Chen Rentao (1906-1968) Hong Kong, and Frank Caro, C. T. Loo & Co., New York, to 1960 
From 1960 to 1979
U.S. Customs Service, Department of the Treasury 
Freer Gallery of Art, from October 23, 1979 
 This object is one of a group of 88 objects (F80.104-F80.180, FSC-S-22-25 and FSC-O-11a-h) seized in 1960 by the U.S. Customs Service, Department of the Treasury, from the dealer and collector Chen Rentao, Hong Kong and Frank Caro of C. T. Loo & Co., New York. The objects were deemed to have been introduced into the commerce of the United States in violation of 19 U.S.C. 1592 (Trade with Communist China).
 See note 1. The object’s ownership title is based on the settlement agreement, dated November 1971, between the United States, Chen Tung Siang Wen, the executrix for Chen Rentao Estate, and Frank Caro, copy in object file. See U.S. Customs Service Memorandum, April 23, 1979 and a letter from Thadeus Rojek, Chief Counsel, Department of the Treasury, U.S. Custom Service, to Marie C. Malaro, Assistant General Counsel, Smithsonian Institution, dated November 29, 1979, copy in object file. The objects remained in the custody of the U.S. Customs Service office in New York until 1979.
 The object was transferred to the Freer Gallery of Art on October 23, 1979.
- Previous Owner(s) and Custodian(s)
U.S. Customs Service
Frank Caro 1904-1980
Chen Rentao 1906-1968
Li Shan, one of the "Eight Eccentrics of Yangzhou," was a native of Hsiang-hua in Kiangsu Province. He studied bird and flower paintings with Kao Ch'i-p'ei (1672-1734) and the famous court painter Chiang T'ing-hsi (1669-1732). Li Shan served as a court painter for several years, and then left because of his strong personality. He lived in Yanchow as a professional painter. Together with a group of other painters who shared an untrammeled and strong individual style, Li Shan is among the "Eight Eccentrics of Yangzhou" This album in which this leaf is included depicts various flowers, fruits, vegetables, and insects in a free-hand watercolor method. Each leaf is described with a quatrain or an inscription around the subject. The album is not dated. Stylistically, both the calligraphy and the painting are neat and restrained when compared to Li Shan's late works, and so the album can be assigned to the artist's middle period.
- Collection Area(s)
- Chinese Art
- Web Resources
- Google Cultural Institute
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