture was among 13 objects in the von der Heydt collection transferred from National
Museum of Natural History to the Freer Gallery of Art, see "Smithsonian Institution Intramural
Transfer of Specimens" memorandum, dated January 29, 1973, copy in object file. The sculpture
was accessioned to the Freer Gallery Study Collection under no. FSC-S-14 and subsequently
transferred to the permanent collection in August 1978.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 6/8/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
Head of the Buddha
Shailendra period, late 8th-early 9th century
Indonesia, Java
Volcanic stone (andesite)
H x W x D (overall): 32 x 22 x 24.4 cm (12 5/8 x 8 11/16 x 9 5/8 in)
Transfer from the National Museum of Natural History, Smithsonian
Institution
Freer Gallery of Art F1978.35
Provenance:
From at least 1946
Kelman Joseph Ptasnik (1890-1966), New York, from at least May 1946 [1]
From 1946 to 1951
Eduard von der Heydt (1882-1964), Ascona, Switzerland, purchased from K. J. Ptasnik in May
1946 and lent to the Buffalo Museum of Science, Buffalo, New York [2]
1951
US Government vested Eduard von der Heydt's property under the provisions of "Trading with
the Enemy Act" by vesting order, dated August 21, 1951 [3]
From 1964 to 1973
National Museum of Natural History, Smithsonian Institution, from March 1964 [4]
From 1973
Freer Gallery of Art, transferred from National Museum of Natural History in 1973 [5]
Notes:
[1] See "Catalogue of the Von der Heydt Loan to the Buffalo Museum of Science: Loan Material
from Baron Von der Heydt, as of March 1949," where the sculpture is documented together with
Head of the Buddha, FSC-S-16 under an inventory card no. 4670, copy in object file. According
to information on the inventory card, Eduard von der Heydt purchased the two sculptures from
Kelman Joseph Ptasnik in May 1946. Ptasnik was related through his wife to Aaron Vecht
(1886-1965), the owner of Art Gallery A. Vecht in Amsterdam and one of von der Heydt's main
dealers. Around 1939 Vecht sent a portion of his gallery's stock to London and New York where
Ptasnik was responsible for organizing storage for sent objects [information kindly provided by
Constant Vecht, Aaron Vecht's grandson and director of Kunstzalen A. Vecht, in email
correspondence of January 27, 2009, in object file]. Head of the Buddha, FSC-S-16, purchased
by von der Heydt from Ptasnik together with F1978.35, was previously owned by Vecht and was
exhibited in United States in 1939 (see provenance record for FSC-S-16), therefore it is possible
that Ptasnik obtained F1978.35 also from Vecht or acted on his behalf.
[2] See "Catalogue of the Von der Heydt Loan to the Buffalo Museum of Science" cited in note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 6/2/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
[3] See Vesting Order No. 18344, August 21, 1951, Office of Alien Property, Department of
Justice. Eduard von der Heydt exhausted all the legal remedies against the forfeiture of his
property provided to him by the Trading with the Enemy Act.
[4] Attorney General, Robert Kennedy authorized transfer of the von der Heydt collection from
Buffalo Museum of Science to the custody of the Smithsonian Institution in March 1964. The
collection was transferred to the National Museum of Natural History. In 1966 US Congress
legislated transferring the title of the von der Heydt collection to the Smithsonian Institution, see
Public Law 89-503, 80 Stat. 287, July 18, 1966. The sculpture was accessioned under no.
448107, see "Smithsonian Office of Anthropology Accession Data," copy in object file.
[5] The sculpture was among 13 objects in the von der Heydt collection transferred from National
Museum of Natural History to the Freer Gallery of Art, see "Smithsonian Institution Intramural
Transfer of Specimens" memorandum, dated January 29, 1973, copy in object file. The sculpture
was accessioned to the Freer Gallery Study Collection under no. FSC-S-17 and subsequently
transferred to the permanent collection in August 1978.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 6/2/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
Head of the Buddha
Shailendra period, late 8th-early 9th century
Indonesia, Java
Volcanic stone
H x W x D: 34.5 x 23.7 x 25 cm (13 9/16 x 9 5/16 x 9 13/16 in)
Transfer from the National Museum of Natural History, Smithsonian
Institution
Freer Gallery of Art F1978.36
Provenance:
From at least 1942 to 1946
C. T. Loo & Co., New York, from at least 1942 [1]
From 1946 to 1951
Eduard von der Heydt (1882-1964), Ascona, Switzerland, purchased from C. T. Loo in April 1946
and lent to the Buffalo Museum of Science, Buffalo, New York [2]
1951
US Government vested Eduard von der Heydt's property under the provisions of "Trading with
the Enemy Act" by vesting order, dated August 21, 1951 [3]
From 1964 to 1973
National Museum of Natural History, Smithsonian Institution, from March 1964 [4]
From 1973
Freer Gallery of Art, transferred from National Museum of Natural History in 1973 [5]
Notes:
[1] C. T. Loo exhibited the sculpture in 1942, see C. T. Loo & Co., An Exhibition of the Sculpture
of Greater India: A Fully Illustrated Catalogue, exh. cat. (New York: C. T. Loo & Co., 1942), cat.
50 (ill.). In a correspondence with Chauncey J. Hamlin, Loo states that the sculpture "was bought
about 20 years ago in Paris from a dealer, Mr. Raton, who told me that this head - together with
two bas-reliefs (one illustrated in our catalogue "Sculpture of Greater India [as no.] 51 and the
other similar bas-relief...sold to Dr. [Denman Waldo] Ross and...now in the Boston
Museum)...were owned by a Dutch resident in the Pyrénées (France) whose parents had those
things brought our from Java in the middle of the 19th century; unfortunately Mr. Raton did not
give me the name of the original owner," Loo to Hamlin, August 19, 1942, Chauncey J. Hamlin
papers, Buffalo Museum of Science. Loo shipped the sculpture to Buffalo on August 19, 1942.
[2] See "Catalogue of the Von der Heydt Loan to the Buffalo Museum of Science" where the
sculpture is documented under an inventory card no. 4648.1, copy in object file. According to
information on the inventory card, Eduard von der Heydt purchased the sculpture from C. T. Loo
in April 1946.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/11/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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[3] See Vesting Order No. 18344, August 21, 1951, Office of Alien Property, Department of
Justice. Eduard von der Heydt exhausted all the legal remedies against the forfeiture of his
property provided to him by the Trading with the Enemy Act.
[4] Attorney General, Robert Kennedy authorized transfer of the von der Heydt collection from
Buffalo Museum of Science to the custody of the Smithsonian Institution in March 1964. The
collection was transferred to the National Museum of Natural History. In 1966 US Congress
legislated transferring the title of the von der Heydt collection to the Smithsonian Institution, see
Public Law 89-503, 80 Stat. 287, July 18, 1966. The sculpture was accessioned under no.
448109, see "Smithsonian Office of Anthropology Accession Data," copy in object file.
[5] The sculpture was among 13 objects in the von der Heydt collection transferred from National
Museum of Natural History to the Freer Gallery of Art, see "Smithsonian Institution Intramural
Transfer of Specimens" memorandum, dated January 29, 1973, copy in object file. The sculpture
was accessioned to the Freer Gallery Study Collection under no. FSC-S-15 and subsequently
transferred to the permanent collection in August 1978.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/11/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
223 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bowl with incised decoration
Goryeo period, late 11th-early 12th century
Korea
Stoneware with celadon glaze
H x W x D: 9.5 x 20.5 x 20.5 cm (3 3/4 x 8 1/16 x 8 1/16 in)
Gift of Graenum and Emma Berger and Elizabeth Lee Berger in memory of
Ambassador Samuel D. Berger
Freer Gallery of Art F1980.186
Provenance:
To 1980
Mr. and Mrs. Samuel D. Berger collection, Washington, D.C., to 1980 [1]
From 1980
Freer Gallery of Art, gift of Graenum and Emma Berger and Elizabeth Lee Berger (Mrs. Samuel
D. Berger) in memory of Ambassador Samuel D. Berger, May 1980 [2]
Notes:
[1] See correspondence (copy in object file) between the Freer Gallery and Mr. Graenum Berger,
brother of Mr. Samuel D. Berger, and Mrs. Elizabeth L. Berger, widow of Mr. Samuel D. Berger; a
letter dated on May 22, 1980 from the Freer Gallery to Mr. Graenum Berger in particular states
that the object, along with other two Korean pieces also offered as gift at the same time
(F1980.187 and F1980.188), was from the estate of late Mr. Samuel Berger (1911-1980). A
receipt issued on March 6, 1980 indicates that these Korean objects (F1980.186, F1980.187, and
F1980.188) were delivered from the residence of Mrs. Samuel D. Berger in Washington D.C. to
the Freer Gallery as gift. Samuel D. Berger was a U.S. Ambassador to South Korea from 1961
and resided there for about four years until 1964.
[2] See note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/27/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
224 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bottle
Joseon period, 19th century
Korea, Gyeonggi-do province, Gwangju county, Bunwon-ri, Bunwon kilns
Bunwon ware
Porcelain with cobalt pigment under transparent, colorless glaze
H x W x D: 25.4 x 15.9 x 15.9 cm (10 x 6 1/4 x 6 1/4 in)
Gift of Graenum and Emma Berger and Elizabeth Lee Berger in memory of
Ambassador Samuel D. Berger
Freer Gallery of Art F1980.187
Provenance:
To 1980
Mr. and Mrs. Samuel D. Berger collection, Washington, D.C., to 1980 [1]
From 1980
Freer Gallery of Art, gift of Graenum and Emma Berger and Elizabeth Lee Berger (Mrs. Samuel
D. Berger) in memory of Ambassador Samuel D. Berger, May 1980 [2]
Notes:
[1] See correspondence (copy in object file) between the Freer Gallery and Mr. Graenum Berger,
brother of Mr. Samuel D. Berger, and Mrs. Elizabeth L. Berger, widow of Mr. Samuel D. Berger; a
letter dated on May 22, 1980 from the Freer Gallery to Mr. Graenum Berger in particular states
that the object, along with other two Korean pieces also offered as gift at the same time
(F1980.186 and F1980.188), was from the estate of late Mr. Samuel Berger (1911-1980). A
receipt issued on March 6, 1980 indicates that these Korean objects (F1980.186, F1980.187, and
F1980.188) were delivered from the residence of Mrs. Samuel D. Berger in Washington D.C. to
the Freer Gallery as gift. Samuel D. Berger was a U.S. Ambassador to South Korea from 1961
and resided there for about four years until 1964.
[2] See note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/27/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
225 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bottle
Joseon period, late 18th-19th century
Korea, Gyeonggi-do province, Gwangju county, Bunwon-ri, Bunwon kilns
Bunwon ware
Porcelain with transparent, pale blue glaze
H x W x D: 26.5 x 17 x 17 cm (10 7/16 x 6 11/16 x 6 11/16 in)
Gift of Graenum and Emma Berger and Elizabeth Lee Berger in memory of
Ambassador Samuel D. Berger
Freer Gallery of Art F1980.188
Provenance:
To 1980
Mr. and Mrs. Samuel D. Berger collection, Washington, D.C., to 1980 [1]
From 1980
Freer Gallery of Art, gift of Graenum and Emma Berger and Elizabeth Lee Berger (Mrs. Samuel
D. Berger) in memory of Ambassador Samuel D. Berger, May 1980 [2]
Notes:
[1] See correspondence (copy in object file) between the Freer Gallery and Mr. Graenum Berger,
brother of Mr. Samuel D. Berger, and Mrs. Elizabeth L. Berger, widow of Mr. Samuel D. Berger; a
letter dated on May 22, 1980 from the Freer Gallery to Mr. Graenum Berger in particular states
that the object, along with other two Korean pieces also offered as gift at the same time
(F1980.186 and F1980.187), was from the estate of late Mr. Samuel Berger (1911-1980). A
receipt issued on March 6, 1980 indicates that these Korean objects (F1980.186, F1980.187, and
F1980.188) were delivered from the residence of Mrs. Samuel D. Berger in Washington D.C. to
the Freer Gallery as gift. Samuel D. Berger was a U.S. Ambassador to South Korea from 1961
and resided there for about four years until 1964.
[2] See note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/27/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
226 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Jar
Three Kingdoms period, Silla kingdom, late 5th-mid 6th century
Korea, Gyeongsang-do province
Unglazed stoneware
H x Diam: 47.1 x 38.4 cm (18 9/16 x 15 1/8 in)
Purchase
Freer Gallery of Art F1985.4
Provenance:
From early 1960s to 1985
Rear Adm. George Washington Pressey (died 1966) and Elizabeth Lee Berger (primo voto Mrs.
George Washington Pressey) (1913-2002), Washington, D.C. [1]
From 1985
Freer Gallery of Art, purchased from Elizabeth Lee Berger, January 3, 1985 [2]
Notes:
[1] According to information in the object's record, the vessel was acquired in Korea by Mrs.
Berger and her first husband, Rear Adm. George Washington Pressey (died 1966), when they
were posted there in the early 1960s.
[2] See Invoice, issued by Mrs. Elizabeth L. Berger (Mrs. Samuel D. Berger), signed and dated 3
January 1985, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/7/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
227 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Jar
Three Kingdoms period, Baekje kingdom or Gaya federation, early 5th century
Korea, Jeollanam-do province
Unglazed stoneware with traces of natural ash glaze
H x W x D: 30.5 x 31.5 x 31.5 cm (12 x 12 3/8 x 12 3/8 in)
Purchase
Freer Gallery of Art F1985.17
Provenance:
To 1985
Mrs. Keum Ja Kang (Kang Gallery), Frankfurt, Germany, to 1985 [1]
From 1985
Freer Gallery of Art, purchased from Mrs. Keum Ja Kang (Kang Gallery), April 10, 1985 [2]
Notes:
[1] A receipt issued on January 18, 1985, copy in object file, acknowledges the delivery of two
Korean vessels (F1985.17 and a Chosun jar, which was not purchased by the Freer and returned
to the vendor), from Kang Gallery to the Freer for the purchase consideration.
[2] See Invoice issued by Mrs. Keum Ja Kang to the Freer Gallery of Art on April 10, 1985, copy
in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/27/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
228 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Cooking pot with two handles
Three Kingdoms period, ca. 4th century
Korea, Gyeongsang-do or Jeolla-do province
Gimhae type ware
Unglazed earthenware
H x W x D: 25.7 x 36.5 x 36.5 cm (10 1/8 x 14 3/8 x 14 3/8 in)
Purchase
Freer Gallery of Art F1986.24
Provenance:
From about 1935-1940
Private collection, Japan, from about 1935-1940 [1]
To 1986
Mrs. Keum Ja Kang (Kang Gallery), Frankfurt, Germany, purchased from a private collector in
Japan [2]
From 1986
Freer Gallery of Art, purchased from Mrs. Keum Ja Kang (Kang Gallery), Frankfurt, on May 12,
1986 [3]
Notes:
[1] See Invoice issued by Mrs. Keum Ja Kang to the Freer Gallery of Art on May 12, 1986, copy
in object file. In the invoice, Mrs. Keum-Ja Kang indicates that she purchased this jar, along with
two other Korean ancient jars, "in Japan from a private collector who claimed the fact that his
parents had bought the three Korean pots [F1986.24, F1986.25, and one jar that was not
ultimately purchased by the Freer and returned to the vendor] in Japan during the period of
1935-1940." The invoice does not indicate the date of acquisition of the vessel by Mrs. Kang.
[2] See Invoice cited in note 1.
