) -- - PRECliOU§ CARGOg THE LEGACY OF GERTRUDE BA§§ WARNER

Essays by Lawrence Fong and Kathleen L. Metzger Edited by David A. Robertson

1997 University of Oregon Museum of Art Catalogue in conjunction with the exhibition Precious Cargo: The Legacy of Gertrude Bass Warner June 14-September 28, 1997

This exhibition was made possible through the generosity of Lee World Travel, and the Ballinger Family in memory of Court Ballinger.

Cover: Gertrude Bass Warner, Colonel Murray Warner and Guide on their houseboat Illinois.

Inside Cover: The New Map of Shanghai City, 1909.

Copyright 1997 University of Oregon

ISBN: 0--87114--263--5 ]~TROD'uCT IO:'\'

Gertrude Bass Warner's premise was a simple by UOMA Associate Director Lawrence Fong, II one. Arr is nor only a transcendental and universal places Warner's acquisitive nature in the broader language, bur also the deepest, broadest, and best context of collecting and connoisseurship during of all cultural expressions. With char in mind, her rime. Combined, these rwo essays offer this she postulated char ir is possible to come to an museum's reflections upon this remarkable person, appreciative understanding of a distant, foreign her achievements, and her legacy co Oregon and the culture through arr. She concluded that chis entire Pacific Rim. heightened sensiriviry could very well result in a It would be difficult co underestimate the impact feeling of kinship, "amity and mutual helpfulness" of Gertrude Bass Warner upon the mission of the around the globe. University of Oregon Museum of Arr, or for chat If Warner's premise is simple, her expression of matter, upon the university, state, and region. Her it is nothing shore of visionary- to build a museum approach co studying Asian arr and culture helped of Asian art on the Pacific Coast of the United Scates give birth to rhe university's renowned Asian where the core activity would be to promote peace Studies Program. On another level, the Museum through knowledge. Ir is chis founding sixty-five has continuously stood as a reminder co the years ago of the University of Oregon Museum University of Oregon's many Asian and Asian­ of Arr, char we celebrate in chis publication and American students of chis institution's deep and through its related exhibition and public events. abiding respect for the cultures of Asia, profoundly "Precious Cargo: The Legacy of Gertrude during those rimes of war and political divisiveness Bass Warner" is a celebration of the life of a chat have taken place throughout this century. remarkable individual and an opportunity to In addition, the Museum's Asian arr collections renew our commitment to the University of have served as backdrop to a series of changing Oregon Museum of Arc's historical role of gazing exhibitions- most recently "New Arr in China" across the Pacific Ocean, and by doing chat, and "The Fragrance of Ink: Korean Literati Painting opening a vase and multi-paned window upon from the Chason Dynasty." These exhibitions our ever-closer neighbors in Asia. have brought a better understanding co the region, In the essays and illustrations char follow, you not only of our cultural and social, bur also of our will be given a glimpse of rwo central aspects of growing political and economic relations with Asia. Gertrude Bass Warner's remarkable life. "The Gertrude Bass Warner's broad vision is ours; it Traveler," written by University of Oregon graduate has defined and sustained chis institution for over student Kathleen L. Metzger, explores a defining six decades and continues co serve as a guiding light factor in Gertrude Warner's life- her extended as we enter the next century. journeys around the globe. Engaging a bright student in chis manner is very much in keeping David A. Robertson with Gertrude Bass Warner's vision of the use of the Director collection she left to us. "The Collector," written

ACKKO'WLEDGME::\'T§

The story of Gertrude Bass Warner has been told designed the evocative installation; and Laura Aaron before by others. Virginia Haseltine, in her time a Sear and Laurel Intern Cynthia Friedman designed patron of the arts and the Museum of Art, preceded the exciting discovery room. us in her admiration of Gertrude Bass Warner's We wish to especially thank Lee World generosity. Board of Directors President Hope Travel, and the Ballinger Family in the memory of Hughes Pressman's study revealed Warner's strength Court Ballinger for their generous support of this of commitment to the University of Oregon. And, exhibition. We also acknowledge additional funding the complexities of funding the Museum of Art's from the Oregon Arts Commission and the National construction was unraveled by emeritus University Endowment for the Arts, and the Oregon Archivist Keith Richard. However, it is our hope Community Foundation. that this exhibition and catalogue focusing on Finally, we thank the research group which her travels, collecting, family and friends at the began this most recent study in the fall, 1996. University of Oregon and in Asia, will broaden the Margaret Gontrum, art history graduate student appreciation and understanding of the legacy of and Laurel intern Kathleen L. Metzger, Hattie Mae Gertrude Bass Warner. Nixon, and Barbara Zentner graciously contributed Several individuals provided invaluable their time, insight and knowledge. This group's assistance in helping us bring this program to collective effort developed the foundation for the fruition. Knight Library Special Collections exhibition, catalogue and programs. curator Bernard McTigue, librarian John Hawk, and records manager Sharla Davis guided us through an Lawrence Fong abundant archive of letters, diaries, manuscripts, Associate Director and Exhibition Curator memorabilia, photographs and rare books. James Baran, Publishing Solutions Group, handled the crucial task of editing, and the creative staff at lnovar Marketing and Design produced the Note to the Reader catalogue and all publications for Precious Cargo. Unless otherwise indicated, all works illustrated Recognition of the museum staff seems hardly are from the Murray Warner Collection of Oriental enough- without them ideas would not have been Art. Letters, diaries, personal ephemera, research shaped, produced and presented to the public. notes, vintage photographs and other documents Among them, Maureen Keefe developed our vital are in the Gertrude Bass Warner Archive, Special relationships with the community; Heather Brown Collections section, Knight Library. organized the production of the elegant publications Japanese and Chinese personal names appear in and extensive publicity; Richard Gehrke handled traditional style, with family names preceding given the photography with sensitivity, and rendered the names. The pinyin style is used for Chinese vintage photographs into contemporary formats; romanization except where Wade-Giles is quoted Catherine Kenyon and Jean Nattinger handled the from original sources. intricacies of registration; Kurt Neugebauer

