Life Cycle of the Lotus
Golden Gate International Exposition, San Francisco, February 18-December 2, 1939.
Allen Memorial Art Museum, Oberlin (OH) College. March-April 1954.
Art in Asia and the West, San Francisco Museum of Art. October-December 1957.
A World of Flowers, Philadelphia Museum of Art. May 2-June 9, 1963.
Treasures of Chinese Art, J. B. Speed Art Museum, Louisville, Kentucky, January 18-February 21, 1965.
Eight Dynasties of Chinese Painting, Nelson-Gallery-Atkins Museum, Kansas City, November 7, 1980 – January 4, 1981; The Cleveland Museum of Art, February 7 – April 5, 1981; The Asia Society, December 3, 1981 – February 28, 1982; Tokyo National Museum, October 4 – November 17, 1982. no. 177.
Literati Vision: Late Wu School Painting and Calligraphy, Memphis [TN] Brooks Museum of Art. September 15-October 28, 1984; Kimbell Art Museum, Ft. Worth, TX, December 2, 1984-January 27, 1985.
Senses and Sensibilities in Chinese Painting, The Nelson-Atkins Museum of Art, Kansas City Missouri, December 14,2008- February 15, 2009.
Qing dynasty imperial collection, Peking (modern-day Beijing), China;
Pu Yi, the last emperor Xuantong (1906-1967), Peking, by 1912-1931 [1];
Purchased from Pu Yi, through the dealer Celestin Liu, Laurence Sickman (1906-1988) and Langdon Warner (1881-1955), by The Nelson-Atkins Museum of Art, Kansas City, MO, 1931.
NOTES:
[1] Letter from Laurence Sickman, Curator of Asian Art, to Langdon Warner, Fogg Art Museum, November 11, 1935, Harvard University, Pusey Library, Langdon Warner Personal Archive, box 12, folder 18, copy in Nelson-Atkins curatorial files. See also "Laurence Sickman in his own words: The Last Emperor P'u-yi," in Michael Churchman, ed., Laurence Sickman: A Tribute (Kansas City, MO: The Nelson-Atkins Museum of Art, 1988), 29.
Laurence Sickman, and Alexander Soper, The Art and Architecture of China, The Pelican History of Art, ed. Nikolaus Pevsner, (Baltimore: Penguin Books, 1956), 179, pl. 137a.
Laurence Sickman, and Alexander Soper, The Art and Architecture of China, The Pelican History of Art, ed. Nikolaus Pevsner, (Baltimore: Penguin Books, 1971), 325.
René Grousset, Chinese Art and Culture (New York: Orion Press, 1959), 55.
Sherman E. Lee, A history of Far Eastern Art (New York: H. N. Abrams, 1964,), 439, color pl. 46, (p. 430).
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), 65.
Julia K. Murray, “An Album of Paintings by Yun Shou-p’ing, the Recluse of Nan-t’ien,” Record of the Art Museum, Princeton University, vol. XXXVII, no. 1 ( 1978), 18-19, fig. 5.
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), 223-5, no. 177.
Alice R.M. Hyland, Literati Vision: Late Wu School Painting and Calligraphy, (Memphis, Tennessee: Brooks Museum of Art, 1984).
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), 325.
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), 361, fig. 238.