[3] See Invoice cited in note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/27/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
229 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Jar
Three Kingdoms period, Silla kingdom or Gaya federation, 5th century
Korea
Gimhae type ware
Unglazed earthenware
H x W x D: 27.6 x 27 x 27 cm (10 7/8 x 10 5/8 x 10 5/8 in)
Purchase
Freer Gallery of Art F1986.25
Provenance:
From about 1935-1940
Private collection, Japan, from about 1935-1940 [1]
To 1986
Mrs. Keum Ja Kang (Kang Gallery), Frankfurt, Germany, purchased from a private collector in
Japan [2]
From 1986
Freer Gallery of Art, purchased from Mrs. Keum Ja Kang (Kang Gallery), Frankfurt, on May 12,
1986 [3]
Notes:
[1] See Invoice issued by Mrs. Keum Ja Kang to the Freer Gallery of Art on May 12, 1986, copy
in object file. In the invoice, Mrs. Keum-Ja Kang indicates that she purchased this jar, along with
two other Korean ancient jars, "in Japan from a private collector who claimed the fact that his
parents had bought the three Korean pots [F1986.24, F1986.25, and one jar that was not
ultimately purchased by the Freer and returned to the vendor] in Japan during the period of
1935-1940." The invoice does not indicate the date of acquisition of the vessel by Mrs. Kang.
[2] See Invoice cited in note 1.
[3] See Invoice cited in note 1.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/27/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
230 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bowl with duck pond design and inscription
Qing dynasty, 1821-1850
China, Jiangxi province, Jingdezhen
Jingdezhen ware
Porcelain with cobalt pigment under clear glaze, enamels over glaze
H x W x D: 7.6 x 16.5 x 16.5 cm (3 x 6 1/2 x 6 1/2 in)
Gift of Ruth Meyer Epstein
Freer Gallery of Art F1992.38
Provenance:
To 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY [1]
To 1992
Ruth Meyer Epstein (1921-2007), Scarsdale, NY, given by her parents, Eugene and Agnes E.
Meyer [2]
From 1992
Freer Gallery of Art, given by Ruth Meyer Epstein in 1992 [3]
Notes:
[1] According to information included in “Page Report,” dated December 1, 1993, in object file.
[2] See note 1.
[3] See Ruth M. Epstein’s Deed of Gift, dated June 9, 1992, in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 12/7/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
231 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Head of a Bodhisattva
Yuan or Ming dynasty, 14th century
China
Cast iron with traces of polychrome and gilt
H x W x D: 26 x 19.8 x 16.8 cm (10 1/4 x 7 13/16 x 6 5/8 in)
Gift of Ruth Meyer Epstein
Freer Gallery of Art F1992.39a-b
Provenance:
To 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY [1]
To 1992
Ruth Meyer Epstein, Scarsdale, NY, given by her parents, Eugene and Agnes E. Meyer [2]
From 1992
Freer Gallery of Art, given by Ruth Meyer Epstein in 1992 [3]
Notes:
[1] According to information included in “Page Report,” dated December 1, 1993, in object file.
[2] See note 1.
[3] See Ruth M. Epstein’s Deed of Gift, dated June 9, 1992, in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 12/7/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
232 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Barbarian Pasturing a Horse
Central Asian Groom Pasturing a Horse
Yuan or Ming dynasty, 14th century
China
Ink and color on silk
H x W (image): 166 x 93 cm (65 3/8 x 36 5/8 in)
Gift of Ruth Meyer Epstein
Freer Gallery of Art F1992.40
Provenance:
To 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY [1]
From 1970 to 1992
Ruth Meyer Epstein (1921-2007), Scarsdale, NY, by descent from her mother, Agnes E. Meyer
From 1992
Freer Gallery of Art, given by Ruth Meyer Epstein in 1992 [2]
Notes:
[1] According to the acquisition report, dated June 12, 1992, the painting has been in the United
States since at least 1919. Eugene and Agnes E. Meyer started collecting Asian art in 1914 and
in the following years they acquired a number of Chinese paintings, primarily from Charles Lang
Freer’s dealers in Shanghai.
[2] See Ruth Meyer Epstein’s Deed of Gift, dated July 9, 1992, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/15/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
233 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pindola Bharadvaja, the First Venerable Luohan
賓度羅跋羅墮闍尊者像
Artist: Formerly attributed to Wu Daozi (active ca. 710-760)
Yuan dynasty, 1345
China
Ink and color on silk
H x W (image): 126.2 x 62.6 cm (49 11/16 x 24 5/8 in)
Gift of Ruth Meyer Epstein
Freer Gallery of Art F1992.41
Provenance:
To 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY [1]
From 1970 to 1992
Ruth Meyer Epstein (1921-2007), Scarsdale, NY, by descent from her mother, Agnes E. Meyer
From 1992
Freer Gallery of Art, given by Ruth Meyer Epstein in 1992 [2]
Notes:
[1] According to acquisition report, dated June 12, 1992, the painting has been in the United
States since at least 1919. Eugene and Agnes E. Meyer started collecting Asian art in 1914 and
in the following years they acquired a number of Chinese paintings, primarily from Charles Lang
Freer’s dealers in Shanghai.
[2] See Ruth Meyer Epstein’s Deed of Gift, dated July 9, 1992, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/16/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
234 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Setting Out Early After a Snowfall
Artist: Zhou Duo (late 17th-early 18th century?)
Qing dynasty, early 18th century
China
Ink and color on silk
H x W (image): 148.5 x 103.2 cm (58 7/16 x 40 5/8 in)
Gift of Ruth Meyer Epstein
Freer Gallery of Art F1992.42
Provenance:
To 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY [1]
From 1970 to 1992
Ruth Meyer Epstein (1921-2007), Scarsdale, NY, by descent from her mother, Agnes E. Meyer
From 1992
Freer Gallery of Art, given by Ruth Meyer Epstein in 1992 [2]
Notes:
[1] According to the acquisition report, dated June 12, 1992, the painting has been in the United
States since at least 1919. Eugene and Agnes E. Meyer started collecting Asian art in 1914 and
in the following years they acquired a number of Chinese paintings, primarily from Charles Lang
Freer’s dealers in Shanghai.
[2] See Ruth Meyer Epstein’s Deed of Gift, dated July 9, 1992, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/15/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
235 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Two Fighting Water Buffaloes
Southern Song or Yuan dynasty, 13th-14th century
China
Ink and colors on silk
H x W (image): 148 x 74 cm (58 1/4 x 29 1/8 in)
Gift of Ruth Meyer Epstein
Freer Gallery of Art F1992.43
Provenance:
Possibly An Qi (An Yizhou, ca. 1683-ca. 1744) [1]
Possibly Hongli, the Qianlong emperor (reigned 1735-96) (1711 - 1799) [2]
To 1915
Pang Yuanji (1864-1949), Shanghai [3]
From 1915 to 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY, purchased through C. T. Loo & Co. from Pang Yuanji on May 15, 1915 [4]
From 1970 to 1992
Ruth Meyer Epstein (1921-2007), Scarsdale, NY, by descent from her mother, Agnes E. Meyer
From 1992
Freer Gallery of Art, given by Ruth Meyer Epstein in 1992 [5]
Notes:
[1] An Qi’s collector seal is located on the painting. The colophon written by Lu Hui (1851-1920) is
mounted on the back of the frame. Lu Hui states that this is the same painting which appears in
An Qi’s catalogue Moyuan huiguan, under the name of Dai Song and cites a passage from the
collector’s catalogue. F1992.43 meets all the particulars specified in An Qi’s catalogue entry,
especially in overall description of the composition and in the identification and placement of four
of its seven seals. However, there is one discrepancy: An Qi’s entry includes mention of the water
buffaloes “red starring eyes,” the element which does not correspond with the Freer Gallery
painting. See An Qi, Moyuan huiguan (Beijing: Liulichang, Hanwen Zhai, 1914), 1b-2a. For
annotated translation of the catalogue entry see Thomas Lawton, “An Eighteenth Century
Chinese Catalogue of Calligraphy and Painting,” thesis (Harvard University, 1970), vol. 1, p.
51-52, vol. 3, p. xix-xx.
[2] Two seals used during the reign of the Qianlong emperor are located on the painting.
However, the painting is not listed in the standard catalogues of the Qianlong imperial collection.
[3] The painting is listed with detailed description in the bilingual catalogue compiled by Pang on
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/16/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
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the occasion of the Panama-Pacific International Exposition in San Francisco, Pang Lai Ch’en
[Pang Yuanji], Biographies of Famous Chinese Paintings: From the Private Collections of L.C.
Pang, Che-kiang, China (Shanghai: Mercantile Printing Co., 1915), p. 12-13: “Tai Sung,
Bull-Fight.”
[4] The scroll was among the paintings brought by Pang Yuanji with the assistance of his cousin
Pang Zanchen and the dealer C. T. Loo, to the United States on the occasion of the
Panama-Pacific International Exposition in San Francisco in 1915, see Pang Lai Ch’en [Pang
Yuanji] 1915, p. 12-13. The Meyers examined the painting in New York prior to its transfer to San
Francisco in April 1915, see Eugene Meyer’s telegram to Charles L. Freer, April 30, 1915,
Eugene Meyer Papers, Library of Congress, copy in object file.
[5] See Ruth Meyer Epstein’s Deed of Gift, dated July 9, 1992, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/16/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
Joys of Fishing among Streams and Mountains
Artist: Formerly attributed to Li Tang (ca. 1050s-after 1130)
Artist: School of Yuan Jiang (ca. 1694-1743)
Qing dynasty, mid 18th century
China
Hanging scroll; ink and color on silk
H x W (image): 61.5 x 75.4 cm (24 3/16 x 29 11/16 in)
Gift of Ruth Meyer Epstein
Freer Gallery of Art F1992.44
Provenance:
To 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY [1]
From 1970 to 1992
Ruth Meyer Epstein (1921-2007), Scarsdale, NY, by descent from her mother, Agnes E. Meyer
From 1992
Freer Gallery of Art, given by Ruth Meyer Epstein in 1992 [2]
Notes:
[1] According to the acquisition report, dated June 12, 1992, the painting has been in the United
States since at least 1919. Eugene and Agnes E. Meyer started collecting Asian art in 1914 and
in the following years they acquired a number of Chinese paintings, primarily from Charles Lang
Freer’s dealers in Shanghai.
[2] See Ruth Meyer Epstein’s Deed of Gift, dated July 9, 1992, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/15/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
Looking at Flowering Plums and Reading
Artist: Style of Ma Yuan (active late 12th-early 13th century)
Artist: Formerly attributed to Li Tang (ca. 1050s-after 1130)
Ming dynasty, 14th-15th century
Ma-Xia
China
Fan mounted as an album leaf; ink and color on silk
H x W (image): 22.5 x 22.4 cm (8 7/8 x 8 13/16 in)
Gift of Ruth Meyer Epstein
Freer Gallery of Art F1992.45
Provenance:
To 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY [1]
From 1970 to 1992
Ruth Meyer Epstein (1921-2007), Scarsdale, NY, by descent from her mother, Agnes E. Meyer
From 1992
Freer Gallery of Art, given by Ruth Meyer Epstein in 1992 [2]
Notes:
[1] According to the acquisition report, dated June 12, 1992, the painting has been in the United
States since at least 1919. Eugene and Agnes E. Meyer started collecting Asian art in 1914 and
in the following years they acquired a number of Chinese paintings, primarily from Charles Lang
Freer’s dealers in Shanghai.
[2] See Ruth Meyer Epstein’s Deed of Gift, dated July 9, 1992, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/15/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Inkstone with waterscape
Qing dynasty to Modern period, late 19th-early 20th century
China
Dark gray, fine-grained rock; carved wood box
H x W x D: 15 x 22.1 x 5 cm (5 7/8 x 8 11/16 x 1 15/16 in)
Gift of Mrs. Elizabeth Meyer Lorentz in memory of Eugene and Agnes E.
Meyer
Freer Gallery of Art F1995.4a-c
Provenance:
Probably from ca. 1920s to 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY,
probably from ca. 1920s [1]
From 1970 to 1992
Elizabeth Meyer Lorentz, Armonk, NY, by descent from her mother, Agnes E. Meyer in 1970 [2]
From 1992
Freer Gallery of Art, given by Elizabeth Meyer Lorenz in 1992 [3]
Notes:
[1] According to information included in Thomas Lawton’s Report, dated January 6, 1995, in
object file.
[2] See note 1.
[3] See Elizabeth Meyer Lorentz’s Deed of Gift, dated June 12, 1995, in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 11/3/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
Storage jar
Joseon period, ca. 1900
Korea, Hwanghaenam-do province, Haeju
Haeju ware
Porcelain with cobalt and iron pigments under transparent glaze
H x W x D: 25.5 x 29.7 x 29.7 cm (10 1/16 x 11 11/16 x 11 11/16 in)
Purchase
Freer Gallery of Art F1996.23
Provenance:
From the early 1980s to 1996
Mrs. Keum-Ja Kang, the Kang Collection, New York, acquired in Seoul in the early 1980s [1]
From 1996
Freer Gallery of Art, purchased from the Kang Collection, May 21, 1996 [2]
Notes:
[1] According to notes in the object's record, Mrs. Kang acquired this jar in Seoul, South Korea in
the early 1980s. The base of the jar bears a paper label with stamped cancellation signifying that
the jar was cleared through appropriate government channels before being brought to the United
States.
[2] See Invoice issued by Kang Collection to the Freer Gallery on May 21, 1996, copy in object
file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/27/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
241 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Wind in the Courtyard Pines
Artist: Formerly attributed to Zhao Boju (ca. 1120s-ca.1162)
Ming dynasty, Ming dynasty, 16th century
China
Ink and color on silk
H x W: 127.5 x 71.5 cm (50 3/16 x 28 1/8 in)
Collection of Eugene and Agnes E. Meyer. Gift of Elizabeth Meyer Lorentz in
honor of the 75th Anniversary of the Freer Gallery of Art
Freer Gallery of Art F1998.2
Provenance:
Shi Minggu (Shi Jian) (1434-1496), Wujiang, Jiangsu province [1]
To 1916
Pang Yuanji (1864-1949), Shanghai [2]
From 1916 to 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY, purchased from Pang Yuanji in 1916 [3]
From 1970 to 1998
Elizabeth Meyer Lorentz (1914-2001), Armonk, NY, by descent from her mother Agnes E. Meyer
From 1998
Freer Gallery of Art, given by Elizabeth Meyer Lorentz in 1998 [4]
Notes:
[1] The Ming connoisseur Shi Minggu’s collector seal is located on the painting.
[2] The painting was published and illustrated in Pang Yuanji’s catalogue, Antique Famous
Chinese Paintings Collected by P’ang Lai Ch’en, vol. 1 (Shanghai, Privately published by Pang
Yuanji, 1916), no. 23: “Ts’ao Po Chü [Zhao Boju], Pines in the Court.” A seal with Pang Yuanji’s
study name, Xuzhai, is located on the paining.
[3] In 1916 Pang Yuanji, with the assistance of Pang Zanchen and Seaouke Yue, sent a group of
paintings illustrated in Antique Famous Chinese Paintings Collected by P’ang Lai Ch’en
catalogue to New York and showed them to Charles Lang Freer. See Ingrid Larsen, “‘Don’t Send
Ming or Later Pictures’: Charles Lang Freer and the First Major Collection of Chinese Painting in
an American Museum,” Ars Orientalis vol. 40 (2011), p. 23. Freer made a selection of paintings
for his collection and advised Eugene and Agnes E. Meyer as well as Louisine Havemeyer with
their acquisitions. Freer’s copy of the 1916 Pang catalogue includes penciled annotations
indicating that this painting was purchased by Agnes E. Meyer.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/16/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
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[4] See Elizabeth Meyer Lorentz’s Deed of Gift, dated February 5, 1998, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/16/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
Rivers, Mountains, and Distant Peaks
Xishan yuanxiu tu
Artist: Formerly attributed to Jing Hao (ca. 870-ca.935)
Ming dynasty, 16th century
Zhe School
China
Ink and color on silk
H x W (image): 23.1 x 22.6 cm (9 1/8 x 8 7/8 in)
Collection of Eugene and Agnes E. Meyer. Gift of Elizabeth Meyer Lorentz in
honor of the 75th Anniversary of the Freer Gallery of Art
Freer Gallery of Art F1998.3
Provenance:
To 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY
From 1970 to 1998
Elizabeth Meyer Lorentz (1914-2001), Armonk, NY, by descent from her mother Agnes E. Meyer
[1]
From 1992
Freer Gallery of Art, given by Elizabeth Meyer Lorentz in 1998 [1]
Notes:
[1] See Elizabeth Meyer Lorentz’s Deed of Gift, dated February 5, 1998, in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/16/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
244 of 333
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Freer Gallery of Art and Arthur M. Sackler Gallery
Axe (fu)
Artist: Liangzhu culture (ca. 3300-ca. 2250 B.C.E.)