T J-JE TRAVELER

"I have no patience with people who set out on Empire.2 The architecture, now being restored, was their adventures, determined to live as nearly as a grand style with clock towers, domes, columns, possible just as they do at home, stopping at hotels and four-square buildings rising like sentries along that strive to reproduce all the comforts and luxuries the banks of the Huangpu. British and German, they could find in their own countries, and seeing French and American boats of all types plowed up and learning nothing whatever of the real life of the and down the river, loading and unloading cargo people they are among." 1 along the Bund. Banks with names like Mercantile and Chartered Bank, Comptoir d'Escompte de Paris, Gertrude Bass Warner was an avid lifelong and the Oriental Agra provided evidence of traveler (figure 1). During the course of her life she Shanghai's thriving commerce and international traversed the United States and Europe and made colony.3 numerous trips to war-torn Asia. She began her Shanghai was, and in many ways still is, the adventures at a young age- walks through the ashes most cosmopolitan city in China. In Gertrude Warner's time it was the home of businessmen, entrepreneurs, and soldiers of many nationalities. Census figures show that 911 Americans lived in Shanghai in 1905. Gertrude was one of the 500 additional Americans who arrived in Shanghai between 1904 and 1905. By 1915 there were well over 18,000 foreigners residing there, with British residents the largest number, followed by Japanese.4 The international flavor of the city stemmed from a decades-long history of foreign trade presence in China, with Shanghai the principal center. In 1840 the Chinese government granted of the Chicago Fire, voyages on her private foreign nations the right to create their own houseboat on the Yangtze River, a close brush communities around the old Chinese city, where with the army of a Chinese warlord, strolls they were allowed to lease land in perpetuity.5 through mysterious Angkor, attendance at the These settlements had grown rapidly, dwarfing the Pacific Relations Conference in Kyoto, and visits to old walled city. Shanghai had become a foreigners' museums in the United States and Asia. Her travels city, not simply because there was so much land enabled her to become not just a collector of art under their control, but also because foreign objects but a collector of culture. Gertrude's residents enjoyed extraterritoriality. British, French, "Precious Cargo" not only consisted of a large and Americans were subject to their own law, not collection of Asian art and artifacts, but also a that of the Chinese, within the foreign concessions. scholarly reference library that articulated the In addition, Chinese living and working there were objects' importance, dozens of boxes of lantern slides, first-hand knowledge that she willingly shared, and an exemplary wealth of experience atypical for an individual of any era. After a three-week voyage across the vast Pacific ocean, Mrs. Warner steamed into the port city of Shanghai, whose continual buzz of activity must have immediately confronted her senses. She came to visit her brother John Foster Bass, a veteran war correspondent who had recently covered the Boxer Uprising. The year was 1904. Gertrude's first glimpse of Shanghai was probably the Bund (figure 2), the waterfront along the Huangpu River, the center of the city's banking and finance district, and at the time of her arrival a very elegant section also not subject to Chinese law. The foreign of the city. "Bund" is an Anglo-Indian word for settlements were protected by an asserted embankment or quay; it is a manifestation of neutrality in Chinese affairs, not to mention Shanghai's historic connection to the British their own merchant ships outfitted with guns. Because of these foreign settlements in Shanghai and elsewhere, it seemed to many Chinese that their country had become colonized. Anti-foreign sentiment grew and sparked the Boxer Uprising in 1900. At that time, Mrs. Warner's future husband, Murray Warner, was a well-established businessman in Shanghai. He had also been a veteran of the Spanish-American War and had been called upon to play a central role in defending the American

large enough to accommodate cars and trolley buses. Streetlights, telegraph and telephone poles, and other evidence of western technology also graced the avenues. In 1901, automobiles began to traverse the streets of the foreign concessions along with the rickshaws pulled by Chinese servants. Mrs. Warner's early experiences studying in the capitals concession against attack during the Boxer Uprising. of Europe surely enabled her to feel at ease in this When Mrs. Warner arrived in 1904 the architectural environment (figure 5). disturbance had passed, and she was able to Despite the variety of nationalities appreciate the sights and sounds of Shanghai, both represented in the Shanghai foreign community, new and old, western and Chinese. The Chinese British sensibility dominated the foreign section. walled city and the foreign concessions could not Life was conducted as in Victorian England, with have been more different. The old Chinese city was dinner parties, sporting events, tennis, and debuts.8 a maze of long narrow streets branching into many Families were able to staff their homes with small alleys hung with clothing where shafts of Chinese serving as butlers, cooks, laundresses, 6 sunlight contrasted against dark corridors. Looking general cleaners, houseboys and gardeners. at phocographs from the period (figure 3), one can And because these expatriates were disinclined sense its dingy crowdedness and imagine a city full co learn the Chinese language, Chinese citizens of contrasting odors. "Houses huddled cheek by communicated using a sparse, ungrammatical form jowl, the shops were crammed deep with goods, the of English. The foreign residents purchased goods teahouses were noisy, the temples fusty and rather with credit notes which worked like a modern credit 7 down-at-heel." The Chinese inhabitants welcomed card, instead of Chinese currency.9 In this rich, if polemical atmosphere, Gertrude met and married Murray Warner in 1904. He, like she, had been a traveler before coming to China.

the closeness of everything, for they were accustomed to going about on foot. The foreign settlements, by contrast, looked as if suburban Paris or London had been set down in the midst of a Chinese landscape along the Huangpu River (figure 4). Imposing mansions of the Renaissance revival Perhaps Gertrude and Murray Warner felt mutual style, English Victorian houses, clubs, and hotels attraction because of their shared adventurous spirits stood in ordered neatness along wide straight streets and adventures. The time that Gertrude and

