Wu Laixi 吳賴熙 (d. ca.1949-1950) reportedly acquired from decedents of noble Chinese families 
ca.1949 to 1959
Wu Ping-Chung (dates unknown and Chinese characters for the name unknown) inherited ownership upon Wu Laixi's death around 1949 
1959 to 1985
Richard G. Pritzlaff (1902-1997) by transfer of ownership from Wu Ping-Chung on June 15, 1959 
1985 to 1987
H. Ross Perot (1930-2019) purchased from Richard G. Pritzlaff in 1985 
1987 to 1991
Richard G. Pritzlaff purchased from H. Ross Perot in 1987 
The Arthur M. Sackler Gallery acquired through partial gift and partial purchase from Richard G. Pritzlaff in 1991 
 Wu Laixi 吳賴熙 (alternate romanization: Wu Lai-hsi) was an antiquities dealer who often sold high-quality, imperial goods sourced from Chinese nobles, among other sources. Active in the 1930s and 1940s, Wu Laixi purchased portraits in China, reportedly for his personal collection and for resale; he took great pride in his collection, labeling himself as the first collector of Chinese ancestor portraits.
In 1937, Wu sold portraits to the American, Richard G. Pritzlaff, who was visiting China. Pritzlaff and Wu remained in touch. In the 1940s, Wu worried about his financial security and the fate of his collection in China, where war with Japan and domestic turmoil threatened the security of private art collections. Wu wrote to Pritzlaff, asking if he could send portraits in exchange for money to survive. Between 1940 and 1948, Wu sent three shipments of portraits and other art objects to Pritzlaff's ranch in New Mexico. Wu intended for Pritzlaff to sell the majority of the art objects he sent, however, Pritzlaff did not want to disperse the collection, so he sent as much money as he could to Wu and retained the art. Pritzlaff reported that he "thought of himself as the owner of some paintings but wanted to be only a temporary custodian of others" and intended for Wu to one day collect the entire collection. It remains unclear which portraits Pritzlaff believed he owned. See letters from Wu Laixi to Pritzlaff, September 4, 1940; June 27, 1941; June 17, 1947; and August 6, 1948, copies in accession file.
 See note 1. Upon Wu's death, Pritzlaff contacted Wu's son, Wu Ping-Chung who lived in Taiwan; he declined to claim the collection but retained ownership rights until he transferred them to Pritzlaff in 1959. See the letter from Wu Ping-Chung addressed "To Whom it May Concern," June 15, 1959, witnessed by Major Thurman W. Oliver of the United States Army, copy in accession file. In the letter Wu declares, "I .... Hereby transfer, for remunerations received, my interest and rights inherited from my father, Mr. Wu Lai-hsi, deceased, in his collection of paintings, to Mr. Richard Pritzlaff of Sapello, New Mexico, U.S.A."
 See note 2. Richard G. Pritzlaff was a collector of Chinese art and a rancher who initially raised cattle but then became a well-known breeder of Arabian horses. When studying landscape architecture at University of California at Berkeley and then at Harvard, he developed an interest in China. He traveled there in 1937 and began collecting Chinese objects. For Pritzlaff's account of how he acquired his collection, see letter addressed "Dear Sir" from Pritzlaff, October12, 1988, copy in accession file.
 H. Ross Perot was an American business magnate, billionaire, philanthropist and politician. He ran for president in 1992 and 1996, establishing the Reform Party. In 1985, Perot visited Pritzlaff's ranch to inspect his Arabian horses. After the visit, Perot unexpectedly approached Pritzlaff, proposing to purchase the collection of Chinese ancestor portraits and construct a museum in Texas to house them. In 1987, when it became clear that Perot had decided not to construct the museum, Pritzlaff bought back the collection. For specifics of this transaction, see letter from H. Ross Perot's daughter, Nancy P. Mulford to James Cahill, December 26, 1986 and September 11, 1987, copies in accession file. James Cahill (1926-2014), curator at Freer Gallery of Art from 1958--1965 and then faculty at University of California at Berkley, evaluated the collection when owned by Perot. For an account of Cahill's experiences, see http://jamescahill.info/the-writings-of-james-cahill/responses-a-reminiscences/167-45-my-day-with-ross-perotw.
 See note 4.
 For the deed of gift and purchase arrangement, see accession file.
- Previous Owner(s) and Custodian(s)
Wu Laixi died ca. 1950
Richard G. Pritzlaff 1902 - 1997
H. Ross Perot 1930 - 2019
A powerful official, Oboi served for eight years early in the Kangxi reign (1662-1722) as a regent for the child emperor. His domineering actions provoked opposition at court, leading to his arrest in 1669 and his death in prison shortly thereafter. In 1713, the same emperor who had purged Oboi posthumously rehabilitated him to commemorate his battlefield exploits during the Manchu conquest of China that led to the founding of the Qing dynasty (1644-1911).
This portrait incorporates all the conventions linked with ancestor portraits, yet it still conveys Oboi's fierce personality. (Most ancestor portraits depict the sitter with a placid, otherworldly demeanor.) The photorealism of the face suggests that this portrait was painted in the late nineteenth century, but exactly why his descendants commissioned the image at that late date is unclear.
- Published References
- Hans Konig, Michael Franses. Glanz Der Himmelssohne Kaiserliche Teppiche Aus China 1400-1750: Exhibition in Köln, Museum fur Ostasiatische Kunst, October 15, 2005 - January 15, 2006. Exh. cat. Koln. .
- China: The Three Emperors, 1662-1795. Exh. cat. London. fig. 5.
- Jan Stuart. Calling Back the Ancestor's Shadow: Chinese Ritual and Commemorative Portraits. vol. XLIII no. 3. p. 10, fig. 5.
- The Secret of the Joseon Portraits. Exh. cat. Korea. cat. 9, p. 21.
- Scientific Studies of Pigments in Chinese Paintings. Washington, DC. p. 45, fig. 3.4.
- Jan Stuart, Evelyn S. Rawski. Worshiping the Ancestors: Chinese Commemorative Portraits. Exh. cat. Washington and Stanford. p. 98, fig. 4.3.
- Jean M. Borgatti. Constructed Identities: Portraiture in World Art. Amsterdam, 2008. p. 312.
- Collection Area(s)
- Chinese Art
- Web Resources
- Google Cultural Institute
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