Late Neolithic period, ca. 3300-2250 B.C.E.
China, Lake Tai region
Corundum with diaspore (aluminous metamorphic rock)
H x W x D: 11.8 x 14.6 x 0.7 cm (4 5/8 x 5 3/4 x 1/4 in)
Diam (hole): 4.6 cm (1 13/16 in)
Collection of Eugene and Agnes E. Meyer. Gift of Elizabeth Meyer Lorentz in
honor of the 75th Anniversary of the Freer Gallery of Art
Freer Gallery of Art F1998.4
Provenance:
To 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, Washington, DC, and Mt. Kisco, NY [1]
From 1970 to 1998
Elizabeth Meyer Lorentz, Armonk, NY, by descent from her parents, Eugene and Agnes E. Meyer
in 1970 [2]
From 1992
Freer Gallery of Art, given by Elizabeth Meyer Lorenz in 1998 [3]
Notes:
[1] According to information provided by Thomas Lawton, the jade had been a part of the Meyer
family collection for an extended period of time, see Jenny F. So’s Report, July 1997, in object
file.
[2] See Jenny F. So's Report, cited in note 1 and Thomas Lawton's curatorial note, dated August
18, 1998, in object record.
[3] See Elizabeth Meyer Lorentz’s Deed of Gift, dated February 5, 1998, in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/3/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Funerary stand with round-bottomed jar
Three Kingdoms period, Geumgwan Gaya, Gaya federation, early 5th century
Korea, Gyeongsangnam-do, Gimhae
Unglazed stoneware
H x W: 72.1 x 32.4 cm (28 3/8 x 12 3/4 in)
Purchase
Freer Gallery of Art F1998.304a-b
Provenance:
From circa 1963-1965 to 1996
Mr. Yoshida, Antique Yoshida, Kyoto, acquired in Kyoto or Osaka between 1963-1965 [1]
From 1996 to 1998
Mrs. Keum Ja Kang (Kum-ja Kang), the Kang Collection, New York, purchased from Mr. Yoshida
on October 1, 1996 [2]
From 1998
Freer Gallery of Art, purchased from the Kang Collection, October 22, 1998 [3]
Notes:
[1] See Invoice issued by Mr. Yoshida, Antique Yoshida, to the Kang Collection, dated October 1,
1996, copy in object file. In the invoice, Mr. Yoshida stated that he had acquired this object,
along with four other items that he sold to the Kang Collection, between 1963 and 1965 in Kyoto
and Osaka. See also provenance record for F1998.305, which was purchased together with this
vessel.
[2] See Mr. Yoshida's Invoice, dated October 1, 1996, cited in note 1.
[3] See Kang Collection's Invoice, dated October 22, 1998, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/27/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
Vessel stand
Three Kingdoms period, Ara Gaya, Gaya federation, late 4th-early 5th century
Korea, Gyeongsangnam-do province, Haman-gun
Unglazed stoneware
H x W x D: 20 x 17.8 x 17.8 cm (7 7/8 x 7 x 7 in)
Purchase
Freer Gallery of Art F1998.305
Provenance:
From circa 1963-1965 to 1996
Mr. Yoshida, Antique Yoshida, Kyoto, acquired in Kyoto or Osaka between 1963 and 1965 [1]
From 1996 to 1998
Mrs. Keum Ja Kang (Kum-ja Kang), the Kang Collection, New York, purchased from Mr. Yoshida,
on October 1, 1996 [2]
From 1998
Freer Gallery of Art, purchased from the Kang Collection, October 22, 1998 [3]
Notes:
[1] See Invoice issued by Mr. Yoshida, Antique Yoshida, to the Kang Collection, dated October 1,
1996, copy in object file. In the invoice, Mr. Yoshida stated that he had acquired this object,
along with four other items that he sold to the Kang Collection, between 1963 and 1965 in Kyoto
and Osaka. See also provenance record for F1998.304a-b, which was purchased together with
this vessel.
[2] See Mr. Yoshida's Invoice, dated October 1, 1996, cited in note 1.
[3] See Kang Collection's Invoice, dated October 22, 1998, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 8/16/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
Figure of a seated woman holding a bird
Tang dynasty, first half of 8th century
China
Earthenware with sancai (three-color) lead-silicate glaze
H x W x D (overall): 40.6 x 17.9 x 15.6 cm (16 x 7 1/16 x 6 1/8 in)
Purchase--Friends of the Freer and Sackler Galleries
Freer Gallery of Art F2001.8a-d
Provenance:
From 1936 to 1949
C. T. Loo & Co., New York, from October 1936 [1]
Spink and Son, London [2]
In the 1970s
E. C. Christofides, Greece, purchased from Spink and Son, in the early 1970s [3]
Kochukyo Co., Tokyo [4]
To 1995
Anthony J. Hardy, London and Hong Kong, to September 1995 [5]
1995
Sale, New York, Christie's, The Hardy Collection of Early Chinese Ceramics and Works of Art
from the Sze Yuan Tang, September 21, 1995, lot 77 (ill. on the cover): "A Fine Sancai-glazed
Pottery Figure of a Court Lady"
From 1995 to 2001
Eskenazi Ltd. (Giuseppe Eskenazi), London, purchased at Christie’s Sale on September 21,
1995 [6]
From 2001
Freer Gallery of Art, purchased from Eskenazi Ltd. on July 27 2001 [7]
Notes:
[1] See C. T. Loo's stockcard no. MT 29: "Lady seated on a stool holding a bird in her right hand.
Pottery three color glaze on the robe, the head unglazed. TANG Dynasty (618-907 A. D.)," Frank
Caro Archive, Institute of Fine Arts, New York University, copy in object file. According to an
annotation on the stockcard, the object was inventoried in October 1936. The object was included
in C. T. Loo & Co., Exhibition of Chinese Arts: Special Sale (November 1, 1941-April 30, 1942),
no. 470 (ill.) and C. T. Loo & Co., An Exhibition of Figures in Chinese Art (New York, April 1946),
cat. 10, pl. 2. On February 11, 1949, it was sold to "Miss Morrison."
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 4/4/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
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[2] According to information provided by Giuseppe Eskenazi, in a letter dated April 4, 2001 and
correspondence with Philip Constantinidi, Eskenazi Ltd, January 19, 2012, in object file.
[3] According to information provided by Giuseppe Eskenazi and Philip Constantinidi, see note 2.
[4] According to information provided by Giuseppe Eskenazi, see note 2.
[5] See Christie’s, New York, The Hardy Collection of Early Chinese Ceramics and Works of Art
from the Sze Yuan Tang, auction catalogue (Christie’s, New York, September 21, 1995), lot 77.
[6] See Sarah Wong, “Saleroom Report,” Oriental Art 41, 4 (Winter 1995/96), p. 61 (ill.)
[7] See Eskenazi Ltd.’s Invoice, dated July 27, 2001, in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 4/4/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
Jar
Three Kingdoms period, Baekje kingdom, second half of 4th century
Korea
Unglazed stoneware
H x Diam (overall): 30 x 27.3 cm (11 13/16 x 10 3/4 in)
Gift of Richard L. Mellott, in honor of Louise Cort
Freer Gallery of Art F2002.1
Provenance:
From 1966 to 2002
Richard L. Mellott, Larkspur, CA, purchased in Pusan, South Korea, in 1966 [1]
From 2002
Freer Gallery of Art, gift of Richard L. Mellott, on August 08, 2002 [2]
Notes:
[1] According to the accounts provided by Richard L. Mellott in his email correspondence (copy in
object file), he purchased this vessel in either November or December of 1966 in Pusan, South
Korea, when he was stationed there in the U.S. Army. In 1967, he shipped it to the United States
with his other household goods.
[2] See Deed of Gift, copy in object file, designating 8 August 2002 as its acceptance date.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 7/27/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
250 of 333
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Freer Gallery of Art and Arthur M. Sackler Gallery
Whiling Away the Summer in the Shade of Pines
《松陰消夏圖》
Artist: Zhe School
Artist: Formerly attribute to Ma Yuan (active late 12th-early 13th century)
Ming dynasty, 15th century
China
Ink and color on silk
H x W (image): 178.7 x 95.9 cm (70 3/8 x 37 3/4 in)
Bequest of Mrs. Katharine Graham
Freer Gallery of Art F2002.3
Provenance:
To 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY
From 1970 to 2001
Katharine Graham (1917-2001), Washington, DC, by descent from her mother, Agnes E. Meyer
From 2002
Freer Gallery of Art, bequeathed by Katharine Graham in 2002 [1]
Notes:
[1] See Katharine Graham’s Last Will and Testament, dated January 12, 2000, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/15/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
251 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Luohan Meditating in a Grotto
Artist: Formerly attributed to Guanxiu (822-912)
Yuan dynasty, 1345?
China
Ink and color on silk
H x W (image): 125.6 x 62.2 cm (49 7/16 x 24 1/2 in)
Bequest of Mrs. Katharine Graham
Freer Gallery of Art F2002.4
Provenance:
Du Wenlan (1815-1881) [1]
To 1970
Eugene (1875-1959) and Agnes E. (1887-1970) Meyer, New York, NY, Washington, DC, and Mt.
Kisco, NY
From 1970 to 2001
Katharine Graham (1917-2001), Washington, DC, by descent from her mother, Agnes E. Meyer
From 2002
Freer Gallery of Art, bequeathed by Katharine Graham in 2002 [2]
Notes:
[1] Du Wenlan’s collector seal is located on the painting, see “Song and Yuan Painting and
Calligraphy,” http://www.asia.si.edu/songyuan/F1992.41/F1992-41.Documentation.pdf, accessed
on November 27, 2012.
[2] See Katharine Graham’s Last Will and Testament, dated January 12, 2000, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/15/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
252 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bowl
Joseon period, mid 15th century
Korea, Jeollanam-do province, Gwangju, Chunghyo-dong kilns
Buncheong ware
Stoneware with white inlay under transparent, pale blue glaze
H x Diam (overall): 9 x 19.7 cm (3 9/16 x 7 3/4 in)
Gift of Elizabeth Lee Berger
Freer Gallery of Art F2002.5
Provenance:
From early 1960s to 2002
Rear Adm. George Washington Pressey (died 1966) and Elizabeth Lee Berger (primo voto Mrs.
George Washington Pressey) (1913-2002), Washington, D.C. [1]
From 2002
Freer Gallery of Art, gift of Elizabeth Lee Berger, October 21, 2002 [2]
Notes:
[1] According to information in the object's record, the vessel was acquired in Korea by Mrs.
Berger and her first husband, Rear Adm. George Washington Pressey (died 1966), when they
were posted there in the early 1960s.
[2] See Deed of Gift, acknowledging the acceptance of the object as gift to the Freer Gallery on
October 21, 2002, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/7/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
253 of 333
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Freer Gallery of Art and Arthur M. Sackler Gallery
Dish
Joseon period, mid 15th century
Korea, Jeolla-do province
Buncheong ware
Stoneware with white inlay under transparent, pale blue glaze
H x Diam (overall): 3.2 x 15.4 cm (1 1/4 x 6 1/16 in)
Gift of Elizabeth Lee Berger
Freer Gallery of Art F2002.6
Provenance:
From early 1960s to 2002
Rear Adm. George Washington Pressey (died 1966) and Elizabeth Lee Berger (primo voto Mrs.
George Washington Pressey) (1913-2002), Washington, D.C. [1]
From 2002
Freer Gallery of Art, gift of Elizabeth Lee Berger, October 21, 2002 [2]
Notes:
[1] According to information in the object's record, the vessel was acquired in Korea by Mrs.
Berger and her first husband, Rear Adm. George Washington Pressey (died 1966), when they
were posted there in the early 1960s.
[2] See Deed of Gift, acknowledging the acceptance of the object as gift to the Freer Gallery on
October 21, 2002, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/7/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
254 of 333
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Freer Gallery of Art and Arthur M. Sackler Gallery
Dish with inventory inscription dated 1832
Joseon period, 1832
Korea, Gyeonggi-do province, Gwangju county, Bunwon-ri, Bunwon kilns
Bunwon ware
Porcelain with transparent, pale blue glaze
H x Diam (overall): 4.7 x 17.8 cm (1 7/8 x 7 in)
Gift of Elizabeth Lee Berger
Freer Gallery of Art F2002.7
Provenance:
From early 1960s to 2002
Rear Adm. George Washington Pressey (died 1966) and Elizabeth Lee Berger (primo voto Mrs.
George Washington Pressey) (1913-2002), Washington, D.C. [1]
From 2002
Freer Gallery of Art, gift of Elizabeth Lee Berger, October 21, 2002 [2]
Notes:
[1] According to information in the object's record, the vessel was acquired in Korea by Mrs.
Berger and her first husband, Rear Adm. George Washington Pressey (died 1966), when they
were posted there in the early 1960s.
[2] See Deed of Gift, acknowledging the acceptance of the object as gift to the Freer Gallery on
October 21, 2002, copy in object file.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 1/7/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
255 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Head of the Buddha
Shailendra period, 8th century
Indonesia, Borobudur
Volcanic stone (andesite)
H x W x D: 38.1 x 23.5 x 24.1 cm (15 x 9 1/4 x 9 1/2 in)
Transfer from the National Museum of Natural History, Smithsonian
Institution
Freer Gallery of Art FSC-S-16a-b
Provenance:
From at least 1939
Art Gallery A. Vecht, Amsterdam [1]
1946
Kelman Joseph Ptasnik (1890-1966), New York, from at least May 1946 [2]
From 1946 to 1951
Eduard von der Heydt (1882-1964), Ascona, Switzerland, purchased from K. J. Ptasnik in May
1946 and lent to the Buffalo Museum of Science, Buffalo, New York [3]
1951
US Government vested Eduard von der Heydt's property under the provisions of "Trading with
the Enemy Act" by vesting order, dated August 21, 1951 [4]
From 1964 to 1973
National Museum of Natural History, Smithsonian Institution, from March 1964 [5]
From 1973
Freer Gallery of Art, transferred from National Museum of Natural History in 1973 [6]
Notes:
[1] See Sculpture of India: Eliza Buffington Memorial Exhibition, exh. cat. (Poughkeepsie: Vassar
College Art Gallery, April 12-May 12, 1939), cat. 25, pl. 5. The lender of the sculpture is identified
in the catalogue as A. Vecht. Aaron Vecht (1886-1965) was the owner of Art Gallery A. Vecht in
Amsterdam. Around 1939 Vecht sent a portion of his gallery's stock to London and New York
where his brother in law, Kelman Joseph Ptasnik was responsible for organizing storage for sent
objects [information kindly provided by Constant Vecht, Aaron Vecht's grandson and director of
Kunstzalen A. Vecht, in email correspondence of January 27, 2009, in object file]
[2] See "Catalogue of the Von der Heydt Loan to the Buffalo Museum of Science: Loan Material
from Baron Von der Heydt, as of March 1949," where the sculpture is documented together with
F1978.35 under an inventory card no. 4670, copy in object file. According to information on the
inventory card, Eduard von der Heydt purchased the two sculptures from K. J. Ptasnik in May
1946. Aaron Vecht was one of von der Heydt's main dealers and in 1946 Ptasnik either acted on
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 6/2/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
behalf of his brother in law or had obtained the sculpture from him.