P AGE N 0 .111111011 111 Murray spent in Shanghai was a very settled particular day, she visited a number of shrines in period in Gertrude's life. Mrs. Warner shipped China, describing them at length, and mentioned her household goods from Chicago in 1906, co their that they were not in very good condition. "If they spacious house in Shanghai (figure 6) . Among their were," she says, "all the foreigners who come co visit household articles were an old coin collection and the temples would think more highly of them than other curiosities that Murray Warner had begun they do in a dilapidated state!" 15 Mrs. Warner co collect. These objects were probably her first repeatedly implied in her writings that, while she intimate exposure co Asian art. At this time, Mrs. was a traveler, others were mere tourists, although · Warner began co study "Chinese customs, manners, her experiences occasionally verged on the latter. Lunching late, she recorded that afterward she intended co go shopping "for some of the high Manchu shoes," the elegant shoes meant co encase an unbound foo t. Mrs. Warner laments, however, that the pretty shoes are coo small for her "Chicago feet." 16 These are the sorts of acti vi ties we might imagine a modern traveler in China engaging in. Though she was always on the lookout for art treasures, she also found time co indulge in the simple pleasures of being abroad. At the end of Gertrude and Murray Warner's residency in Shanghai, the lure of Asia had permanently captivated Gertrude. Murray was co enjoy only one more return co Asia before his death in 1920. In 1921 Mrs. Warner moved co Eugene co etiquette, religion and art assiduously." 10 It would be near her son, who taught law at the University appear that from the beginning the arts and culture of Oregon. It was after this time that Mrs. Warner of China were more than mere curiosities for Mrs. began collecting and traveling with a larger purpose, Warner, but were a vast source of knowledge. In addition co studying Chinese culture, she applied herself co the breeding of silkworms in her attic in Shanghai (figure 7). In 1908, the year of the Empress Dowager's death, the couple was cruising the Yangtze canals in a steamboat. Mrs. Warner's diary entry for Tuesday, November 19 records that it was the day of the Empress Dowager's funeral and that all flags were flying at half staff. 11 Her writi ng then turns co all that she sees around her: the changing scenery, other vessels, the white dolphins in the river. As she and Murray traveled upstream, bamboo fences around as she sought co reinvent her collection into a villages, water buffalo and stands of bamboo are museum and study center for Asian culture. replaced by mud walls, donkeys, and trees. She While her son, Sam Bass Warner, occasionally watched the peasants as they farmed in the fields, 12 accompanied her on these trips (figure 8), Mrs. and remarked, "We have just passed a school Warner's main traveling companions were women, of porpoises. Murray had supposed they would including Maude Kerns, Helen Hyde, and two not come so far up the river." 13 Mrs. Warner friends of Gertrude, Lucy Perkins and Emily was not the type of person co ignore her Potter. Kerns and Hyde were contemporary artists surroundings, preferring co look rather than stimulated by the Asian aesthetic of brush painting record. As a consequence, she abandoned her and woodblock printing. Perkins and Potter were diary, so conscientiously begun at the outset of Warner's colleagues at the Museum. this trip, only a short way into its pages. Just prior co Murray Warner's death, Mrs. Through this diary, however brief, Mrs. Warner traveled co Japan in 1918-1919, at which Warner does give us a glimpse of one of her time she gathered insight into Japanese social typical sightseeing days. She liked co see as much customs that was co comprise her unpublished as possible and considered a day wasted when she manuscript, "When West Meets East." This had not gone anywhere or seen anything. 14 One manual for western visitors co Japan describes II the customs and rules of social etiquette which into the chaos of internecine fighting among foreigners should know, according to Mrs. Warner. warlords. The most important warlords were She states in the foreword, "I have often seen those who had provincial control. A leader would serious misunderstandings grow out of small social arise by successfully bringing together a faction of transgressions. In the Far East the social amenities generals each with a private army. This larger force are much more vital and much more the concern of could then control territory which covered an entire province. They were all fighting to gain Beijing, for whoever held a government in that city, however unstable, was given diplomatic recognition by foreign countries and could negotiate loans and receive tax revenue.20 Warlords were often heedless of the lives of Chinese in their territory, and indeed, westerners as well. Travelers, like Mrs. Warner, had to negotiate carefully through the chaos. Distancing herself from the irony of her collecting in war-torn China, Mrs. Warner focused upon her purpose of establishing a center for the study of Asian art and culture in Eugene with the express purpose of bringing about peaceful men than in the west. " 17 In the first chapter, she understanding among nations. The turmoil in China advises the visitor to practice getting accustomed was so intense and widespread that there were to the Japanese style of sitting. One should spend times when she could not help but come into close twenty minutes a day sitting on the floor with legs contact with it. In the early 1920s, war broke out tucked under the body, toes pointing back, to get in northern China leaving Wu Pei-fu, a regional accustomed to the new position. A Japanese host warlord, dominant. Wu believed in the unification should be impressed, not expecting such ease, and of China by force; with this in mind he overtook practice will make a social occasion more pleasurable Beijing. In September of 1924, one of his junior for the visitor (figure 9). Mrs. Warner admonishes, generals, Feng Yu -hsiang, revolted against Wu, "It is desirable to be able to sit through a meal besieging Beijing and gaining control. A defeated wi thout having to divide one's attention between Wu fled to the countryside to regroup.21 the difficulties presented by the array of new viands Mrs. Warner, in Beijing at the time, decided to and implements in front of one and the awful leave rather than risk the siege by Feng. She and consciousness that both your feet are asleep, her travel companions boarded the International each one dreaming an individual nightmare." 18 Train to Tientsin, then operated by the the United Certainly her Japanese hosts must have been States, England, France, and Japan, to escape the very impressed with Mrs. Warner's understanding and respect for their customs, but they were often bemused by westerners, and they of the Japanese. G. C. Allen, in his book Appointment in Japan, written about a two year appointment in Kyoto in the 1920s, describes himself as "an intruder from another world." He continues, "children sometimes stopped and stared, but fled in terror if I seemed to take notice ofthem." 19 Despite the fast-paced modernization of Japan during the early part of this century, westerners still seemed to be rare objects of curiosity. Once Mrs. Warner had established her gift of art to the University of Oregon in 1922, she regularly made trips to China to acquire more works of art. city. "Permission to travel on this train was obtained During the time of her most frequent trips to China from the Legations," she says. "It took us right into in the 1920s, various political factions were battling the battlefield, and only went as far as Tientsin."22 for control of the central government in Beijing. It was 4:20 am when she and her companions The old dynasty was destroyed in 1911, followed by boarded the train. It was preceded down the track an unsuccessful string of attempts to create a stable by an English engine whose job was to search for republican government. By 1916, China had sunk bombs or broken rails. Chinese rebels fired machine

PAGE NO •11111111111/{) guns at the train, and all the passengers were on display in the North Mezzanine Gallery. instructed to lie on the floor of the cars to avoid Mrs. Warner returned to China several more being a target (fig. 10). The eighty-mile trip took times to acquire artwork for the museum. She was over 31 hours with no chance for food, stopping never quite able to escape, however, from the ever­ many times on the journey because there were present reality of conflict and chaos in China. Along sandbags on the tracks or other trains in the with the warlord struggle, a new force was rising, way.23 When Mrs. Warner and her companions the Nationalist Party, formed and strengthened by finally arrived in the station in Tientsin, they were Chiang Kaishek. A letter from Ruth Clarke to Mrs. confronted with the full horror of the war. Gertrude Warner in 1928 describes the peaceful capture captured the moment in a brief diary entry: of Beijing by Nationalist forces in 1928 and their removal of the capital to Nanjing. "A year without 9 A.M .. As we sit here in our car on the a war here would be an unheard of thing for dear old train, we not only hear the guns that 26 are fired from Tientsin- we feel the Peking, wouldn't it?" she wrote. vibration. Mrs. Seaton has started off At this time, Mrs. Warner's travels took on an alone on foot to see if she can get a additional purpose, which was to help mold the van at the station which is a mile and a half from here to take our baggage and historical mission of her nascent museum at the find out if we can go directly onto our University of Oregon. She began to attend peace steamer. If we would leave the trunks behind we could all walk into town but conferences to speak out for world peace. For of course I will not leave the museum example, in 1929 she took part in the Institute of things behind. Pacific Relations Biennial Conference in Kyoto, 10 A.M. We sent a telegram to Japan. This vision of peace through understanding the Astor House Hotel in Tientsin, was at the heart of Gertrude Warner's concept of from Peking for rooms. They have sent the University of Oregon Museum of Art. Through their porter and assistants to get us. At the office of the American Express we the study of material culture, she concluded, a found Mrs. Seaton. She reached the deep appreciation and understanding of that which station just as Marshall Wu, with some is foreign could be attained, and through this, 600 followers were leaving by train for the coast, there to take a ship for "amity and mutual helpfulness" among nations Tsingtao. His army was left in the could resulc. 27 lurch- no food, no shelter, no money and they are a long way from home. After the opening of the Museum of Art in 1932, With everything to lose and everything M rs. Warner also spent a great deal of time visiting to gain, how can they be induced to cities in the United States. She traveled by train fight? to her family home in New Hampshire, to Arizona And speaking of fighting-one of where her mother resided during the last years of Marshall Wu's officers did refuse to her life, and to New York, Chicago, Boston, and fight. He was decapitated there in the station just as Mrs. Seaton arrived. It elsewhere. One primary purpose of these trips was was pandemonium let loose. His head to visit museums, where she developed professional was placed upon a spike for all to gaze upon. That was a body blow to my acquaintances with their directors and gained siding with the Wu faction- it reminds valuable information on behalf of the UOMA. me of medieval Europe. During one such trip, Mrs. Warner bluntly Dear old China- this is the sixth expressed her distaste for modern art in a letter revolution in eight years-may it be to Maude Kerns: the last! 24 Just between you[,] me and the Gertrude took this incident in her stride; it certainly gatepost[,] up to the present time I have been unable or incapable of did not diminish her desire to continue on with appreciating the so-called modern the trip. art. I wish you had been along when I When she finally reached Shanghai on a steamer visited the art gallery at Yale, you never saw such dobs. There was a large room from Tientsin, she continued on to Hong Kong, and with comfortable chairs to sit in while from there to Saigon. Once in Saigon, she and her I was waiting for Miss Klockars .. .. On the walls of this room were paintings companions boarded a ri ver boat to journey up the done by the students; tired as I was Mekong River into Cambodia, and to Angkor.25 and desirous as I was of having a Angkor, the tremendously majestic site of the comfortable seat I left the room three times because I could not stand to look early palace clusters, contains many intricately at those pictures .... 28 carved buildings which fascinated Mrs. Warner. She eventually had plaster casts made of some of the One might wonder whether Mrs. Warner's lack wall reliefs for the Museum of Art. These casts are of a developed taste for modern American art resulted from her years spent in Asia. indeed, this I image of her turning her back on the "dobs" she saw before her is perhaps symptomatic of how completely she had embraced the art of Asia. Regardless, she learned much about modern museum practices and construction, ideas which I informed the design of the University of Oregon Museum of art. This is particularly true of her understanding of the damaging effects of light on I artworks and is evidenced by the almost completely windowless edifice designed by Ellis Lawrence on Oregon's Memorial Quadrangle. In the 1930s Japan stepped up its quiet invasion of China and began to behave more aggressively.29 The violent actions Japan cook in Manchuria and elsewhere were of concern to other governments. A friend of Mrs. Warner described the feeling in Washington, O.C.:

