Model of a Multi-Storied Tower
- 231
With Liu Li Ch'ang, Peiping (modern-day Beijing), China, by August 28, 1932 [1];
Purchased from Liu Li Ch'ang, through Dr. Otto Burchard and Laurence Sickman, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1933.
NOTES:
[1] According to a typed note with details about the object, probably written by Laurence Sickman and dated August 28, 1932, Harvard University Pusey Library, Langdon Warner Personal Archive, HUG4872.1010, box 12, folder 20, copy in Nelson-Atkins curatorial file.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Handbook of the William Rockhill Nelson Gallery of Art (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1933), 100,(repro.).
University Prints series O 138, Art News 32(December 9, 1933):55, (repro.).
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1941), 106, fig.5, (repro.).
Osvald Siren, Kinas Konst Under Tre Artusenden, I, (Stockholm: Natur och kultur, 1942-43): pl. 179, (repro.).
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 3rd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1949), 135,(repro.).
Luther C. Goodrich, Short History of the Chinese People (New York: Harper, 1951): Pl. XI, (repro.).
Judith Hart Burling, Chinese Art, (New York: Studio publications in association with Crowell, 1953): plate 285, (repro.).
Tosetu, Japan Ceramic Society (Tokyo, April, 1956): 91, Pl.1, (repro.).
Erdberg Consten, Das Alte China (Stuttgart: G. Kilpper, 1958), pl. 91, (repro.).
Everard M. Upjohn, Paul S.Wingert, Jane Gaston Mahler, History of World Art (New York: Oxford University Press, 1958), fig. 545, (repro.).
Michael Sullivan, “On the Origin of Chinese Landscape Representation” Archives of the Chinese Art Society of America, VII (1953): fig. 3, (repro.).
Horst W. Janson, Key Monuments of the History of Art: a visual survey (Englewood, New Jersey: Prentice- Hall, 1959), 302A, (repro.).
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959),206, (repro.).
Michael Sullivan, An introduction to Chinese art (Berkeley: Los Angeles: University of California Press, 1961, 1960), 158, fig. 60, pl. 47, (repro.).
Werner Speiser, The art of China: spirit and society (New York: Crown, 1961, 1960), 83, (repro.).
Capolavori nei Secoli, no. 26(Milano: Fratelli Fabbri, 1961-64, May 19, 1962):31, (repro.).
Michael Sullivan, Birth of Landscape Painting in China (Berkeley: University of California Press, 1962), pl. 17, 18, 19, (repro.).
Everand M. Upjohn and John P. Sedgwick, Highlight, an illustrated history of art (New York: Holt, Reinhardt and Winston, 1963), 309, pl. I, (repro.).
Marion Downer, Story of Design (New York: Lothrop, Lee and Shepard, 1963), ill.61, (repro.).
Sherman Lee, History of Far Eastern Art (New York, 1964), 58, fig. 55, (repro.).
William Watson, Early Civilization in China (London, 1966),:131, fig. 133.
Enciclopedia del Sapere, 29; 312/029 (Milano, 1968):1022, no. 36.
Ross E. Taggart, George L. McKenna, and Marc F. Wilson, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. II, Art of the Orient. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 77, (repro.).
Bamber Gascoigne, The Treasures & Dynasties of China (London: Cape, 1973),79.
Micheal D. Olien, The Human Myth, an Introduction to Anthropology, (New York: Harper and Row, 1978),486.
Janet Gaylord Moore, The Eastern Gate (Cleveland: Collins, 1979), 72.
William Watson, L’Art de l’ Ancienne Chine, no. 570 (Paris, Editions Art Lucien Mazenod, 1979):459.
Danielle Elisseeff, LaCivilization de’la Chine Classique, vol. 16, (Paris: Arthaud, 1979), pl. 141.
Wan-go Weng & Bradley Smith., China: A History in Art (New York: Doubleday, 1979),72.
Sven Samuelson, Fortid Till Medeltid, (Stockholm: Bokförlaget Natur och Kultur, 1982),23.
Jea Lévi, La Documentation Française: la Documentation Photographique, La Chinese Ancienne dossier II, no. 6035 (Paris: 1978): pl. II, 2, 32.
Michel Beurdeley, Chinese Furniture (Tokyo, 1979),14.
Hai-wai Yi zhen, Chinese Art in overseas Collections, Pottery and Porcelain (Taipei: National Palace Museum, 1986), pl. 24.
Gloria K. Fiero, The Humanistic Tradition. (Dubuque, IA.: Wm, C. Brown Communication, Inc., 1992), 139-40, fig. 7.27.
Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 286, (repro.).
Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 306, fig.76, (repro.).
Colin Mackenzie, with contributions by Ling-En Lu, Masterworks of Chinese art: the Nelson-Atkins Museum of Art (Kansas City, Mo.: Nelson-Atkins Museum of Art, 2011), 32, (repro.).