[3] See "Catalogue of the Von der Heydt Loan to the Buffalo Museum of Science" cited in note 2.
[4] See Vesting Order No. 18344, August 21, 1951, Office of Alien Property, Department of
Justice. Eduard von der Heydt exhausted all the legal remedies against the forfeiture of his
property provided to him by the Trading with the Enemy Act.
[5] Attorney General, Robert Kennedy authorized transfer of the von der Heydt collection from
Buffalo Museum of Science to the custody of the Smithsonian Institution in March 1964. The
collection was transferred to the National Museum of Natural History. In 1966 US Congress
legislated transferring the title of the von der Heydt collection to the Smithsonian Institution, see
Public Law 89-503, 80 Stat. 287, July 18, 1966. The sculpture was accessioned under no.
448108, see "Smithsonian Office of Anthropology Accession Data," copy in object file.
[6] The sculpture was among 13 objects in the von der Heydt collection transferred from National
Museum of Natural History to the Freer Gallery of Art, see "Smithsonian Institution Intramural
Transfer of Specimens" memorandum, dated January 29, 1973, copy in object file. The sculpture
was accessioned to the Freer Gallery Study Collection under no. FSC-S-16.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 6/2/2010)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
257 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Sword scabbard slide with knobs
Eastern Zhou dynasty-Western Han dynasty, 3rd-2nd century B.C.E.
China
Jade (nephrite)
H x W x D: 6.2 x 1.2 x 1.3 cm (2 7/16 x 1/2 x 1/2 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery RLS1997.48.93
Provenance:
To 1997
Paul Singer (1904-1997), Summit, New Jersey [1]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [2]
Notes:
[1] The collection of Chinese art and antiquities assembled by Paul Singer over time was
purchased by him on behalf of Arthur M. Sackler, The Arthur M. Sackler Foundation, the AMS
Foundation for the Arts, Sciences and Humanities, and later transferred to the children of Arthur
M. Sackler.
[2] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. The
formal accession of the Singer collection was completed in 2012.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/6/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
258 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Chain with beads and clasp
Eastern Zhou dynasty, Warring States period, 475-221 B.C.E.
China, Henan province, Jincun, Luoyang
Gold, jade (nephrite), amber, and turquoise
Length x Diam (overall): 70.3 x 4.4 cm (27 11/16 x 1 3/4 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery RLS1997.48.4374
Provenance:
About 1928
Reportedly excavated in Jincun, Henan Province in about 1928 [1]
From at least 1935 to probably late 1930s
Zhang Naiji (1899-1948), Shanghai [2]
From probably late 1930s to 1958
C. T. Loo & Co., New York, purchased from Zhang Naiji probably in the late 1930s [3]
From 1958 to 1997
Paul Singer (1904-1997), Summit, New Jersey, purchased from Frank Caro, C. T. Loo & Co. on
March 24, 1958 [4]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [5]
Notes:
[1] According to Max Loehr, Relics of Ancient China (New York 1965), cat. 74 (ill.). See also
Thomas Lawton, “Paul Singer – A Sage Among Collectors,” Orientations 31, 5 (May 2000), p. 38
(fig. 6), 39.
[2] Zhang Naiji lent the object to the International Exhibition of Chinese Art in London in 1935,
see Catalogue of the International Exhibition of Chinese Art (London, Royal Academy of Arts,
November 28, 1935 - March 7, 1936), cat. 349 (ill.). Zhang was a salt merchant born to a
prestigious family in Zhejiang. He collected ancient Chinese art objects and Chinese coins.
[3] See C. T. Loo’s stockcard no. J-19: “Chang collection Loo Stock. Gold necklace with two jade
beads and two decayed amber beads,” Frank Caro Archive, Institute of Fine Arts, New York
University, copy in object file. The necklace was photographed by Frank Caro and the negative
is preserved in Frank Caro Archive, no. (6) CMSB 301-304. It is known that C. T. Loo acquired a
number of objects from Zhang Naiji’s collection after the latter had left China in 1938. Loo
exhibited the necklace in 1950, see C. T. Loo & Co., An Exhibition of Chinese Archaic Jades
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/6/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
(West Palm Beach, Florida, Norton Gallery of Art, January 20-March 1, 1950), pl. 47, no. 2.
[4] See C. T. Loo’s stockcard no. J-19, cited in note 3. Paul Singer discussed the circumstances
of the necklace’s acquisition from C. T. Loo & Co. in his memoirs completed in February 1993,
see Paul Singer, “Reminiscences of a Transient Custodian,” ms., Paul Singer Papers, Freer
Gallery of Art and Arthur M. Sackler Gallery Archives, p. 103-106. According to Singer’s account,
he obtained the necklace in an exchange transaction with Frank Caro for a few objects acquired
from Emmanuel Gran’s collection. The necklace was reproduced in a catalogue of the Singer
collection published on occasion of the exhibition curated by Max Loehr in 1965, see M. Loehr,
Relics of Ancient China (New York 1965), cat. 74 (ill.). The collection of Chinese art and
antiquities assembled by Paul Singer over time was purchased by him on behalf of Arthur M.
Sackler, The Arthur M. Sackler Foundation, the AMS Foundation for the Arts, Sciences and
Humanities, and later transferred to the children of Arthur M. Sackler.
[5] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. The
formal accession of the Singer collection was completed in 2012.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/6/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
260 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
9/10/2013
Fragments with dragon interlace
Eastern Zhou dynasty, Spring and Autumn period-early Warring States period, 6th-5th century B.C.E.
China, Probably Henan province
Gold foil
H x W (largest): 18 x 13 cm (7 1/16 x 5 1/8 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery RLS1997.48.4504a-u
Provenance:
To 1959
Abel W. Bahr (1877-1959), Ridgefield, Connecticut [1]
1959 to 1960
Edna H. Bahr, by descent from her father, Abel W. Bahr [2]
From 1960 to 1997
Paul Singer (1904-1997), Summit, New Jersey, purchased from Edna H. Bahr in 1960 [3]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [4]
Notes:
[1] Paul Singer’s acquisition of these fragments of gold foil ornamentations from Edna Bahr, the
daughter of Abel W. Bahr, was mentioned in Singer’s correspondence with Henry Trubner and
Zheng Dekun, see letter from Trubner to Singer, dated June 21, 1960 and letter from Zheng
Dekun to Singer, dated 24 July, 1960, Paul Singer Papers, Freer Gallery of Art and Arthur M.
Sackler Gallery Archives. The collector Abel W. Bahr was born in Shanghai and lived in China
until about 1911, when he moved first to London, then to New York, Montreal, and eventually
Ridgefield, Connecticut.
[2] See note 1.
[3] See note 1. Singer discussed the circumstances of the fragments’ acquisition from the Bahr
collection in his memoirs completed in February 1993, see Paul Singer, “Reminiscences of a
Transient Custodian,” ms., Paul Singer Papers, Freer Gallery of Art and Arthur M. Sackler Gallery
Archives, p. 106-108. The fragments were reproduced in a catalogue of the exhibition organized
by Paul Singer in 1972, see Early Chinese Gold and Silver (New York: China Institute in America,
1972), cat. 5 (ill.). The collection of Chinese art and antiquities assembled by Paul Singer over
time was purchased by him on behalf of Arthur M. Sackler, Jillian Sackler, The Arthur M. Sackler
Foundation, the AMS Foundation for the Arts, Sciences and Humanities and later was transferred
to the children of Arthur M. Sackler.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/6/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
261 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[4] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. The
formal accession of the Singer collection was completed in 2012.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/6/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
262 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
9/10/2013
Circular plaque with dragon interlace
Eastern Zhou dynasty, Spring and Autumn period-early Warring States period, 6th-5th century B.C.E.
China, Probably Henan province
Bronze with gold foil
H x Diam (overall): 1 x 13.2 cm (3/8 x 5 3/16 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery RLS1997.48.4506
Provenance:
To 1959
Abel W. Bahr (1877-1959), Ridgefield, Connecticut [1]
1959 to 1960
Edna H. Bahr, by descent from her father, Abel W. Bahr [2]
From 1960 to 1997
Paul Singer (1904-1997), Summit, New Jersey, purchased from Edna Bahr in 1960 [3]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [4]
Notes:
[1] Paul Singer’s acquisition of the plaque from Edna Bahr, the daughter of Abel W. Bahr, was
mentioned in his correspondence with Henry Trubner and Zheng Dekun, see letter from Henry
Trubner to Singer, dated June 21, 1960 and letter from Zheng Dekun to Singer, dated 24 July,
1960, Paul Singer Papers, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. The
collector Abel W. Bahr was born in Shanghai and lived in China until about 1911, when he moved
first to London, then to New York, Montreal, and eventually Ridgefield, Connecticut.
[2] See note 1.
[3] See note 1. Singer discussed the circumstances of the acquisition of the object from the Bahr
collection in his memoirs completed in February 1993, see Paul Singer, “Reminiscences of a
Transient Custodian,” ms., Paul Singer Papers, Freer Gallery of Art and Arthur M. Sackler Gallery
Archives, p. 106-108. The plaque was reproduced in a catalogue of the exhibition organized by
Paul Singer in 1972, see Early Chinese Gold and Silver (New York: China Institute in America,
1972), cat. 6 (ill.). The collection of Chinese art and antiquities assembled by Paul Singer over
time was purchased by him on behalf of Arthur M. Sackler, Jillian Sackler, The Arthur M. Sackler
Foundation, the AMS Foundation for the Arts, Sciences and Humanities and later was transferred
to the children of Arthur M. Sackler.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/6/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
263 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[4] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. The
formal accession of the Singer collection was completed in 2012.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/6/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
264 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
9/10/2013
Plaque in the form of addorsed dragons with dragon interlace
Eastern Zhou dynasty, Spring and Autumn period-early Warring States period, 6th-5th century B.C.E.
China
Bronze with gold foil
H x W x D (overall): 13.1 x 9.5 x 0.1 cm (5 3/16 x 3 3/4 x 1/16 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery RLS1997.48.4508
Provenance:
1938
W. Burchard, London [1]
To 1959
Abel W. Bahr (1877-1959), Ridgefield, Connecticut [2]
1959 to 1960
Edna H. Bahr, by descent from her father, Abel W. Bahr [3]
From 1960 to 1997
Paul Singer (1904-1997), Summit, New Jersey, purchased from Edna H. Bahr in 1960 [4]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [5]
Notes:
[1] See Exhibition of Gold and Silver in Early Chinese Art (London: W. Burchard, November
–December 1938), cat. 1 (ill.). According to the catalogue’s foreword, the objects in the
exhibition, including RLS1997.48.4508, had been collected in China during the previous year.
[2] Paul Singer’s acquisition of the plaque from Edna Bahr, the daughter of Abel W. Bahr, was
mentioned in his correspondence with Henry Trubner and Zheng Dekun, see letter from Henry
Trubner to Singer, dated June 21, 1960 and letter from Zheng Dekun to Singer, dated 24 July,
1960, Paul Singer Papers, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. The
collector Abel W. Bahr was born in Shanghai and lived in China until about 1911, when he moved
first to London, then to New York, Montreal, and eventually Ridgefield, Connecticut.
[3] See note 1.
[4] See note 1. Singer discussed the circumstances of the plaque’s acquisition from the Bahr
collection in his memoirs completed in February 1993, see Paul Singer, “Reminiscences of a
Transient Custodian,” ms., Paul Singer Papers, Freer Gallery of Art and Arthur M. Sackler Gallery
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/6/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
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Freer Gallery of Art and Arthur M. Sackler Gallery
Archives, p. 106-108. Shortly after the acquisition the plaque was exhibited and published in
Emma Bunker, The Art of Eastern Chou (New York, The Chinese Society of America, 1962), cat.
20. Subsequently, it was reproduced in a catalogue of the Singer collection published on
occasion of the exhibition curated by Max Loehr in 1965 and in a catalogue of the exhibition
organized by Singer in 1972, see M. Loehr, Relics of Ancient China (New York 1965), cat. 53
(ill.); Early Chinese Gold and Silver (New York: China Institute in America, 1972), cat. 2 (ill.). The
collection of Chinese art and antiquities assembled by Paul Singer over time was purchased by
him on behalf of Arthur M. Sackler, Jillian Sackler, The Arthur M. Sackler Foundation, the AMS
Foundation for the Arts, Sciences and Humanities and later was transferred to the children of
Arthur M. Sackler.
[5] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. The
formal accession of the Singer collection was completed in 2012.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/6/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
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266 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bodhisattva Holding a Lotus Bud
Song dynasty, 10th century, possibly early 11th century
China
Pigment in stucco
H x W: 62.5 x 61 cm (24 5/8 x 24 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.223
Provenance:
Possibly originally located in the Kuan-Yin Temple of Yu Vouen-sang, Henan province, China [1]
From 1923 to at least 1949
C.T. Loo & Co., Paris and New York, 1923 [2]
From at least 1972 to 1987
Arthur M. Sackler (1913-1987), New York, from at least 1972 [3]
From 1987
Arthur M. Sackler Gallery, gift of Arthur M. Sackler on September 11, 1987 [4]
Notes:
[1] A related painting in the Honolulu Academy of Arts’ collection (acc. no. 2692) supposedly
came from the Kuan-Yin Temple of Yu Vouen-sang, Henan province. This information is based
on notes on the original registrar card. In an article published in 1928, Osvald Sirén stated that
the provenance of these wall paintings was said to be Yu Vouen-sang but he noted that “this
information may or may not be correct,” see Osvald Sirén, “The Chinese Pavilion of C. T. Loo &
Co. and Its Fresco Paintings,” Pantheon (November 1928), pp. 548-549.
[2] In his introduction to Chinese Frescoes of Northern Sung, exh. cat. (New York: C. T. Loo, Inc.,
1949), C. T. Loo described the circumstances of his acquisition of the exhibited wall paintings,
including Bodhisattva and Dark-skinned Figure (exhibited under cat. 14). According to this
account, during his visit to China in 1923 Loo received information from his supplier about
wall-paintings’ fragments in a ruined temple somewhere near the Henan-Shanxi border. After
negotiations with local authorities, the wall paintings were removed from the debris and Loo
transferred them to Paris. See also Laurence Sickman, “An Early Chinese Wall-Painting Newly
Discovered,” Artibus Asiae vol. 15, no. 1/2 (1952), pp. 137-144. By 1928 the paintings were
installed in Loo’s gallery in Paris, see Osvald Sirén 1928, pp. 544-552. According to Sickman,
they were brought to New York in 1948.
[3] The painting was accessioned to Arthur M. Sackler’s collection in 1972.
[4] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 12/7/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
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Freer Gallery of Art and Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 12/7/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
268 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bodhisattva and Dark-skinned Figure
Song dynasty, 10th century, possibly early 11th century
China
Pigment in stucco
H x W: 175.6 x 85.5 cm (69 1/8 x 33 11/16 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.224
Provenance:
Possibly originally located in the Kuan-Yin Temple of Yu Vouen-sang, Henan province, China [1]
From 1923 to at least 1949
C.T. Loo & Co., Paris and New York, 1923 [2]
From at least 1972 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, from at least 1972 [3]
From 1987
Arthur M. Sackler Gallery, gift of Arthur M. Sackler, on September 11, 1987 [4]
Notes:
[1] A related painting in the Honolulu Academy of Arts’ collection (acc. no. 2692) supposedly
came from the Kuan-Yin Temple of Yu Vouen-sang, Henan province. This information is based
on notes on the original registrar card. In an article published in 1928, Osvald Sirén stated that
the provenance of these wall paintings was said to be Yu Vouen-sang but he noted that “this
information may or may not be correct,” see Osvald Sirén, “The Chinese Pavilion of C. T. Loo &
Co. and Its Fresco Paintings,” Pantheon (November 1928), pp. 548-549.