There is great uneasiness here over the attitude of Japan- so buttery in words and so hostile in action, with everyone sympathizing with China, but China herself so big and helpless, and the military group in such control at Tokyo. The Conference for the Cause and Cure of War held here this week was the best attended they have ever 'O had .... ~

No doubt, Mrs. Warner was saddened by the growing hostility of Japan, where she had often traveled and had so recently attended a peace conference. This trip to Kyoto was probably her last journey co Asia. In 1937, well into her seventies, she wrote to Elizabeth Keith nostalgically of their time in Asia together: "I wish we could be in Hong Kong together of an evening and see the lights of the city reflected in the waters. Perhaps we could have a ride on one of those picturesque boats, and maybe we could have a trip upcountry and go under that bridge together." 31 The time had come in Mrs. Warner's life to concentrate on building an edifice around her collection of artworks, books, lantern slides, and shared experiences from her many travels. She dedicated these works of art and her labors to the memory of her husband, Murray Warner. But more importantly for us, she brought co Oregon a bridge across the Pacific that has increasingly drawn us coward our neighbors and friends in Asia.

Kathleen L. Metzger Laurel Intern

/.:2 PAGE N O . UIUIUIII NOT E§

1. Gertrude Bass Warner, "When West Meets East," 19. G. C. Allen, Appointment in Japan : Memories of 1921 , foreword. Sixty Years (London: The Athlone Press, 1983 ), p. 4. 2. Pan Ling, In Search of Old Shanghai (Hong Kong: Joint Publishing Co, 1983), p. 31. 20. John T. Meskill, An Introduction to Chinese Civilization (Lexington: D. C. Heath & Co., 3. Ibid, p. 23. 1973 ), p. 250-258.

4. Betty Peh T'i Wei, Shanghai: Crucible of Modern 21. Gilbert F. Chan and Thomas H. Etzold, China in China (Oxford: Oxford University the 1920s: Nationalism and Revolution Press, 1987), p. 110. (New York: Viewpoints, 1976), p. 2.

5. Ibid, p. 35. 22. Gertrude Bass Warner, "Friendly Relations," 1924, p. 2. 6. Pan Ling, p. 23. 23. "Mrs. Warner Travels Through Chinese 7. Ibid, p. 23. Revolutionary Lines." (news article, n.d.).

8. Betty Peh T'i Wei, p. 110. 24. Gertrude Bass Warner, Train diary, November, 1924. 9. Ibid, p. 115. 25. Gertrude Bass Warner, "Friendly Relations," 10. Gertrude Bass Warner, "Friendly Relations," 1924. address given by Warner in 1924, n. p. 26. Ruth Clarke, letter to Gertrude Bass Warner, 11. Gertrude Bass Warner, Yangtze River diary, 1928. 1908, p. 1. 27. Oregana, University of Oregon Yearbook 12. Ibid, p.11-13. (Eugene: The Associated Students, 1924).

13. Ibid, p. 1. 28. Gertrude Bass Warner, letter to Maude Kerns, 1931 . 14. Ibid, p. 39. 29. Jung Chang, Wild Swans: Three Daughters of China 15. Ibid, p. 64. (London: Harper Collins, 1991), p. 86. 16. Ibid, p. 65. 30. Ellis Meredith Clement, letter to Gertrude Bass 17. Gertrude Bass Warner, "When West Meets Warner, 1935. East," 1921, foreword. 31. Gertrude Bass Warner, letter to Elizabeth Keith, 18. Ibid, p. 6. 1937. l'.l~U .tC tc. 0

1. Gertrude Bass Warner in Japan.

2. The Bund, Shanghai.

3. Street scene, China.

4. International district, Shanghai.

5. International district, Shanghai.

6. "Shanghai, our home, the library." "In my house in Shanghai and later in San Francisco, I had what I called my playroom, where I had many of my treasures and where I I invited my friends who were interested in Chinese art to come and play with me." I Quote is taken from "Friendl y Relations," address given by GBW, 1924.

I 7. Silkworm cocoons.

8. Sam and Gertrude Bass Warner.

9. Gertrude Bass Warner in Japan. "The way to the heart of Japan, which is also the way to the heart of China, is through an understanding and appreciation of their art which they love and treasure." Quote is taken from "Mrs. Warner's speech at the opening of the Murray Warner Collection of the Muse um of Art on June 10th, 1933."

10. Soldiers in China. "After traveling in a heatless train at the rate of 80 miles in 31 1/2 hours, fired upon with machine guns by insurgent Chinese, and without much food, she [Warner] has arrived in Tientsin safely, with all her museum pieces for her Oriental arc collection." Excerpted from news article "Mrs. Warner Travels Through Chinese Revolutionary Lines," no date.

\I P A G E N O ... ~.... THE COLLECTOR

" . . . the love for the beautiful, the understanding of which makes che whole world kin." 1

Gertrude Bass Warner, Eugene June 10, 1933

The legacy of Gertrude Bass Warner (1863-195 I) more readily available, and chis face influenced is founded upon her hope ch at the "Occident and collecting. The key figure ac the Museum of Fine Orient may meet on the shores of the Pacific in Arcs in Boston was Ernest Fenollosa, a private amity and mutual helpfulness." 2 To accomplish chis collector named curator of Japanese arc in 1890. positive bond between As ia and the West, Warner From chis position, Fenollosa began developing the believed chat material manifestati ons of cul cures Japanese collections in Boston, and was responsible could be the vehicle co foster understanding, for organizing exhibitions and writing catalogues appreciation and a true sense of value in ochers. around what was ac chat time the best collection of How she came co chis conclusion during her lifetime Japanese arc outside of Asia. is revealed in her evolving role from private collector Fenollosa's successor was Okakura Kakuzo, of Asian arc co museum curator and in her travels an individual of samurai ancestry whose family and life abroad. Because of her belief chat arc can had a successful silk trade. le was Fenollosa and help mold perspectives and fundamentally transform Okakura who initiated a registry of Japanese arc; chis opinions, Gertrude Bass Warner stands ouc among important documentation lacer helped co restrict the vVescern collectors of As ian arc of the lace-nineteenth export of Japan's national treasures. and early-twentieth century. Her shared and unique Boch Fenollosa and Okakura were respected experiences as a collector of Asian arc, artifacts, and historians. Fenollosa's emphasis on arc's human ideas can be appreciated in the general context of character was a departure from the more contextual the development of Asian arc collections in the approach taken ac the time co assess the function of United Scares during her lifetime and through the Asian arc. His lectures and writings were popular scudy of her remarkable life. and attracted interest from Boston arc critics and The Museum of Fine Arcs in Boston was one of connoisseurs, such as Bernard Berenson. Okakura's che first American inscicucions co develop an Asian Book of Tea is a classic discourse on Asian aesthetics. arc collection. This was done through the influence As an ambassador for che Imperial Arc Commission, of private collectors and in response co the displays Okakura went on several month-long tours of the of Asian arc shown at such international events as United Scates promoting Japanese cul cure. His the 1861 Crystal Palace Exposition in London and "oriental" demeanor helped capcure the public's the 1893 World's Columbian Exposition in Chicago. imagination and broaden the appeal of Asian arc. In Boston, Scurgis Bigelow, Edward Morse and Fenollosa advised individual collectors as well; Charles Weld began building collecti ons of As ian arc among chem was Detroit industrialise Charles Lang around the cum of the cencury. Bigelow and Weld Freer. The primary influence on Freer, however, were entrepreneurs who had made fortunes in trade was James McNeil] Whistler, the American artist with China. In good pa re, ic was these and ocher whose own work had fallen under the spell of individuals' growing awareness of As ian culcure­ Japanese woodblock prints. Freer's relationship beyond the silk, tea, and porcelain trade- chat with Whistler influenced chis most celebrated played an important role in influencing the Museum collector of As ian arc co initially acquire Japanese of Fine Arcs co begin collecting Asian arc. works. During his travels in China, and after the fall In Baltimore, W. T. Walters, a wealthy patron of of Imperial rule, Freer helped create a market for the arcs, was an early collector of Chinese arc. By Chinese arc ch at was heretofore inaccessible and one 1894, his ceramics collection numbered more than which Gertrude Bass Warner cook full advantage. 2,000 works. This was a rare circumstance, however. China's economic and political instability The political climate of the time and restricted provided opporcunicies co acquire privately held access co Chinese Imperial arc limited che number collections. Pillaging of the Imperial households and types of materi als coming out of China. le was was frequent, and the exposure of ancient comb not until che Boxer Uprising and, more importantly, sites by railroad construction dramatically increased the collapse of the Imperial court, ch at high quality availability of Chinese artifacts. During chis time, Chinese arc became avail able for acquisition. Freer sought the advice of acknowledged experts, In the lace-nineteenth cencury, Japanese arc was including John C. Ferguson. Ferguson, educated in Boston, was sent to China in 1887 by the Methodist Chicago, and settled into their large and Church. He held various administrative posts in the comfortable house, mixing her possessions with Chinese government during the late Qing period various curiosities that had been collected by and was one of a handful of Americans who could Murray. During this time, she began to collect explain Chinese culture and politics to others from Asian art. From her own account, her early the West. Ferguson introduced Charles Lang Freer collecting was more fashion than purpose. to the Royal Asiatic Society in Shanghai and to She referred to her "treasures" displayed in the several Chinese art collectors among its members. "play room" of her house in Shanghai. However, Ferguson, antique dealer Matsuki Bunkyo, and unlike many of her fellow sojourners, Gertrude representatives of Yamanaka and Company­ soon began to study "Chinese customs, manners, dealers in Asian art in Osaka, London, Shanghai, etiquette, religion and art assiduously." 5 From her Beijing, and Boston, played important roles during studies, collecting, and growing awareness of the the first quarter of the century in assembling Asian dichotomies of life inside and outside Shanghai's art collection in the United States.3 international colony, she began to perceive: It was these same individuals-coupled with a small circle of Gertrude and Murray Warner's friends . .. a need of greater appreciation of this country [America] among the in China- who played vital roles in developing the foreigners [Chinese], so [I] gave a little Asian art collection at the University of Oregon. collection of American things to Sc. Gertrude Bass Warner's first introduction to Mary's Hall, the Episcopal School, as the beginning of a museum, and another to the International Institute, also in Shanghai.6

Murray and Gertrude eventually returned to the United States and established a residence in San Francisco. In 1920 Murray died suddenly, and Gertrude moved to Eugene to be near her son Sam, who taught law at the University of Oregon. In Eugene, she met Prince Lucien Campbell, president of the University from 1903 to 1925. China was through the experiences of her brother Through their conversations and Campbell's John Foster Bass, a seasoned war correspondent, influence, she donated her collection to the and through her future husband, Murray Warner University of Oregon in 1922 in memory of her (figure 1). Both men were in China when she husband, after having had the collection turned arrived in 1904; John had been covering the down by Murray Warner's alma mater, Phillips Boxer Uprising and Murray who had served in Academy, because of their lack of a place to the Spanish- American War, was instrumental in display it. organizing defenses for the international residents Thereafter, Gertrude Bass Warner reinvented living in Shanghai. herself as a curator and returned to Asia with the Professionally, Murray Warner was in China as an express desire to acquire works of art for the nascent engineer-partner of the American Trading Company, museum which she had set up in temporary quarters one of a myriad of international businesses providing in Gerlinger Hall. Campbell encouraged her. In a technical and commercial trade advice to China. letter of introduction Campbell refers to her as the Like most foreign residents of means, he took "curator of the Circum-Pacific Museum" at the advantage of trade opportunities in China, as well. University of Oregon.7 This document not only As had John C. Ferguson, Murray invested in reveals her new found role as a curator, but it also rubber, timber, and cigarette ventures. While defines the historical scope and focus of what this economic imperialism was taking place, there would later become the University of Oregon was also an equal measure of Western cultural Museum of Art. imperialism happening. This ranged from the By the mid-1920s, China's volatile civil and missionary impulses of Harvard-Yenching University feudal wars made travel in China a bit harrowing. to Charles Lang Freer's founding of the American This was even true for the "old China hand," School of Archaeology in the 1910s.4 Gertrude Bass Warner. Bur collecting art became Gertrude settled into Shanghai very comfortably easier through the historical circumstances described and quickly. In the fall of 1904, the same year she above. Gertrude later wrote: had arrived, she met and married Murray Warner. During my last trip I was able to add to In 1906, she had her household goods sent from the collection a few porcelains, tomb

P AGE NO. IJIIIIII16 III figures, bronzes, embroideries and celling quote reveals: tiles. le may be interesting co scare at chis point although we knew there 9 A.M . As we sit here on the train we was a war on in China, we found not only hear the guns chat are fired the condition even more chaotic than from Tientsin- we feel the vibrations. we had anticipated. This chaotic Mrs. Seacon has started off alone on condition brought curios onco the foot co see if she can get a van at the market chat would otherwise not station which is a mile and a half from have been disposed of, and there being here co cake our baggage and co cry co very little competition, the price was find out if we can go directly onco our considerably lower than would have 8 steamer. If we would leave the trunks been if obtained in time of peace. behind we could all walk inco cown[,] but of course I will not leave the 11 She didn't do chis alone, however. Normann museum things behind. Munthe was one of several people who helped Gertrude assemble her collection, particularly after Normann Munthe's service co the Chinese Murray Warner's death in 1920. Munthe was of government provided Gertrude opportunities co Norwegian heritage and had lifelong allegiances co acquire works of arc once restricted for exclusive China as a general in the Chinese army and aide­ use in the Imperial palaces. Munthe preferred co-camp co reformer Yuan Shikai. She wrote: larger arc objects: " ... for Museum things, if possible, be large, as small things cannot stand During my trip co the Orient in 1922- alone, as it were, but must be put in small low 1923, I secured the collection of dainty cabinets. The large things can stand alone paintings of the old masters, through 12 the courtesy and kindness of General by chemselves." Munthe was instrumental in Normann M unthe, of Peking, well­ assembling the Museum's impressive throne sets, known connoisseur of Chinese arc. as this letter reveals: These paintings were from the private collection of the General, and many of chem were a gift from him co the The emperor's chair is not complete as museum.9 yet. But he [C. E. Albert, an assistant co Munthe] promises co have it ready in about a month. Some of the things In a letter written from Shanghai in 1926, belonging to it are still in the Palace Gertrude relates co her friend and colleague in and he cannot get them out at present. They wanted a big price, chat is Eugene, Lucy Perkins, her living situation and her as regards the price I had in mind, relationship with Munthe, Ferguson, and ochers tho [sic] not a big price itself. They during this time: asked $3000- all complete, and I have cold chem that if it comes co what we expect and look for, I shall be inclined We have rooms one flight up chis time. co discuss the price on the basis of half, Mrs. Ferguson came over and engaged or $1500. 13 (figure 2). chem for us. They are a liccle more attractively furnished than chose we had lase year. We are on the sunny Letters from Munthe cautioned patience when side. You should have seen M rs. arc on the market was not of high quality or when Munthe this time. She hugged me for about five minutes! A large pare of General Munthe's collection has been sent co Los Angeles as a loan co the Museum there with the strong hope that they will buy it. The Ferguson's house has been greacly improved- both inside and out. It opportunity is now much the prettiest Chinese residence chat I have seen. 10 co buy was not Gertrude Bass Warner made six more trips co abundant. Asia after her 1922 donation co the University of "I have Oregon. She frequently traveled with companions, promises of including Lucy Perkins and Emily Potter, both all I intend museum curacors, Maude Kerns, a faculty member to get for you, but ties must be a little better. As I in the University's School of Architecture and Allied have said, I have promises of what I want." 14 Ans, as well as contemporary artists Helen Hyde The Museum's collection of Chinese ceramics and Elizabeth Keith. As seated earlier, travel in includes a selection of monochrome ware from China had become extremely perilous during the the Tang through Qing dynasties. M unthe and 1920s, but Gertrude had a purpose for her trips, and Ferguson both helped Warner assemble examples of didn't allow these circumstances co thwart it, as chis white, as well as celadon, teadusc, peachbloom, and other colors. But for Munthe, it was not enough to and are not likely to be again taken in exactly the same kind of error. Having have only one example of the so called peach bloom said this, I may add that the serious glaze, a crushed strawberry tone. "I wanted you to and more or less experienced collector have the different colors" of peach bloom glazes, he will learn little by little that there is a 15 difference between the real old pieces wri tes in a letter dated June 18, 1927, to Gertrude. and their imitations which is distinctly Therein he described in detail the variant visible if he has the opportunity of peach bloom glazes including apple-green and either comparing the two at the same time, or he has suffered so much and apple-grey tones. In this letter, Munthe also so repeatedly thru past failures that he mentioned how expensive these pieces had been may become a fairly accurate judge of when "locked in the Palace," and he described his that particular thing. This difference between the real old and the more efforts of "getting modern imitations may show itself all what I could" 16 often in many ways, often hardly any. (figure 3). Munthe It all depends upon how perfect the imitation is. But the difference may be and Ferguson in looked for, both in the material itself, particular provided its form, the colors used, the more or less perfection of the drawing, or even Gertrude Bass the glaze. As a more general rule, we Warner wi th may say that the old pieces, say up to information about 1680, Kang-tse reign, are hardly ever perfect. There is always something not the source, or perfect about them whether it is the provenance, of shape, color, drawing or glaze. After objects acquired on that date, after 1680[,] porcelain may be said to have become perfect and her behal f. Munthe the technique of making porcelain, was thorough in this regard. In his own collection culminated under Ch'ien-lung, 1736- 1796. Imitations as a rule are much catalogue (General 1. W N. Munthe Collection), which more accurate than the original ones accompanied an exhibition of his Chinese holdings which they imitate. A special branch at the Los Angeles Museum around 1926, entries and the most difficult to detect, if well done, is the so[-]called re-decorated include ownership seals, the names of private piece. This consists of a real old collections, and, in reference to ceramics, the piece of porcelain which has been Imperial Palace collections in Beijing and Jehol skinned of its own original inexpensive decoration, by being subjected to the are cited as places of origin. lapidary's wheel and re-decorated with It would be inaccurate to assume that Gertrude more expensive colors. In this case, as Bass Warner relied solely upon others to develop the well as in all others, experience is the only teacher. 17 University of Oregon Museum of Art initial Asian collections. The following passage proves she had While her approaches to collecting and her her own eye and approach to connoisseurship: sense of authenticity were typical of the period, You ask me how to judge Chinese what truly distinguishes Gertrude Bass Warner porcelain, the genuine from the false, from her contemporary collectors are her extended I can only tell you that in all other residencies and travels in Asia and her broad and branches of knowledge, experience is the only teacher. This experience may often exhaustive research into Asian culture, as be in[d]i[c]ated by seeing and handling well as her belief of the potential of art to help genuine pieces- so that these may form broad and favorable opinion in the West of become photographed in your mind. The clearer these photographs in the foreign cultures from which it came. Many your mind become, the less difficult collectors, including W. T. Walters, had never set it will be for you to throw out their foot in Asia. And few thought of art as a universal unlikeness- the false ones. I will here like to make a remark to the language, the understanding of which could promote effect that the collector, dealer, expert, global peace. or Museum's director, who says he is never taken in, is either a darn liar Along with a collection of over 3,000 works or no collector. You will be taken in of art, Gertrude Bass Warner left the Uni versity from time to time is unavoidable and of Oregon an archive of letters, research notes, forms a sad and painful part of one's experimental education as a collector unpublished manuscripts, maps, and other of Chinese art. The faker's art is documents chronicling her life and work. brought near to perfection in many In addition, she left a library of more than 500 branches of Chinese art. It has, however, one redeeming point, books, including Arthur Waley's translations of everytime you are taken in and Chinese literature, Fenollosa's books on Japanese you pay for your experience, you eliminate part of your ignorance and Chinese art, Langdon Warner's study of

PAGE NO 11111111111/{j Japanese sculpture, Osvald Siren's study of China, material culture to Oregon and immerse each and Oard Hunter's collection of Chinese papers. museum visitor in the grandeur of art and the She assembled the scholarship of her time in her subtleties of daily life in Asia. This is perhaps best library, itself a treasure in its own right housed in the Special Collections section of the University II of Oregon Knight Library. She, her curator Lucy Perkins, and other museum staff members also traveled to Seattle, San Francisco, Boston, New York, and Washington, D.C., to visit art museums and view their installations of Asian art. Among her papers, letters, diaries, and business correspondence are hundreds of sheets of handwritten notes and typescripts. She often copied, verbatim, museum labels about Asian art supported in her collection's range- from Chinese and culture she found at other museums. Imperial art and artisanship to objects of traditional In developing the University of Oregon and country life (figure 6) . She was hopeful that the Museum of Art collection it appears that Gertrude populace of Oregon and the university community Bass Warner adopted both Munthe's connoisseur's would learn about and appreciate the peoples of approach and the traditional historical text-based Asia by visiting the museum. methods applied by John C. Ferguson. Ferguson University President Prince Lucien Campbell wrote several publications on Chinese art and was a had a profound effect on Gertrude Bass Warner's popular lecturer on the subject. His book Suruey of early years in Oregon. It was during the last years of Chinese Art, includes several objects collected for the Campbell's administration (1903-1925) that Gertrude University of Oregon Museum of Art. 18 Bass Warner donated her collection of Chinese art. Of particular historical interest is the collection It was Campbell who first introduced Warner as a of nearly 5,000 lantern slides also housed in Special curator, not a traveler or collector. He also viewed Collections. Many of these were taken by Gertrude during her travels, and they offer personal insights of daily life, ceremony and ritual, dress, agriculture, and architecture. During a visit to Japan in 1906, Gertrude was allowed to photograph the displays of art at the Imperial Museum in Nara. She later visited the Imperial Household Museum in Kyoto to do the same and met director Harada Jira. Along with her photographs of works of art are romantic images of landscapes- giant bamboo groves, ancient archaeological sites, and China's watercourses. She and her entourage the Museum's mission as one with an emphasis on were captured the Pacific Rim. Thereafter, Gertrude Bass Warner's in photographs purpose was to broaden her collecting to represent traveling by other Asian cultures and to provide opportunities elephant, rickshaw, for learning. She traveled to Southeast Asia and, and sampan (figure perhaps, Korea to acquire works for the collection. 4). The most She also became very close to President Campbell candid snapshots and his family. reveal their After Campbell's death in 1925, his family, strangely out-of-place Western dress and sensibilities along with Irene Gerlinger, continued to help the in the heart of East Asia (figure 5). Others show university raise money for constructing the museum. her and her companions affecting Asian dress and Campbell's daughter Adelaide Campbell Church custom, equally haunting for the wearer's strange appealed to her friend Gertrude to allow the appearance yet comfortable demeanor. museum to be named after her father: In Eugene, Gertrude Bass Warner's personal and professional activities leave one with the sense My love for you is big enough and deep enough for me [words missing] that she truly wanted to bring the whole of Asia's to you with a truth, that I feel no one else will give you. Mother wants the The small third floor mezzanine galleries were used building which is a memorial given by for Japanese prints. In 1927 Gertrude Bass Warner many devoted friends to her husband, named for him, just the same unselfish had established a value for her collection at over reasons that you want your lovely $100,000. things named for your husband. Without a Fenollosa or Okakura to engage the Mother wants her husband's spirit and ideals to be a live, real, concrete community, Warner provided opportunities for force for all time on the campus that scholars and internationalists to visit the museum. he loved, and unless the building is named for him that can never be. Harada Jiro, the director she met at the Imperial Mother is sacrificing not only herself, but her husband and all his devoted friends through out the state, in an effort to meet your wishes as nearly as possible. Gertrude[,] my love and respect for you is so positive and definite that I know you will have a living appreciation and sympathetic understanding of my motives. It is from me to you, from the bottom of my heart and I know that you will never mention it to my Mother. 19

During Commencement on June 11 , 1932, the Museum of Art was dedicated, not named, in memory of University of Oregon President Prince Lucien Campbell. The program included an "Opening of the Doors," and dedication of the Household Museum in Kyoto, was a visiting scholar Campbell Memorial Court (figure 7). The formal in the 1930s. He gave several lectures on Japanese opening of the Museum of Art and the "Murray art in Eugene while on tour throughout the country Warner Collection of Oriental Art" took place a year promoting Japanese-American relations. John C. later, June 10. Today, a bronze plaque honoring Ferguson came to Eugene in 1944 to help promote Campbell faces a portrait of Gertrude Bass Warner and catalogue the collection. To further the in the Museum's newly restored lobby. Museum's mission, Gertrude represented the The "Murray Warner Collection of Oriental museum as a member of several international Art" comprises more than three thousand objects relations and peace associations, and in the mid- 1930s, at American Federation of Arts and American Association of Museum meetings, where she was in the company of other museum directors, including Eugene Fuller from the Seattle Art Museum. The syllabus for an Oriental Art Class in 1933- 1934 detailed a series of lectures given by University of Oregon faculty members and supported by discussions in the Museum of specific artworks in the galleries. A lecture on Japanese prints at the School of Architecture and Allied Arts given by Maude Kerns was followed by a gallery talk on Hokusai's series The Forty-seven Ronin on view in the Museum. Other topics included customs and dress, women and fashion, actors and theater, and festivals. The following year the program emphasized representing the art of Cambodia, China, Japan, Chinese art. The outline for these courses Korea, Mongolia, Russia, Britain and the United suggested that participants were not only university States. Chinese art make up over half of the faculty and students, but also from outside the collection. Maude Kerns' original installation of university. Many of the gallery talks were given the collection introduced the visitor to individual by women in the community-Mrs. Turnbull, Mrs. galleries displaying the art of a specific culture. Earl, Mrs. Bovard, Ruth Haefner and Lucy Norton. There also were galleries for particular types of During winter term, 1938, university faculty materials, such as laquerware. The high ceilings of member Noland Zane's art history course was held the second floor galleries were designed specifically in the Museum, as were Maude Kerns' printmaking, for the large Imperial Chinese art objects (figure 8). textile design, and brush painting courses (figure 9).

P A GE N O ...... :2t'J...... As early as 1924 students were encouraged to Her vision of the collection's role in the curriculum enter the Murray Warner Essay Contest, another can be found in her statement during the official effort by Gertrude that promoted international dedication of the collection in 1933: "My hope relations. In 1929 Warner offered cash prizes and prayer is that [the collection] will . .. always to "American students writing about commerce, be a channel for international friendship and religion, social problems, education; what the Orient understanding between our students and those has given the United States, or vice versa."20 of the Orient."22 Students from outside the United States who wrote Gertrude Bass Warner's efforts co help students about their countries' relations with the United understand their role in fostering international peace States could win $100. A broadside announcing the was perhaps her most significant contribution. 1931 contest listed the prizes: two awards offered A letter from Philippine students thanked her for trips co Asia; one cash prize went co the best paper her " ... kind attention and dealings and interest on an economic or political subject. American cowards the students of the Orient. We are greatly students wrote about Japan's interests in China, indebted co you in many things and we hope we Chinese communism, the influence of Asian may be able co repay you someday." 23 architecture on the West, and the silver monetary In 1936 Gertrude Bass Warner helped establish a policy. International students wrote about America's scholarship fund that provided a young student from Tokyo, Nakajima Takako, the opportunity co study at the University of Oregon. Nakajima's scholarship covered tuition and fees, room and board, books and supplies, and even an allowance for entertainment and clothes. While the Second World War severed ties between Gertrude and her Japanese protege, Nakajima later wrote:

It is like a dream that I am able co wri te co you. Ever since the end of the war I have had the intention. I always thought of you and hope you are as well as you were when I saw you last. I am alive and breathing. There may extraterritoriality in Asia, immigration from the not be many deaths and starvation. Philippines, and the tariff policies on sugar. I hear food is short in your country, because of sending main food stuff Freshmen were encouraged co submit papers away co the starving people of the on general subjects for prizes of $50 and $25. world. I always remember the happy The one- page sheet of contest rules ended with time[s] you and I had together .. .. I still remember fondly the life on the the statement: campus of the University. Eugene is the most beautiful town I have ever The future of the Pacific coast lived [in], apple trees, hawthorns, undoubtedly will be linked closely lilac, the Millrace and rivers are vivid with the Orient, and any study of the pictures in my heart. Fortunately our relations with the Orient will be school buildings were left out of the invaluable co students of the air raids and are standing like before University of Oregon.21 the war . . .. We are trying our best catching up with study, for me I am far behind. We had co work at the factory. The legacy of Gertrude Bass Warner is so much Everything is over now. It is no use more than what we have learned from her life's thinking of the past. It is the future that counts only, isn't it?24 experiences, travels in Europe and Asia, and her art acquisitions. We must not forget her expressions of This exhibition and catalogue represent in courage, her enthusiasm, and her special spirit. a more transcendent manner a metaphor for The nascent collection of Chinese art she brought Gertrude Bass Warner's spirit that seems timeless co the University of Oregon in 1922 and the vision in Nakajima's closing words about past and future. she shared with members of the faculty, student We are just beginning co revive her historic legacy body, and the community established the mission and to understand the implications it holds for the of the University of Oregon Museum of Art. Her future of the University of Oregon Museum of Art. approach to learning helped foster the university's development of one of the country's strongest Lawrence Fong interdisciplinary programs for the study of Asia Associate Director nearly two decades after her arrival in Eugene. NOTE§

1. The quote is taken from "Mrs. Warner's speech 13. Ibid, 1926. at the opening of the Murray Warner Collection of the Museum of Arc on June 10th, 1933," p. 1. 14. Normann Munthe, letter to Gertrude Bass Warner, June 18, 1927. 2. In 1924 the University of Oregon Yearbook Oregana was dedicated to Gertrude Bass Warner, 15. Ibid, 1926. "To a Woman of Large Heart, Farsighted Purposes and Abounding Generosity." Warner's quote is from 16. Ibid, 1926. a section of the yearbook featuring her vision and collection. (Eugene: The Associated Students, 17. Gertrude Bass Warner, lecture notes, December, 1924), n.p. no year.

3. Thomas Lawton and Linda Merrill, Freer: A 18. John C. Ferguson, Survey of Chinese Art (Taipei: Legacy of Art (New York: Harry N. Abrams and the The Commercial Press, 1972), Freer Gallery, 1993), p. 93. chapter 9, pl. 208 and chapter 10, pl. 210.

4. Warren I. Cohen, East Asia and American Culture 19. Adelaide Campbell Church, letter to Gertrude (New York: Columbia University Press, 1992), Bass Warner, April 19, 1930. p. 140. 20. "Murray Warner Essay Contest" rules, no date. 5. Gertrude Bass Warner, "Friendly Relations," was The contest was established in 1924. le is uncertain an address given by Warner offering an overview of whether any trips were actually made by the prize her experiences and purpose for developing the winning students to Asia. Asian arc collection at the University of Oregon in There are documents in the archive which 1924, n.p. document trips to Europe and Asia organized by University faculty during this period. 6. Ibid, n.p. 21. Ibid. 7. In this 1924 memorandum from the President's Office, University of Oregon President Prince 22. "Mrs. Warner's speech at the opening of the Lucien Campbell introduced Gertrude Bass Warner Murray Warner Collection of the Museum of Arc on as the curator of the Muse um. In March, 1926, she June 10th, 1932," p. 3. is promoted to director. Prince Lucien Campbell, October, 1992. 23. This is a quote from a letter to Gertrude Bass Warner from the secretary of the Philippine student 8. Warner, "Friendly Relations," 1924, n.p. association, Varsity Philipinas, February 23, 1929.

9. Ibid, 1924, n.p. 24. Nakajima Takako, letter from Tokyo to Gertrude Bass Warner, July 25, 1946. 10. Gertrude Bass Warner, letter to Lucy Perkins, December 13, 1926.

11. Gertrude Bass Warner, Train diary, November, 1924.

12. Normann Munthe, letter to Gertrude Bass Warner, September, 1926. Correspondence between Munthe and Warner reveal their shared belief in Christian Science. Munthe's letters to Warner begin very business-like and to the point, then frequently close with philosophical observations about their relationship and the state of their beliefs.

PAGE NO ·11111111111.;2:2 lFliGURE§

1. Murray (1869-1920) and Gertrude Bass Warner (1863-1951), circa 1890.

2. Throne seat, Qing dynasty, 19th century. Red lacquer, MWCH 13.4. This throne is important because of its completeness and its palace inventory inscription (jia yin nian cao zhengjing) which dates the throne to 1854.

3. Amphora vases, Qing dynasty, (Kangxi seal mark) 1661 -1722. MWCH 22:19 and MWCH 22:20. Peachbloom glaze vases acquired for Gertrude Bass Warner by Normann Munthe.

"I wanted you to have the different colors of peachbloom. These things used to be very expensive [,] but alot were locked in the Palace and I took the opportunity of getting what I could." Letter from Munthe to GBW, June 18, 1927.

4. