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01_02 was reproduced with different colophons in the successive editions of issue 1. Di Baoxian inherited it from his father, who resigned from his position as a magistrate rather than donating this painting1. It is now in the Shanghai Museum.
02_01 was in the collection of Duanfang (1861-1911), a senior Qing government official who was also an important collector and connoisseur. The Detroit millionaire Charles Lang Freer (1854-1919) purchased the painting in 1914 from Dr John Calvin Ferguson (1866-1945), a former missionary who was then living in Beiping (now Beijing)3. Freer donated it to the Freer Gallery in 1920. It is now in the Smithsonian Freer Gallery of Art and Arthur M. Sackler Gallery
(see http://archive.asia.si.edu/collections/edan/object.php?q=fsg_F1914.147a).
05_01 and 05_02 are two paintings from a series entitled Twelve Views of Landscape by Xia Gui, of which four are presently in the Nelson-Atkins Museum of Art (Kansas City, USA). A discussion (in Chinese) and better reproductions are available at
http://www.yikeshuyuan.com/yikeguohua/2016/0321/1036.html.
20_01 was formerly owned by Pan Laichen (1864-1949), a wealthy merchant from Shanghai. It was bought in 1915 by Eugene Isaac Meyer, publisher of the Washington Post, and donated by his wife to the Smithsonian Freer Gallery of Art and Arthur M. Sackler Gallery in 1967 (see http://archive.asia.si.edu/collections/edan/object.php?q=fsg_F1968.18).
20_02 was formerly owned by Pan Laichen. It was bought in 1915 by Charles Lang Freer, and donated to the Freer Gallery of Art in 1920. It is now in the Smithsonian Freer Gallery of Art and Arthur M. Sackler Gallery (see http://archive.asia.si.edu/collections/edan/object.php?q=fsg_F1915.17).
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The silk embroderies 15_12, dated 1641 and the accompanying colophon by Dong Qichang, dated 1636, belonged to Duanfang, and are now in the Shanghai Museum.
The painting 19_04 was presented at an exhibition at the Yu (豫园) Garden in Shanghai. It sold for a high price to a Japanese collector, who then took it back to Japan and resold it for ten times the original purchase price4.
01_02 is in the Shanghai Museum.
01_04 is in the Smithsonian Freer Gallery of Art and Arthur M. Sackler Gallery
01_12 sold for 212,500 HKD (=23400 euros) in Hong-Kong in December 2008.
01_13 sold for 212,500 HKD (=23400 euros) in Hong-Kong in December 2008.
01_14 sold for 212,500 HKD (=23400 euros) in Hong-Kong in December 2008.
02_01 is in the Smithsonian Freer Gallery of Art and Arthur M. Sackler Gallery
02_13 sold for 212,500 HKD (=23400 euros) in Hong-Kong in December 2008.
02_14 sold for 212,500 HKD (=23400 euros) in Hong-Kong in December 2008.
03_01 is in the collection of the Department of History of Nanjing University. Another copy at the Met (accession number 47.18.49)
03_08 went unsold at an auction in 2014 (estimated at 40,000-50,000 RMB).
03_12 sold for 212,500 HKD (=23400 euros) in Hong-Kong in December 2008.
04_08 sold for 212,500 HKD (=23400 euros) in Hong-Kong in December 2008.
05_01 is in the Nelson-Atkins Museum of Art (Kansas City, USA).
05_02 is in the Nelson-Atkins Museum of Art (Kansas City, USA).
05_06 is in the Shanghai Museum.
05_07 is in the Shanghai Museum.
06_03 sold for 10,350,000 RMB (=1,345,500 euros) on 2015-11-16.
06_06 sold for 212,500 HKD (=23400 euros) in Hong-Kong in December 2008.
07_03 is in the Shanghai Museum.
07_04 sold for 212,500 HKD (=23400 euros) in Hong-Kong in December 2008.
08_01 sold for 212,500 HKD (=23400 euros) in Hong-Kong in December 2008.
12 20 At the time, fans 1 and 2 were the property of Yuan Juesheng, fan 3 that of Tao Zhai.
15_12 is in the Shanghai Museum.
15_13 is in the Shanghai Museum.
19_04 is presumably in Japan.
19_05 is in a private collection (Taipei).
19_16 was owned by Zhao Weiqing (趙渭卿) in 1909.
20_01 is in the Smithsonian Freer Gallery of Art and Arthur M. Sackler Gallery
20_02 is in the Smithsonian Freer Gallery of Art and Arthur M. Sackler Gallery
21_01 went unsold with three other paintings at Sotheby's Hong-Kong in 2015 (the 4 estimated at 6-8 million HKD)
Bibliography
1. Richard Vinograd, Art Publishing, Cultural Politics, and Canon Construction in the Career of Di Baoxian, in Joshua A. Fogel (ed.), The role of Japan in modern Chinese art, escholarship, 2013, p.250.
(http://escholarship.org/uc/item/0w56p2zj)↩
2. Cheng-hua Wang, New printing technology and heritage preservation; collotype reproduction of antiquities in modern China, circa 1908-1917, in Joshua A. Fogel (ed.), The role of Japan in modern Chinese art, escholarship, 2013, pp. 298.
(http://escholarship.org/uc/item/0w56p2zj)↩
3. Claire Roberts, The Dark Side of the Mountain: Huang Binhong (1865-1955) and artistic continuity in twentieth century China, PhD dissertation, the Australian National University, 2005, pp.95-96↩
4. Richard Vinograd, Art Publishing, Cultural Politics, and Canon Construction in the Career of Di Baoxian, in Joshua A. Fogel (ed.), The role of Japan in modern Chinese art, escholarship, 2013, p.264.
(http://escholarship.org/uc/item/0w56p2zj)↩
5. I-Fen Huang, Gender, Technical Innovation and Gu family embroidery in late-Ming Shanghai, EASTM, 36, 77-129, 2012
(http://www.eastm.org/index.php/journal/article/view/605)↩