[2] In his introduction to Chinese Frescoes of Northern Sung, exh. cat. (New York: C. T. Loo, Inc.,
1949), C. T. Loo described the circumstances of acquisition of the exhibited wall paintings,
including Bodhisattva and Dark-skinned Figure (exhibited under cat. 14). According to this
account, during his visit to China in 1923 Loo received information from his supplier about
wall-paintings’ fragments in a ruined temple somewhere near the Henan-Shanxi border. After
negotiations with local authorities, the wall paintings were removed from the debris and Loo
transferred them to Paris. See Laurence Sickman, “An Early Chinese Wall-Painting Newly
Discovered,” Artibus Asiae vol. 15, no. 1/2 (1952), pp. 137-144. By 1928 the paintings were
installed in Loo’s gallery in Paris, see Osvald Sirén, “The Chinese Pavilion of C. T. Loo & Co. and
Its Fresco Paintings,” Pantheon (November 1928), pp. 544-552. According to Sickman, they
were brought to New York in 1948.
[3] The painting was accessioned to Arthur M. Sackler’s collection in 1972.
[4] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 12/7/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
269 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 12/7/2011)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
270 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bell (bo)
Eastern Zhou dynasty, Spring and Autumn period, ca. late 6th century B.C.E.
China
Bronze
H x W x D: 20.5 x 12.8 x 10.4 cm (8 1/16 x 5 1/16 x 4 1/8 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.282
Provenance:
Dr. Otto Burchard (1892-1965), Berlin [1]
Yamanaka & Company, New York [2]
From at least 1933 to 1941
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, purchased from Yamanaka & Company by at least 1933 [3]
From 1941 to 1963
Holmes Foundation, New York [4]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
Order of the Holmes Foundation, November 14-15, 1963, lot 255 (ill.): "Wrought Silver-Bronze
Bell (Chung)."
To 1987
Dr. Arthur M. Sackler (1913-1987), New York
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler in 1987 [5]
Notes:
[1] According to Osvald Sirén, A History of Chinese Art (London: E. Benn Ltd., 1929), pl. 107 A.
Sirén noted that at the time of publication the object had already left the Burchard collection.
[2] According to Parke-Bernet Galleries, New York, sale cat., Important Chinese Art: Early
Dynastic Bronzes, Silver and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R.
Holmes), New York, Sold by Order of the Holmes Foundation (New York, November 14-15,
1963), lot 255 (ill.).
[3] Umehara Sueji, Shina-kodo Seikwa (Selected Relics of Ancient Chinese Bronzes from
Collections in Europe and America): Part I Bronze Vases vol. 3 (Osaka: Yamanaka & Co., 1933),
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
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Freer Gallery of Art and Arthur M. Sackler Gallery
pl. 201. Mrs. Holmes lent the bell to International Exhibition of Chinese Art at Royal Academy of
Fine Arts in London in 1935-36, see Catalogue of the International Exhibition of Chinese Art, exh.
cat. (London: Royal Academy of Arts, November 1935-March 7, 1936), cat. 139 (ill.) and
subsequently to the Metropolitan Museum of Art in New York, see Chinese Bronzes of the Shang
(1766-1122 B. C.) through the T’ang Dynasty (A.D. 618-906) (New York: Metropolitan Museum of
Art, October 19-November 27, 1938), cat. 174 (ill.). In the 1963 Parke-Bernet auction catalogue
cited in note 2, the object is listed as purchased by Mrs. Holmes from Yamanaka & Company.
[4] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[5] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
272 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Garment hook with dragons and taotie
Warring States style but Modern period, early 20th century
China
Jade (?)
H x W x D: 11.7 x 2.6 x 2.5 cm (4 5/8 x 1 x 1 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.676
Provenance:
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island [1]
To 1959
Tonying and Company, New York, to November 25, 1959 [2]
From 1959 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from Tonying and Company on
November 25, 1959 [3]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [4]
Notes:
[1] According to information provided by Arthur M. Sackler Foundation, October 2009.
[2] See Tonying & Company’s invoice, issued to Arthur M. Sackler, dated November 25, 1959, in
which the jade is listed under no. Jo 43: “Archaic jade buckle,” copy in object file, provided by
Arthur M. Sackler Foundation, October 2009.
[3] See Tonying & Company’s invoice, citied in note 2.
[4] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
273 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a dagger-axe (ge)
Late Shang dynasty, middle or late Anyang period, ca. 12th-11th century B.C.E.
China
Jade
H x W x D: 9.3 x 3.5 x 0.5 cm (3 11/16 x 1 3/8 x 3/16 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.678
Provenance:
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island [1]
To 1959
Tonying and Company, New York, to November 25, 1959 [2]
From 1959 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from Tonying and Company on
November 25, 1959 [3]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [4]
Notes:
[1] According to information provided by Arthur M. Sackler Foundation, October 2009.
[2] See Tonying & Company’s invoice, issued to Arthur M. Sackler, dated November 25, 1959, in
which the jade is listed under no. Jo 7: “Archaic jade Chang / Shang,” copy in object file, provided
by Arthur M. Sackler Foundation, October 2009.
[3] See Tonying & Company’s invoice, citied in note 2.
[4] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
274 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
9/10/2013
Pendant (pei) in the form of a bird
Late Shang or early Western Zhou dynasty, late Anyang period, ca. 11th century B.C.E.
China
Jade (nephrite)
H x W x D: 4.3 x 5.1 x 0.5 cm (1 11/16 x 2 x 3/16 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.679
Provenance:
From 1925
C. T. Loo & Co., Paris and New York, from at least 1925 [1]
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island [2]
To 1959
Tonying and Company, New York, to November 25, 1959 [3]
From 1959 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from Tonying and Company on
November 25, 1959 [4]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [5]
Notes:
[1] See Paul Pelliot, Jades Archaïques de Chine appartenant à M. C. T. Loo (Paris and Brussels:
G. Van Oest, 1925), pl. XXVI-6.
[2] According to information provided by Arthur M. Sackler Foundation, October 2009.
[3] See Tonying & Company’s invoice, issued to Arthur M. Sackler, dated November 25, 1959, in
which the jade is listed under no. Jo 32: “Archaic Jade Bird / Shang,” copy in object file, provided
by Arthur M. Sackler Foundation, October 2009.
[4] See Tonying & Company’s invoice, citied in note 2.
[5] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
275 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a taotie
Late Shang dynasty, Anyang period, ca. 13th-11th century B.C.E.
China
Jade with traces of cinnabar
H x W x D: 5 x 4.3 x 0.5 cm (1 15/16 x 1 11/16 x 3/16 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.680
Provenance:
From 1925
C. T. Loo & Co., Paris and New York, from at least 1925 [1]
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island [2]
To 1959
Tonying and Company, New York, to November 25, 1959 [3]
From 1959 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from Tonying and Company on
November 25, 1959 [4]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [5]
Notes:
[1] See Paul Pelliot, Jades Archaïques de Chine appartenant à M. C .T Loo (Paris and Brussels:
G. Van Oest, 1925), pl. XXXII-2.
[2] According to information provided by Arthur M. Sackler Foundation, October 2009.
[3] See Tonying & Company’s invoice, issued to Arthur M. Sackler, dated November 25, 1959, in
which the jade is listed under no. Jo 3: “Archaic Jade Animal Mask / Chou,” copy in object file,
provided by Arthur M. Sackler Foundation, October 2009.
[4] See Tonying & Company’s invoice, citied in note 2.
[5] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
276 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a bird
Late Shang, late Anyang period, or Western Zhou dynasty, 11th century B.C.E.
China
Jade (?) with traces of cinnabar
H x W x D: 3.3 x 4.5 x 0.3 cm (1 5/16 x 1 3/4 x 1/8 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.704
Provenance:
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island [1]
From 1941 to 1963
Holmes Foundation, New York [2]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
the Order of the Holmes Foundation, November 14-15, 1963, lot 200/4: “Four Jade Ornaments:
Type of the preceding [lot], two in the form of waterfowl; a deer and a white jade owl-like bird”
From 1963 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased through Frank Caro from Parke-Bernet
Galleries Sale on November 15, 1963 [3]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [4]
Notes:
[1] See Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver and
Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by the
Order of the Holmes Foundation, November 14-15, 1963, lot 200/4. The lot has been identified as
S1987.704 based on information provided by Arthur M. Sackler Foundation, October 2009.
[2] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[3] See Frank Caro’s invoice issued to Arthur M. Sackler on November 22, 1963, copy provided
by the Arthur M. Sackler Foundation, October 2009, in object file.
[4] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
277 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant (pei) in the form of a tiger
Late Shang dynasty, Anyang period, ca. 13th-11th century B.C.E.
China
Jade (?)
H x W x D: 4.5 x 9.4 x 0.6 cm (1 3/4 x 3 11/16 x 1/4 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.705
Provenance:
From at least 1930
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1930 [1]
To 1987
Dr. Arthur M. Sackler (1913-1987), New York
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [2]
Notes:
[1] According to Otto Kümmel, Jörg Trübner zum Gedächtnis: Ergebnisse seiner letzten
chinesischen Reisen (Berlin, Klinkhardt & Biermann Verlag, 1930), p. 60, pl. 30e.
[2] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
278 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a stag
Early Western Zhou dynasty, ca. 11th-10th century B.C.E.
China, Shaanxi province, Rujiazhuang
Jade (nephrite)
H x W x D: 7.6 x 7.7 x 0.6 cm (3 x 3 1/16 x 1/4 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.869
Provenance:
C. T. Loo & Co., Paris and New York [1]
From at least 1930 to at least 1939
Mrs. Christian R. (Bettie F.) Holmes (died 1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1930 [2]
From at least 1959
Tonying & Company, New York, from at least 1959 [3]
From 1959 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from Tonying and Company on
November 25, 1959 [4]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [5]
Notes:
[1] According to Umehara Sueji, Shina Kokyoku Zuroku (Kuwara Bansei-do, 1955), pl. 75, no. 3.
[2] According to Otto Kümmel, Jörg Trübner zum Gedächtnis: Ergebnisse seiner letzten
chinesischen Reisen (Berlin, Klinkhardt & Biermann Verlag, 1930), p. 60, pl. 30c. In 1939 Mrs.
Holmes lent the jade to 3000 Years of Chinese Jade exhibition at Arden Gallery in New York, see
3000 Years of Chinese Jade, exh. cat. (New York: Arden Gallery, January 10-February 11,
1939), cat. 95 (ill.).
[3] See Tonying & Company’s invoice, issued to Arthur M. Sackler, dated November 25, 1959, in
which the jade is listed under no. Jo 31: “Archaic Jade Deer / Shang,” copy in object file, provided
by Arthur M. Sackler Foundation, October 2009.
[4] See Tonying & Company’s invoice cited in note 2.
[5] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/1/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
279 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
9/10/2013
Pendant (pei) in the form of a bird
Late Shang, late Anyang period or early Western Zhou dynasty, 11th-10th century B.C.E.
China
Jade
H x W x D: 4.3 x 9.8 x 0.5 cm (1 11/16 x 3 7/8 x 3/16 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.870
Provenance:
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island [1]
From at least 1959
Tonying & Company, New York, from at least 1959 [2]
From 1959 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from Tonying and Company on
November 25, 1959 [3]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [4]
Notes:
[1] According to information provided by Arthur M. Sackler Foundation, October 2009.
[2] See Tonying & Company’s invoice, issued to Arthur M. Sackler, dated November 25, 1959, in
which the jade is listed under no. Jo 41: “Archaic Jade Cormorant / Shang,” copy in object file,
provided by Arthur M. Sackler Foundation, October 2009.
[3] See Tonying & Company’s invoice cited in note 2.
[4] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
280 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Dagger-axe (ge)
Late Shang, late Anyang period or early Western Zhou dynasty, 11th century B.C.E.
China
Jade (nephrite)
H x W x D: 14.3 x 5.3 x 0.6 cm (5 5/8 x 2 1/16 x 1/4 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.871
Provenance:
From at least 1935
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from November 1935 [1]
From at least 1959
Tonying & Company, New York, from at least 1959 [2]
From 1959 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from Tonying and Company on
November 25, 1959 [3]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [4]
Notes:
[1] Mrs. Holmes lent the object to the International Exhibition of Chinese Art at Royal Academy of
Fine Arts in London in 1935-36, see Catalogue of the International Exhibition of Chinese Art, exh.
cat. (London: Royal Academy of Arts, 1935-36), cat. 310 (ill.).
[2] See Tonying & Company’s invoice, issued to Arthur M. Sackler, dated November 25, 1959, in
which the jade is listed under no. Jo. 42: “Archaic Jade Chaag (Symbol of Authority) / Shang”
copy in object file, provided by Arthur M. Sackler Foundation, October 2009.
[3] See Tonying & Company’s invoice cited in note 2.
[4] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
281 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bell (zhong)
Middle Western Zhou dynasty, ca. 1000-900 B.C.E.
China
Bronze
H x W x D: 39.5 x 22 x 17.8 cm (15 9/16 x 8 11/16 x 7 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.915
Provenance:
Private collection, New York [1]
1963
Sale, Parke-Bernet Galleries, New York, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes)…Mrs. Henry W.
Breyer Sr…and from Other Sources Important Chinese Art: Early Dynastic Bronzes, Silver and
Gold..., November 14-15, 1963, lot 249 (ill.): "Bronze Bell (Chung), Chou, Of pointed oval
section, with cable handle and projecting loop, the body banded and ornamented with triads of
nipple bosses, below which are two panels chased in flat relief with t’ao t’ieh motive; dull green
encrustations. Has stand"
Private collection, New York [2]
Sale, Parke-Bernet Galleries, New York, Chinese art: Jade and Other Semi-precious Mineral
Carvings, Han and Other Early Bronzes, Early Dynastic Jades ... : A Group of Chinese Furniture,
Lamps & Other Decorative Objects: Raymond Bushell, Mrs. Albert E. Ogden, and Other Owners,
November 4-5, 1965, lot 292: “Bronze Bell (Chung), Warring States, Of pointed oval section,
cable handle and projecting loop, the body banded and ornamented with triads of nipple bosses,
below which are panels chased in flat relief with t’ao t’ieh motives. Dull green patina”
From 1965 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased through J. T. Tai from Parke-Bernet
Galleries sale on November 4-5, 1965 [3]
From 1987
Freer Gallery of Art, gift of Dr. Arthur M. Sackler in 1987 [4]
Notes:
[1] According to Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes)…Mrs. Henry W.
Breyer Sr…and from Other Sources, sale cat. (New York, November 14-5, 1963), lot 249.
[2] According to Parke-Bernet Galleries, Chinese art: Jade and Other Semi-precious Mineral
Carvings, Han and Other Early Bronzes, Early Dynastic Jades ... : A Group of Chinese Furniture,
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
282 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lamps & Other Decorative Objects: Raymond Bushell, Mrs. Albert E. Ogden, and Other Owners,
sale cat. (New York, November 4-5, 1965), lot 292.
[3] According to information provided by Arthur M. Sackler Foundation in October 2009. See also
an invoice issued to Arthur Sackler, indicating that the item was purchased at the Parke –Bernet
Galleries Sale no. 2736 on November 4-5, 1965 for Arthur Sackler, copy provided by Arthur M.
Sackler Foundation, in object file.
[4] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
283 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bead
Shang dynasty, ca. 1200-1100 B.C.E.
China
Jade
H x W x D: 5.1 x 4.4 x 2.8 cm (2 x 1 3/4 x 1 1/8 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.935.1
Provenance:
Reportedly excavated in Anhui province, China [1]
From at least 1929 to 1941
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [2]
From 1941 to 1963
Holmes Foundation, New York [3]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
the Order of the Holmes Foundation, November 14-15, 1963, lot 207 (ill.): "Fifteen Pale Green
Jade Tomb Amulets."
From 1963 to 1965
Jun Tsei Tai (1911-1992), New York, purchased at Sale, Parke-Bernet Galleries, Important
Chinese Art..., November 14-15, 1963 [4]
From 1965 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from J. T. Tai in 1965 [5]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [6]
Notes:
[1] The jade and 14 other jade beads, S1987.935.1-15, were said to have been found inside the
bronze you, S1987.968a-b, at the time it was excavated, see Royal Academy of Arts,
International Exhibition of Chinese Art, exh. cat. (London: Royal Academy of Arts, 1935-36), cat.
233. See also provenance record for S1987.968a-b.
[2] The bronze with which the jades were reportedly excavated was in the possession of Mrs.
Holmes from at least 1929, see provenance record for S1987.968a-b.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
284 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[3] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[4] See Joan Marcia Hartman, “America,” Oriental Art 10, 1 (Spring 1964), p. 46.
[5] According to information included in a document “Arthur M. Sackler Gift, Chinese Jades:
Summary,” provided by Arthur M. Sackler Foundation, October 2009, copy in object file.
[6] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
285 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bead
Shang dynasty, ca. 1200-1100 B.C.E.
China
Jade
H x Diam (overall): 3.6 x 3.7 cm (1 7/16 x 1 7/16 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.935.2
Provenance:
Reportedly excavated in Anhui province, China [1]
From at least 1929 to 1941
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [2]
From 1941 to 1963
Holmes Foundation, New York [3]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
the Order of the Holmes Foundation, November 14-15, 1963, lot 207 (ill.): "Fifteen Pale Green
Jade Tomb Amulets."
From 1963 to 1965
Jun Tsei Tai (1911-1992), New York, purchased at Sale, Parke-Bernet Galleries, Important
Chinese Art..., November 14-15, 1963 [4]
From 1965 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from J. T. Tai in 1965 [5]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [6]
Notes:
[1] The jade and 14 other jade beads, S1987.935.1-15, were said to have been found inside the
bronze you, S1987.968a-b, at the time it was excavated, see Royal Academy of Arts,
International Exhibition of Chinese Art, exh. cat. (London: Royal Academy of Arts, 1935-36), cat.
233. See also provenance record for S1987.968a-b.
[2] The bronze with which the jades were reportedly excavated was in the possession of Mrs.
Holmes from at least 1929, see provenance record for S1987.968a-b.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
286 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[3] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[4] See Joan Marcia Hartman, “America,” Oriental Art 10, 1 (Spring 1964), p. 46.
[5] According to information included in a document “Arthur M. Sackler Gift, Chinese Jades:
Summary,” provided by Arthur M. Sackler Foundation, October 2009, copy in object file.
[6] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
287 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bead
Shang dynasty, ca. 1200-1100 B.C.E.
China
Jade
H x Diam (overall): 4.4 x 3 cm (1 3/4 x 1 3/16 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.935.3
Provenance:
Reportedly excavated in Anhui province, China [1]
From at least 1929 to 1941
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [2]
From 1941 to 1963
Holmes Foundation, New York [3]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
the Order of the Holmes Foundation, November 14-15, 1963, lot 207 (ill.): "Fifteen Pale Green
Jade Tomb Amulets."
From 1963 to 1965
Jun Tsei Tai (1911-1992), New York, purchased at Sale, Parke-Bernet Galleries, Important
Chinese Art..., November 14-15, 1963 [4]
From 1965 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from J. T. Tai in 1965 [5]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [6]
Notes:
[1] The jade and 14 other jade beads, S1987.935.1-15, were said to have been found inside the
bronze you, S1987.968a-b, at the time it was excavated, see Royal Academy of Arts,
International Exhibition of Chinese Art, exh. cat. (London: Royal Academy of Arts, 1935-36), cat.
233. See also provenance record for S1987.968a-b.
[2] The bronze with which the jades were reportedly excavated was in the possession of Mrs.
Holmes from at least 1929, see provenance record for S1987.968a-b.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
288 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[3] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[4] See Joan Marcia Hartman, “America,” Oriental Art 10, 1 (Spring 1964), p. 46.
[5] According to information included in a document “Arthur M. Sackler Gift, Chinese Jades:
Summary,” provided by Arthur M. Sackler Foundation, October 2009, copy in object file.
[6] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
289 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bead
Shang dynasty, ca. 1200-1100 B.C.E.
China
Jade
H x W x D: 2.7 x 2.7 x 2.6 cm (1 1/16 x 1 1/16 x 1 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.935.4
Provenance:
Reportedly excavated in Anhui province, China [1]
From at least 1929 to 1941
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [2]
From 1941 to 1963
Holmes Foundation, New York [3]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
the Order of the Holmes Foundation, November 14-15, 1963, lot 207 (ill.): "Fifteen Pale Green
Jade Tomb Amulets."
From 1963 to 1965
Jun Tsei Tai (1911-1992), New York, purchased at Sale, Parke-Bernet Galleries, Important
Chinese Art..., November 14-15, 1963 [4]
From 1965 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from J. T. Tai in 1965 [5]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [6]
Notes:
[1] The jade and 14 other jade beads, S1987.935.1-15, were said to have been found inside the
bronze you, S1987.968a-b, at the time it was excavated, see Royal Academy of Arts,
International Exhibition of Chinese Art, exh. cat. (London: Royal Academy of Arts, 1935-36), cat.
233. See also provenance record for S1987.968a-b.
[2] The bronze with which the jades were reportedly excavated was in the possession of Mrs.
Holmes from at least 1929, see provenance record for S1987.968a-b.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
290 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[3] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[4] See Joan Marcia Hartman, “America,” Oriental Art 10, 1 (Spring 1964), p. 46.
[5] According to information included in a document “Arthur M. Sackler Gift, Chinese Jades:
Summary,” provided by Arthur M. Sackler Foundation, October 2009, copy in object file.
[6] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
291 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bead
Shang dynasty, ca. 1200-1100 B.C.E.
China
Jade
H x W x D: 3.5 x 2 x 1.9 cm (1 3/8 x 13/16 x 3/4 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.935.5
Provenance:
Reportedly excavated in Anhui province, China [1]
From at least 1929 to 1941
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [2]
From 1941 to 1963
Holmes Foundation, New York [3]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
the Order of the Holmes Foundation, November 14-15, 1963, lot 207 (ill.): "Fifteen Pale Green
Jade Tomb Amulets."
From 1963 to 1965
Jun Tsei Tai (1911-1992), New York, purchased at Sale, Parke-Bernet Galleries, Important
Chinese Art..., November 14-15, 1963 [4]
From 1965 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from J. T. Tai in 1965 [5]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [6]
Notes:
[1] The jade and 14 other jade beads, S1987.935.1-15, were said to have been found inside the
bronze you, S1987.968a-b, at the time it was excavated, see Royal Academy of Arts,
International Exhibition of Chinese Art, exh. cat. (London: Royal Academy of Arts, 1935-36), cat.
233. See also provenance record for S1987.968a-b.
[2] The bronze with which the jades were reportedly excavated was in the possession of Mrs.
Holmes from at least 1929, see provenance record for S1987.968a-b.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
292 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[3] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[4] See Joan Marcia Hartman, “America,” Oriental Art 10, 1 (Spring 1964), p. 46.
[5] According to information included in a document “Arthur M. Sackler Gift, Chinese Jades:
Summary,” provided by Arthur M. Sackler Foundation, October 2009, copy in object file.
[6] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
293 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bead
Shang dynasty, ca. 1200-1100 B.C.E.
China
Jade
H x W x D: 2.9 x 1.4 x 1.4 cm (1 1/8 x 9/16 x 9/16 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.935.6
Provenance:
Reportedly excavated in Anhui province, China [1]
From at least 1929 to 1941
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [2]
From 1941 to 1963
Holmes Foundation, New York [3]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
the Order of the Holmes Foundation, November 14-15, 1963, lot 207 (ill.): "Fifteen Pale Green
Jade Tomb Amulets."
From 1963 to 1965
Jun Tsei Tai (1911-1992), New York, purchased at Sale, Parke-Bernet Galleries, Important
Chinese Art..., November 14-15, 1963 [4]
From 1965 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from J. T. Tai in 1965 [5]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [6]
Notes:
[1] The jade and 14 other jade beads, S1987.935.1-15, were said to have been found inside the
bronze you, S1987.968a-b, at the time it was excavated, see Royal Academy of Arts,
International Exhibition of Chinese Art, exh. cat. (London: Royal Academy of Arts, 1935-36), cat.
233. See also provenance record for S1987.968a-b.
[2] The bronze with which the jades were reportedly excavated was in the possession of Mrs.
Holmes from at least 1929, see provenance record for S1987.968a-b.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
294 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[3] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[4] See Joan Marcia Hartman, “America,” Oriental Art 10, 1 (Spring 1964), p. 46.
[5] According to information included in a document “Arthur M. Sackler Gift, Chinese Jades:
Summary,” provided by Arthur M. Sackler Foundation, October 2009, copy in object file.
[6] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
295 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bead
Shang dynasty, ca. 1200-1100 B.C.E.
China
Jade
H x W x D: 2.4 x 2 x 1.8 cm (15/16 x 13/16 x 11/16 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.935.7
Provenance:
Reportedly excavated in Anhui province, China [1]
From at least 1929 to 1941
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [2]
From 1941 to 1963
Holmes Foundation, New York [3]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
the Order of the Holmes Foundation, November 14-15, 1963, lot 207 (ill.): "Fifteen Pale Green
Jade Tomb Amulets."
From 1963 to 1965
Jun Tsei Tai (1911-1992), New York, purchased at Sale, Parke-Bernet Galleries, Important
Chinese Art..., November 14-15, 1963 [4]
From 1965 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from J. T. Tai in 1965 [5]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [6]
Notes:
[1] The jade and 14 other jade beads, S1987.935.1-15, were said to have been found inside the
bronze you, S1987.968a-b, at the time it was excavated, see Royal Academy of Arts,
International Exhibition of Chinese Art, exh. cat. (London: Royal Academy of Arts, 1935-36), cat.
233. See also provenance record for S1987.968a-b.
[2] The bronze with which the jades were reportedly excavated was in the possession of Mrs.
Holmes from at least 1929, see provenance record for S1987.968a-b.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
296 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[3] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[4] See Joan Marcia Hartman, “America,” Oriental Art 10, 1 (Spring 1964), p. 46.
[5] According to information included in a document “Arthur M. Sackler Gift, Chinese Jades:
Summary,” provided by Arthur M. Sackler Foundation, October 2009, copy in object file.
[6] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
297 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bead
Shang dynasty, ca. 1200-1100 B.C.E.
China
Jade
H x W x D: 4.4 x 2 x 1.1 cm (1 3/4 x 13/16 x 7/16 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.935.8
Provenance:
Reportedly excavated in Anhui province, China [1]
From at least 1929 to 1941
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [2]
From 1941 to 1963
Holmes Foundation, New York [3]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
the Order of the Holmes Foundation, November 14-15, 1963, lot 207 (ill.): "Fifteen Pale Green
Jade Tomb Amulets."
From 1963 to 1965
Jun Tsei Tai (1911-1992), New York, purchased at Sale, Parke-Bernet Galleries, Important
Chinese Art..., November 14-15, 1963 [4]
From 1965 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from J. T. Tai in 1965 [5]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [6]
Notes:
[1] The jade and 14 other jade beads, S1987.935.1-15, were said to have been found inside the
bronze you, S1987.968a-b, at the time it was excavated, see Royal Academy of Arts,
International Exhibition of Chinese Art, exh. cat. (London: Royal Academy of Arts, 1935-36), cat.
233. See also provenance record for S1987.968a-b.
[2] The bronze with which the jades were reportedly excavated was in the possession of Mrs.
Holmes from at least 1929, see provenance record for S1987.968a-b.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
298 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[3] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[4] See Joan Marcia Hartman, “America,” Oriental Art 10, 1 (Spring 1964), p. 46.
[5] According to information included in a document “Arthur M. Sackler Gift, Chinese Jades:
Summary,” provided by Arthur M. Sackler Foundation, October 2009, copy in object file.
[6] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
299 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bead
Shang dynasty, ca. 1200-1100 B.C.E.
China
Jade
H x Diam (overall): 4.3 x 1.6 cm (1 11/16 x 5/8 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.935.9
Provenance:
Reportedly excavated in Anhui province, China [1]
From at least 1929 to 1941
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [2]
From 1941 to 1963
Holmes Foundation, New York [3]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
the Order of the Holmes Foundation, November 14-15, 1963, lot 207 (ill.): "Fifteen Pale Green
Jade Tomb Amulets."
From 1963 to 1965
Jun Tsei Tai (1911-1992), New York, purchased at Sale, Parke-Bernet Galleries, Important
Chinese Art..., November 14-15, 1963 [4]
From 1965 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from J. T. Tai in 1965 [5]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [6]
Notes:
[1] The jade and 14 other jade beads, S1987.935.1-15, were said to have been found inside the
bronze you, S1987.968a-b, at the time it was excavated, see Royal Academy of Arts,
International Exhibition of Chinese Art, exh. cat. (London: Royal Academy of Arts, 1935-36), cat.
233. See also provenance record for S1987.968a-b.
[2] The bronze with which the jades were reportedly excavated was in the possession of Mrs.
Holmes from at least 1929, see provenance record for S1987.968a-b.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
300 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[3] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[4] See Joan Marcia Hartman, “America,” Oriental Art 10, 1 (Spring 1964), p. 46.
[5] According to information included in a document “Arthur M. Sackler Gift, Chinese Jades:
Summary,” provided by Arthur M. Sackler Foundation, October 2009, copy in object file.
[6] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
301 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bead
Shang dynasty, ca. 1200-1100 B.C.E.
China
Jade
H x Diam (overall): 3.3 x 1.4 cm (1 5/16 x 9/16 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.935.10
Provenance:
Reportedly excavated in Anhui province, China [1]
From at least 1929 to 1941
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [2]
From 1941 to 1963
Holmes Foundation, New York [3]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
the Order of the Holmes Foundation, November 14-15, 1963, lot 207 (ill.): "Fifteen Pale Green
Jade Tomb Amulets."
From 1963 to 1965
Jun Tsei Tai (1911-1992), New York, purchased at Sale, Parke-Bernet Galleries, Important
Chinese Art..., November 14-15, 1963 [4]
From 1965 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from J. T. Tai in 1965 [5]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [6]
Notes:
[1] The jade and 14 other jade beads, S1987.935.1-15, were said to have been found inside the
bronze you, S1987.968a-b, at the time it was excavated, see Royal Academy of Arts,
International Exhibition of Chinese Art, exh. cat. (London: Royal Academy of Arts, 1935-36), cat.
233. See also provenance record for S1987.968a-b.
[2] The bronze with which the jades were reportedly excavated was in the possession of Mrs.
Holmes from at least 1929, see provenance record for S1987.968a-b.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
302 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[3] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[4] See Joan Marcia Hartman, “America,” Oriental Art 10, 1 (Spring 1964), p. 46.
[5] According to information included in a document “Arthur M. Sackler Gift, Chinese Jades:
Summary,” provided by Arthur M. Sackler Foundation, October 2009, copy in object file.
[6] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
303 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bead
Shang dynasty, ca. 1200-1100 B.C.E.
China
Jade
H x Diam (overall): 6.1 x 1.4 cm (2 3/8 x 9/16 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.935.11
Provenance:
Reportedly excavated in Anhui province, China [1]
From at least 1929 to 1941
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [2]
From 1941 to 1963
Holmes Foundation, New York [3]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
the Order of the Holmes Foundation, November 14-15, 1963, lot 207 (ill.): "Fifteen Pale Green
Jade Tomb Amulets."
From 1963 to 1965
Jun Tsei Tai (1911-1992), New York, purchased at Sale, Parke-Bernet Galleries, Important
Chinese Art..., November 14-15, 1963 [4]
From 1965 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from J. T. Tai in 1965 [5]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [6]
Notes:
[1] The jade and 14 other jade beads, S1987.935.1-15, were said to have been found inside the
bronze you, S1987.968a-b, at the time it was excavated, see Royal Academy of Arts,
International Exhibition of Chinese Art, exh. cat. (London: Royal Academy of Arts, 1935-36), cat.
233. See also provenance record for S1987.968a-b.
[2] The bronze with which the jades were reportedly excavated was in the possession of Mrs.
Holmes from at least 1929, see provenance record for S1987.968a-b.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
304 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[3] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[4] See Joan Marcia Hartman, “America,” Oriental Art 10, 1 (Spring 1964), p. 46.
[5] According to information included in a document “Arthur M. Sackler Gift, Chinese Jades:
Summary,” provided by Arthur M. Sackler Foundation, October 2009, copy in object file.
[6] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
305 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bead
Shang dynasty, ca. 1200-1100 B.C.E.
China
Jade
H x W x D: 4.7 x 1.4 x 1.1 cm (1 7/8 x 9/16 x 7/16 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.935.12
Provenance:
Reportedly excavated in Anhui province, China [1]
From at least 1929 to 1941
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [2]
From 1941 to 1963
Holmes Foundation, New York [3]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
the Order of the Holmes Foundation, November 14-15, 1963, lot 207 (ill.): "Fifteen Pale Green
Jade Tomb Amulets."
From 1963 to 1965
Jun Tsei Tai (1911-1992), New York, purchased at Sale, Parke-Bernet Galleries, Important
Chinese Art..., November 14-15, 1963 [4]
From 1965 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from J. T. Tai in 1965 [5]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [6]
Notes:
[1] The jade and 14 other jade beads, S1987.935.1-15, were said to have been found inside the
bronze you, S1987.968a-b, at the time it was excavated, see Royal Academy of Arts,
International Exhibition of Chinese Art, exh. cat. (London: Royal Academy of Arts, 1935-36), cat.
233. See also provenance record for S1987.968a-b.
[2] The bronze with which the jades were reportedly excavated was in the possession of Mrs.
Holmes from at least 1929, see provenance record for S1987.968a-b.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
306 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[3] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[4] See Joan Marcia Hartman, “America,” Oriental Art 10, 1 (Spring 1964), p. 46.
[5] According to information included in a document “Arthur M. Sackler Gift, Chinese Jades:
Summary,” provided by Arthur M. Sackler Foundation, October 2009, copy in object file.
[6] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
307 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bead
Shang dynasty, ca. 1200-1100 B.C.E.
China
Jade
H x W x D: 5 x 1.8 x 1.5 cm (1 15/16 x 11/16 x 9/16 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.935.13
Provenance:
Reportedly excavated in Anhui province, China [1]
From at least 1929 to 1941
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [2]
From 1941 to 1963
Holmes Foundation, New York [3]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
the Order of the Holmes Foundation, November 14-15, 1963, lot 207 (ill.): "Fifteen Pale Green
Jade Tomb Amulets."
From 1963 to 1965
Jun Tsei Tai (1911-1992), New York, purchased at Sale, Parke-Bernet Galleries, Important
Chinese Art..., November 14-15, 1963 [4]
From 1965 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from J. T. Tai in 1965 [5]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [6]
Notes:
[1] The jade and 14 other jade beads, S1987.935.1-15, were said to have been found inside the
bronze you, S1987.968a-b, at the time it was excavated, see Royal Academy of Arts,
International Exhibition of Chinese Art, exh. cat. (London: Royal Academy of Arts, 1935-36), cat.
233. See also provenance record for S1987.968a-b.
[2] The bronze with which the jades were reportedly excavated was in the possession of Mrs.
Holmes from at least 1929, see provenance record for S1987.968a-b.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
308 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[3] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[4] See Joan Marcia Hartman, “America,” Oriental Art 10, 1 (Spring 1964), p. 46.
[5] According to information included in a document “Arthur M. Sackler Gift, Chinese Jades:
Summary,” provided by Arthur M. Sackler Foundation, October 2009, copy in object file.
[6] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
309 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Shang dynasty, ca. 1200-1100 B.C.E.
China
Jade
H x W x D: 3.9 x 2.3 x 1.7 cm (1 9/16 x 7/8 x 11/16 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.935.14
Provenance:
Reportedly excavated in Anhui province, China [1]
From at least 1929 to 1941
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [2]
From 1941 to 1963
Holmes Foundation, New York [3]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
the Order of the Holmes Foundation, November 14-15, 1963, lot 207 (ill.): "Fifteen Pale Green
Jade Tomb Amulets."
From 1963 to 1965
Jun Tsei Tai (1911-1992), New York, purchased at Sale, Parke-Bernet Galleries, Important
Chinese Art..., November 14-15, 1963 [4]
From 1965 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from J. T. Tai in 1965 [5]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [6]
Notes:
[1] The jade and 14 other jade beads, S1987.935.1-15, were said to have been found inside the
bronze you, S1987.968a-b, at the time it was excavated, see Royal Academy of Arts,
International Exhibition of Chinese Art, exh. cat. (London: Royal Academy of Arts, 1935-36), cat.
233. See also provenance record for S1987.968a-b.
[2] The bronze with which the jades were reportedly excavated was in the possession of Mrs.
Holmes from at least 1929, see provenance record for S1987.968a-b.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
310 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[3] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[4] See Joan Marcia Hartman, “America,” Oriental Art 10, 1 (Spring 1964), p. 46.
[5] According to information included in a document “Arthur M. Sackler Gift, Chinese Jades:
Summary,” provided by Arthur M. Sackler Foundation, October 2009, copy in object file.
[6] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
311 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Bead
Shang dynasty, ca. 1200-1100 B.C.E.
China
Jade
H x Diam (overall): 4.6 x 1.3 cm (1 13/16 x 1/2 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.935.15
Provenance:
Reportedly excavated in Anhui province, China [1]
From at least 1929 to 1941
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [2]
From 1941 to 1963
Holmes Foundation, New York [3]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
the Order of the Holmes Foundation, November 14-15, 1963, lot 207 (ill.): "Fifteen Pale Green
Jade Tomb Amulets."
From 1963 to 1965
Jun Tsei Tai (1911-1992), New York, purchased at Sale, Parke-Bernet Galleries, Important
Chinese Art..., November 14-15, 1963 [4]
From 1965 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased from J. T. Tai in 1965 [5]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [6]
Notes:
[1] The jade and 14 other jade beads, S1987.935.1-15, were said to have been found inside the
bronze you, S1987.968a-b, at the time it was excavated, see Royal Academy of Arts,
International Exhibition of Chinese Art, exh. cat. (London: Royal Academy of Arts, 1935-36), cat.
233. See also provenance record for S1987.968a-b.
[2] The bronze with which the jades were reportedly excavated was in the possession of Mrs.
Holmes from at least 1929, see provenance record for S1987.968a-b.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
312 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[3] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[4] See Joan Marcia Hartman, “America,” Oriental Art 10, 1 (Spring 1964), p. 46.
[5] According to information included in a document “Arthur M. Sackler Gift, Chinese Jades:
Summary,” provided by Arthur M. Sackler Foundation, October 2009, copy in object file.
[6] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/2/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
313 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Lidded ritual wine container (you) with taotie and dragons
Late Shang dynasty, Middle Anyang period, ca. 1200-1100 B.C.E.
China
Bronze
H x W x D: 22 x 19.8 x 17.5 cm (8 11/16 x 7 13/16 x 6 7/8 in)
Gift of Arthur M. Sackler
Arthur M. Sackler Gallery S1987.968a-b
Provenance:
Reportedly excavated in Anhui province, China [1]
Tonying & Company, New York [2]
From at least 1929 to 1941
Mrs. Christian R. (Bettie F.) Holmes (1871-1941), New York and "The Chimneys," Sands Point,
Port Washington, Long Island, from at least 1929 [3]
From 1941 to 1963
Holmes Foundation, New York [4]
1963
Sale, New York, Parke-Bernet Galleries, Important Chinese Art: Early Dynastic Bronzes, Silver
and Gold...Collected by the Late Bettie F. Holmes (Mrs. Christian R. Holmes), New York, Sold by
the Order of the Holmes Foundation, November 14-15, 1963, lot 266 (ill. on the cover): "Bronze
Covered Wine Vessel (Yu)"
From 1963 to 1965
Jun Tsei Tai (1911-1992), New York, purchased at Sale, Parke-Bernet Galleries, Important
Chinese Art..., November 14-15, 1963 [5]
From probably 1965 to 1987
Dr. Arthur M. Sackler (1913-1987), New York, purchased probably from J. T. Tai in 1965 [6]
From 1987
Arthur M. Sackler Gallery, gift of Dr. Arthur M. Sackler on September 11, 1987 [7]
Notes:
[1] According to Jörg Trübner, Yu und Kuang: Zur Typologie der Chinesischen Bronzen (Leipzig:
Klinkhardt & Biermann Verlag, 1929), p. 28. Cheng Mengjia provides the same provenance but
mentions also a conflicting report that the vessel came from the Wenzhou area of Zhejiang, see
Cheng Mengjia, Yin Zhou qingtongqi fenlei tulu (In Shu seidoki bunrui zuroku; A Corpus of
Chinese Bronzes in American Collections) (Tokyo: Kyuko Shoin, 1977), A586. See also Robert
W. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections (Washington, DC: The
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/15/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
314 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Arthur M. Sackler Foundation; Cambridge, Mass.: The Arthur M. Sackler Museum, Harvard
University, 1987), p. 373, no. 64.
[2] The Tonying and Company's stock number "B81" painted in red on the object's base indicates
that the vessel at some point was handled by the gallery.
[3] See Trübner 1929, p. 28. When it entered the collection of Mrs. Holmes, the you was
accompanied by fifteen jade beads said to have been found inside it (see provenance records for
S1987.935.1-15).
[4] Mrs. Holmes had established the Holmes Foundation to continue her charity work after her
death.
[5] See Joan Marcia Hartman, “America,” Oriental Art 10, 1 (Spring 1964), p. 47.
[6] According to information provided by Arthur M. Sackler Foundation, October 2009, the jades
with which the bronze was auctioned in July 1963 were purchased by Arthur M. Sackler from J. T.
Tai in 1965, see provenance records for S1987.935.1-15. The bronze was most probably
purchased by Sackler from the same source.
[7] Pursuant to the agreement between Arthur M. Sackler and the Smithsonian Institution, dated
July 28, 1982, legal title of the donated objects was transferred to the Arthur M. Sackler Gallery
on September 11, 1987.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 5/15/2012)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
315 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Headdress ornament in the form of a moth
Qing dynasty, 19th century
China
Kingfisher feather, gold, metal, and silk
H x W x D (overall): 4.5 x 5.5 x 0.8 cm (1 3/4 x 2 3/16 x 5/16 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery S2011.1
Provenance:
To 1997
Paul Singer (1904-1997), Summit, New Jersey [1]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [2]
Notes:
[1] The collection of Chinese art and antiquities assembled by Paul Singer over time was
purchased by him on behalf of Arthur M. Sackler, The Arthur M. Sackler Foundation, the AMS
Foundation for the Arts, Sciences and Humanities, and later transferred to the children of Arthur
M. Sackler.
[2] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. In 2011
the object was accessioned to the Sackler Gallery collection.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/6/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
316 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Headdress ornament in the form of a flower and butterfly
Qing dynasty, 19th century
China
Kingfisher feather, metal, stone
H x W x D (overall): 7.5 x 6.4 x 1.3 cm (2 15/16 x 2 1/2 x 1/2 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery S2011.2
Provenance:
To 1997
Paul Singer (1904-1997), Summit, New Jersey [1]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [2]
Notes:
[1] The collection of Chinese art and antiquities assembled by Paul Singer over time was
purchased by him on behalf of Arthur M. Sackler, The Arthur M. Sackler Foundation, the AMS
Foundation for the Arts, Sciences and Humanities, and later transferred to the children of Arthur
M. Sackler.
[2] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. In 2011
the object was accessioned to the Sackler Gallery collection.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/6/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
317 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Hair or headdress ornament in the form of caterpillar turning into a
butterfly
Qing dynasty, 19th century
China
Kingfisher feather, metal, silk, and glass
H x W x D (overall): 19 x 14.5 x 1.8 cm (7 1/2 x 5 11/16 x 11/16 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery S2011.3
Provenance:
To 1997
Paul Singer (1904-1997), Summit, New Jersey [1]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [2]
Notes:
[1] The collection of Chinese art and antiquities assembled by Paul Singer over time was
purchased by him on behalf of Arthur M. Sackler, The Arthur M. Sackler Foundation, the AMS
Foundation for the Arts, Sciences and Humanities, and later transferred to the children of Arthur
M. Sackler.
[2] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. In 2011
the object was accessioned to the Sackler Gallery collection.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/6/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
318 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Hair ornament of a butterfly
Qing dynasty, 19th century
China
Kingfisher feather, silver, other metal, and stone
H x W x D (overall): 24.5 x 9.5 x 2 cm (9 5/8 x 3 3/4 x 13/16 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery S2011.4
Provenance:
To 1997
Paul Singer (1904-1997), Summit, New Jersey [1]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [2]
Notes:
[1] The collection of Chinese art and antiquities assembled by Paul Singer over time was
purchased by him on behalf of Arthur M. Sackler, The Arthur M. Sackler Foundation, the AMS
Foundation for the Arts, Sciences and Humanities, and later transferred to the children of Arthur
M. Sackler.
[2] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. In 2011
the object was accessioned to the Sackler Gallery collection.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/6/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
319 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Headdress ornament in the form of a phoenix
Qing dynasty, late 18th-early 19th century
China
Gold and pearls
H x W x D: 3.4 x 5 x 10.3 cm (1 5/16 x 1 15/16 x 4 1/16 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery S2011.5
Provenance:
To 1997
Paul Singer (1904-1997), Summit, New Jersey [1]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [2]
Notes:
[1] The collection of Chinese art and antiquities assembled by Paul Singer over time was
purchased by him on behalf of Arthur M. Sackler, The Arthur M. Sackler Foundation, the AMS
Foundation for the Arts, Sciences and Humanities, and later transferred to the children of Arthur
M. Sackler.
[2] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. In 2011
the object was accessioned to the Sackler Gallery collection.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/6/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
320 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pestle with handle in the form of a monkey
Late Shang dynasty, early Anyang period, ca. 1300-1200 B.C.E.
China, Henan province, Anyang
Marble
H x W x D (overall): 16 x 3.8 x 2.7 cm (6 5/16 x 1 1/2 x 1 1/16 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery S2012.9.241
Provenance:
From at least 1939 to 1954
C. T. Loo & Co., New York, from at least January 1939 [1]
From 1954 to 1997
Paul Singer (1904-1997), Summit, New Jersey, purchased from C. T. Loo & Co. on June 8, 1954
[2]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [3]
Notes:
[1] The pestle was lent by C. T. Loo to an exhibition at the Arden Gallery organized by Alfred
Salmony, see 3000 Years of Chinese Jade, exh. cat. (New York, Arden Gallery, January
10-February 11, 1939), cat. 69 (ill.). Loo also included the object in an exhibition in 1940, see An
Exhibition of Chinese Stone Sculptures, exh. cat. (New York, C. T. Loo & Co., 1940), cat. 2, pl. 1.
[2] See C. T. Loo’s stockcard no. J.D. 38/03: “Marble. Pestle terminated with a monkey standing
on his tail, arms broken, incised designs on the body. From An-yan. Shang dynasty. White
marble calcified with a smooth light brown or rough white surface. Column with knob at base
covered with deeply slated lines. On opposite end a monkey stand, large head with protruding
ear, wide nose, mouth, arms together in front of body, long tail coiled around column. The body
of monkey has overall engraved designs, a bottle-horned t’ao t’ieh on his shoulders, a cicada on
his stomach, spirals arms and legs and lozenges on the tail,” Frank Caro Archive, Institute of Fine
Arts, New York University, copy in object file. According to information included on the stockcard,
Paul Singer acquired the pestle in exchange for objects on June 8, 1954. The pestle was
included in an exhibition of Paul Singer’s collection at Staten Island Museum in 1962 and in its
accompanying catalogue, see Animal Forms in Chinese Art, exh. cat. (Staten Island Museum,
September 23-November 4, 1962), cat. 3. The collection of Chinese art and antiquities
assembled by Paul Singer over time was purchased by him on behalf of Arthur M. Sackler, Jillian
Sackler, The Arthur M. Sackler Foundation, the AMS Foundation for the Arts, Sciences and
Humanities and later was transferred to the children of Arthur M. Sackler.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/6/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
321 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
[2] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. The
formal accession of the Singer collection was completed in 2012.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/6/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
322 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a miniature hafted dagger-axe (ge)
Early Western Zhou dynasty, ca. 1050-900 B.C.E.
China, Henan province, Purportedly unearthed at Anyang
Jade (nephrite)
H x W x D (overall): 4.7 x 2.1 x 0.4 cm (1 7/8 x 13/16 x 3/16 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery S2012.9.279
Provenance:
From at least 1934 to 1952
David David-Weill (1871-1952), Paris, from at least 1934 [1]
From 1952 to 1971
Flora Raphaël David-Weill (1878-1971), by descent from her husband, David David-Weill in 1952
1972
Sale, Sotheby's, London, The D. David Weill Collection: Early Chinese Bronzes: Inlaid Metalwork,
Gilt Bronzes and Silver, Jades, Sculpture and Ceramics, February 29, 1972, lot 24 (ill.)
From 1972 to 1997
Paul Singer (1904-1997), Summit, New Jersey, purchased at Sotheby’s Sale on February 29,
1972 [2]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [3]
Notes:
[1] David David-Weill was a banker and financier, head of the international investment house
Lazard Frères et Cie. He was an important figure in the art world and formed a large collection of
eighteenth-century French paintings and sculpture and other works of art, including Asian art.
The jade pendant was published as part of the David-Weill collection in 1934, see Olov Janse,
“Le style du Houai et ses affinités, notes à propos de quelques objets de la collection Daid-Weill,”
Revue des arts asiatiques vol. 8, no. 3 (1934), pl. 53: 4, p. 174-175. In 1937 David-Weill lent the
jade to an exhibition organized by Georges Salles for Musée de L’Orangerie in Paris, see Arts de
la Chinese ancienne (Paris, Musée de L’Orangerie, 1937), cat. 86.
[2] Paul Singer acquired the jade pendant at the auction of David David-Weill collection through a
Sotheby’s Sales office representative, C. M. Payne. Singer described his participation in the sale
in his memoirs, see “Reminiscences of a Transient Custodian,” ms., Freer Gallery of Art and
Arthur M. Sackler Gallery Archives, p. 120-121. The collection of Chinese art and antiquities
assembled by Paul Singer over time was purchased by him on behalf of Arthur M. Sackler, Jillian
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/10/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
323 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Sackler, The Arthur M. Sackler Foundation, the AMS Foundation for the Arts, Sciences and
Humanities and later was transferred to the children of Arthur M. Sackler.
[3] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. The
formal accession of the Singer collection was completed in 2012.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/10/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
324 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a tiger
Late Shang dynasty, early Anyang period, ca. 1300-1050 B.C.E.
China, Henan province, Anyang
Fluorite
H x W x D: 2.5 x 1.9 x 6.6 cm (1 x 3/4 x 2 5/8 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery S2012.9.295
Provenance:
To 1952
David David-Weill (1871-1952), Paris [1]
From 1952 to 1971
Flora Raphaël David-Weill (1878-1971), by descent from her husband, David David-Weill in 1952
1972
Sale, Sotheby's, London, The D. David Weill Collection: Early Chinese Bronzes: Inlaid Metalwork,
Gilt Bronzes and Silver, Jades, Sculpture and Ceramics, February 29, 1972, lot 17 (ill.)
From 1972 to 1997
Paul Singer (1904-1997), Summit, New Jersey, purchased at Sotheby’s Sale on February 29,
1972 [2]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [3]
Notes:
[1] David David-Weill was a banker and financier, head of the international investment house
Lazard Frères et Cie. He was an important figure in the art world and formed a large collection of
eighteenth-century French paintings and sculpture and other works of art, including Asian art.
[2] Paul Singer acquired the jade pendant at the auction of the David David-Weill collection
through an agent named Baile. Singer described his participation in the sale in his memoirs, see
“Reminiscences of a Transient Custodian,” ms., Freer Gallery of Art and Arthur M. Sackler
Gallery Archives, p. 120-121. The collection of Chinese art and antiquities assembled by Paul
Singer over time was purchased by him on behalf of Arthur M. Sackler, Jillian Sackler, The Arthur
M. Sackler Foundation, the AMS Foundation for the Arts, Sciences and Humanities and later was
transferred to the children of Arthur M. Sackler.
[3] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/10/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
325 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. The
formal accession of the Singer collection was completed in 2012.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/10/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
326 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a turtle
Late Shang dynasty, early Anyang period, ca. 1300-1200 B.C.E.
China, Henan province, probably Anyang
Jade (nephrite)
H x W x D (overall): 3.3 x 2.1 x 0.6 cm (1 5/16 x 13/16 x 1/4 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery S2012.9.301
Provenance:
To at least 1940
Zhang Naiji (1899-1948), Shanghai [1]
From at least 1962 to 1997
Paul Singer (1904-1997), Summit, New Jersey, from at least 1962 [2]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [3]
Notes:
[1] Zhang Naiji lent the object to Archaic Chinese Jades: Special Exhibition (Philadelphia: The
University Museum, February 1940), cat. 78 (ill.) Zhang was a salt merchant born to a
prestigious family in Zhejiang. He collected ancient Chinese art objects and Chinese coins. C. T.
Loo exhibited bronzes from his New York gallery’s stock in the exhibition in 1940 and it is known
that at the time the dealer acquired a number of objects from Zhang Naiji’s collection, possibly
including this jade.
[2] The object was included in exhibitions of Paul Singer’s collection in the 1960s and 1970s, see
Animal Forms in Chinese Art (New York, Staten Island Museum, September 23 – November 4,
1962), cat. 12; Max Loehr, Relics of Ancient China (New York, The Asia Society, 1965), p. cat. 28
(ill.); Ruth Spelman, The Arts of China: A Retrospective (Greenvale, L.I., N.C.: W. Post Art
Gallery, Long Island University, February 4-March 27, 1977), cat. 19 (ill.). Paul Singer mentioned
in his memoirs, completed in 1993, that he acquired 17 jades that stemmed from Zhang Naiji’s
collection from J. T. Tai of New York, see Paul Singer, “Reminiscences of a Transient
Custodian,” ms., Paul Singer Papers, Freer Gallery of Art and Arthur M. Sackler Gallery Archives,
p. 83-84. The collection of Chinese art and antiquities assembled by Paul Singer over time was
purchased by him on behalf of Arthur M. Sackler, Jillian Sackler, The Arthur M. Sackler
Foundation, the AMS Foundation for the Arts, Sciences and Humanities and later was transferred
to the children of Arthur M. Sackler.
[3] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/10/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
327 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/10/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
328 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Ear cleaner (ershaw) with pierced handle in the form of a fish
Late Shang dynasty, early Anyang period, ca. 1300-1050 B.C.E.
China, Henan province, probably Anyang
Jade (nephrite)
H x Diam (overall): 6.6 x 0.7 cm (2 5/8 x 1/4 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery S2012.9.302
Provenance:
From at least 1935 to probably late 1930s
Zhang Naiji (1899-1948), Shanghai, from at least 1935 [1]
From at least 1960 to 1997
Paul Singer (1904-1997), Summit, New Jersey, from at least 1960 [2]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [3]
Notes:
[1] Zhang Naiji lent the object to the International Exhibition of Chinese Art in London in 1935,
see Catalogue of the International Exhibition of Chinese Art (London, Royal Academy of Arts,
November 28, 1935 - March 7, 1936), cat. 346 (ill.). Zhang was a salt merchant born to a
prestigious family in Zhejiang. He collected ancient Chinese art objects and Chinese coins. It is
known that Zhang Naiji sold most of his jades to the dealer C. T. Loo in the late 1930s.
[2] See Zheng Dekun, Archeology in China (Cambridge: W. Heffer, 1960), vol. 2, pl. 18e. Paul
Singer mentioned Zhang Naiji’s famed collection of jades and its dispersion in his memoirs
completed in February 1993, see Paul Singer, “Reminiscences of a Transient Custodian,” ms.,
Paul Singer Papers, Freer Gallery of Art and Arthur M. Sackler Gallery Archives, p. 83-84. Singer
acquired jades stemming from Zhang’s collection from C. T. Loo & Co. as well as from J. T .Tai in
New York. The collection of Chinese art and antiquities assembled by Paul Singer over time was
purchased by him on behalf of Arthur M. Sackler, Jillian Sackler, The Arthur M. Sackler
Foundation, the AMS Foundation for the Arts, Sciences and Humanities and later was transferred
to the children of Arthur M. Sackler.
[3] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. The
formal accession of the Singer collection was completed in 2012.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/10/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
329 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a reptile
Late Shang dynasty, early Anyang period, ca. 1300-1200 B.C.E.
China, Henan province, Probably Anyang
Jade
H x W x D: 12.3 x 3.7 x 0.5 cm (4 13/16 x 1 7/16 x 3/16 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery S2012.9.317
Provenance:
From at least 1962 to 1997
Paul Singer (1904-1997), Summit, New Jersey, from at least 1962 [1]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [2]
Notes:
[1] The object was included in an exhibition of Paul Singer’s collection in 1962, see Animal Forms
in Chinese Art (New York, Staten Island Museum, September 23 – November 4, 1962), cat. 7
(ill.). The collection of Chinese art and antiquities assembled by Paul Singer over time was
purchased by him on behalf of Arthur M. Sackler, Jillian Sackler, The Arthur M. Sackler
Foundation, the AMS Foundation for the Arts, Sciences and Humanities and later was transferred
to the children of Arthur M. Sackler.
[2] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. The
formal accession of the Singer collection was completed in 2012.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/10/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
330 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Pendant in the form of a bovine head
Late Shang dynasty, early Anyang period, ca. 1300-1200 B.C.E.
China, Henan province, Probably Anyang
Jade
H x W x D (overall): 3.2 x 2.4 x 1.8 cm (1 1/4 x 15/16 x 11/16 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery S2012.9.328
Provenance:
From at least 1935 to probably late 1930s
Zhang Naiji (1899-1948), Shanghai, from at least 1935 [1]
From probably late 1930s to 1958
C. T. Loo & Co., New York, purchased from Zhang Naiji, probably in the late 1930s [2]
From 1958 to 1997
Paul Singer (1904-1997), Summit, New Jersey, purchased from C. T. Loo & Co. on August 26,
1958 [3]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [4]
Notes:
[1] Zhang Naiji lent the object to the International Exhibition of Chinese Art in London in 1935,
see Catalogue of the International Exhibition of Chinese Art (London, Royal Academy of Arts,
November 28, 1935 - March 7, 1936), cat. 281 (ill.). Zhang was a salt merchant born to a
prestigious family in Zhejiang. He collected ancient Chinese art objects and Chinese coins.
[2] See C. T. Loo & Co., An Exhibition of Chinese Archaic Jades (West Palm Beach, Florida,
Norton Gallery of Art, January 20-March 1, 1950), pl. 17, no. 2. It is known that C. T. Loo
acquired a number of objects from Zhang Naiji’s collection after the latter had left China in 1938.
The pendant probably can be identified with a jade recorded on C.T. Loo’s stockcard no. J-29:
“Archaic jade bead? in form of buffalo head,” Frank Caro Archive, Institute of Fine Arts, New York
University, copy in object file.
[3] See C. T. Loo’s stockard no. J-29, cited in note 2. The jade was included in a catalogue of the
Singer collection published on occasion of the exhibition curated by Max Loehr in 1965 and in a
catalogue of the exhibition at the China House Gallery in 1968, see M. Loehr, Relics of Ancient
China (New York 1965), cat. 31; Chinese Jade Through the Centuries From Private and Museum
Collections (New York: China House Gallery, China Institute in America, October 24,
1968-January 26, 1969), cat. 9 (ill.). The collection of Chinese art and antiquities assembled by
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/10/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
331 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Paul Singer over time was purchased by him on behalf of Arthur M. Sackler, Jillian Sackler, The
Arthur M. Sackler Foundation, the AMS Foundation for the Arts, Sciences and Humanities and
later was transferred to the children of Arthur M. Sackler.
[4] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. The
formal accession of the Singer collection was completed in 2012.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/10/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
332 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Knife (kedao) with pierced handle in the form of a fish
Late Shang dynasty, early Anyang period, ca. 1300-1200 B.C.E.
China, Henan province, probably Anyang
Jade (nephrite)
H x W x D: 8.6 x 0.9 x 1.2 cm (3 3/8 x 3/8 x 1/2 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery S2012.9.343
Provenance:
From at least 1962 to 1997
Paul Singer (1904-1997), Summit, New Jersey, from at least 1962 [1]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [2]
Notes:
[1] Paul Singer included the jade in an exhibition of his collection in 1962, see Animal Forms in
Chinese Art, exh. cat. (New York, Stated Island Museum, September 23 - November 4, 1962),
cat. 13. The collection of Chinese art and antiquities assembled by Paul Singer over time was
purchased by him on behalf of Arthur M. Sackler, The Arthur M. Sackler Foundation, the AMS
Foundation for the Arts, Sciences and Humanities, and later transferred to the children of Arthur
M. Sackler.
[2] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. The
formal accession of the Singer collection was completed in 2012.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/10/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013
333 of 333
Smithsonian
Freer Gallery of Art and Arthur M. Sackler Gallery
Circular pendant (jue) in the form of a coiled dragon; reverse plain
Late Shang dynasty, early Anyang period, ca. 1300-1200 B.C.E.
China, Henan province, probably Anyang
Jade (nephrite)
H x Diam (overall): 0.7 x 4.9 cm (1/4 x 1 15/16 in)
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler
Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler
Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and
Humanities, and the Children of Arthur M. Sackler
Arthur M. Sackler Gallery S2012.9.353
Provenance:
From at least 1965 to 1997
Paul Singer (1904-1997), Summit, New Jersey, from at least 1965 [1]
From 1997
Arthur M. Sackler Gallery of Art, bequeathed by Paul Singer [2]
Notes:
[1] The object was included in an exhibition of Paul Singer’s collection and its accompanying
catalogue compiled by Max Loehr, Relics of Ancient China (New York 1965), cat. 34. The
collection of Chinese art and antiquities assembled by Paul Singer over time was purchased by
him on behalf of Arthur M. Sackler, The Arthur M. Sackler Foundation, the AMS Foundation for
the Arts, Sciences and Humanities, and later transferred to the children of Arthur M. Sackler.
[2] Upon Paul Singer’s death in January 1997, his collection was transferred to the Arthur M.
Sackler Gallery by order of the Executors of the Estate under a loan agreement signed on
February 1997. Shortly thereafter, the Sackler Gallery was vested with full ownership and title to
the collection in full agreement by the Sackler Foundations and Sackler family members. The
formal accession of the Singer collection was completed in 2012.
The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending
any such revisions and updates, information on this site may be incomplete or inaccurate or contain typographical errors. Neither the Smithsonian nor its
officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of this site or information on the site.
The use of this site and the information provided on it are subject to your own judgment. The Freer Gallery of Art and Arthur M. Sackler Gallery welcome
information that would augment or clarify the ownership history of objects in their collections.
(Record last updated 9/6/2013)
Provenance in the World War II Era, 1933-1945, Smithsonian Institution
9/10/2013