Fishing in the Chill of Autumn (Ch'iu-shuang yu-p'u)
Ming and Qing, Wildenstein Galleries, New York, 1949. No.7.
Chinese Landscapes, The Cleveland Museum of Art, 1954. No. 52.
Chinese Art, Smith College Museum of Art, Northampton, 1962. No. 6.
Chinese Art Under the Mongols, Yale University Art Gallery, 1968-1969. Traveled to Albright-Knox Gallery, Buffalo, NY; Cleveland Museum of Art, October 1-November 24, 1968; Asia House Gallery, New York.no. 221.
Yuan Dynasty Painting, The Taft Museum, Cincinnati, OH. September 21-October 31, 1976.
Painters of the Great Ming: The Imperial Court and Zhe School, Dallas Museum of Art, The Metropolitan Museum of Art, March 10-May 9, 1993; Dallas Museum of Art, June 3-August 1, 1993.
Yamamoto Teijirō (1870-1937), by 1937 [1];
With Michelangelo Piacentini (d. 2005), Tokyo, by February 1946 [2];
Purchased from Piacentini by The Nelson-Atkins Museum of Art, Kansas City, MO, 1946 [3].
NOTES:
[1] Yamamoto Teijirō was a Japanese politician, businessman and collector, whose remaining collection later made up the core of the Chokaido Museum in Japan. See Accession documentation, Nelson-Atkins curatorial files.
[2] Piacentini was an Italian art historian based in Tokyo after the Second World War. He studied Italian Renaissance art, while collecting and dealing in Asian objects.
[3] Acquisition documents in the Nelson-Atkins files record that Curator of Asian Art Laurence Sickman purchased this object when he was stationed in Tokyo while serving with the U.S. Army’s Monuments, Fine Arts and Archives section after World War II. See "Objects Acquired for the Museum by Laurence Sickman," Nelson-Atkins Archives, RG80-15 William Rockhill Nelson Trust Records, series 9, box 11, folder Laurence Sickman.
Shih-t’ien hsien-sheng shih-wen chi (preface dated 1644, T’ung-wen reprint, Shanghai, 1915), ch.6., 11b.
Geien shinsho, vol. XII (Tokyo, 1915-1918).
Omura Seigai, Bunjin gasen, vol.II, (Tōkyō : Enseisha, 1921-1922), pl. 9.
Teijiro Yamamoto, Chokaido shoga mokuroku, vol. II (Tōkyō : Bunkyūdō Shoten 1932),99.
Siren, “The Solitary Angler on the Wintry River” ( London: The Medici Society, 1938), 77.
Donomae Tanemastu, “Ri Ei-kyu shu-suo gyo-ho zu,” Garon vol. XIII (September, 1942), 21-26.
Jean-Pierre Dubosc, Great Chinese Painters of the Ming and Ch’ing dynasties, Wildenstein Galleries (New York, 1949), 15, no. 7.
Sherman Lee, Chinese Landscapes, The Cleveland Museum of Art (1954), No. 52.
Osvald Siren, Chinese Painting: Leading Masters and Principles (New York : Ronald Press, 1956-1958), vol. IV, 154; vol. VI, pl. 174.
Richard Edwards, Field of Stones (Washington: Smithsonian Institution, 1962), no. XX, pls. 23A, 25A.
Michael Sullivan, Arts of China (1973), 195, fig. 172.
Michael Sullivan, Symbols of Eternity: the art of landscape painting in China (Stanford, California: Stanford University Press, 1979), 120, fig. 71.
Wai-Kam Ho, et al., Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and The Cleveland Museum of Art. (The Cleveland Museum of Art in cooperation with Indiana University Press, c1980), 102-103, no. 103.
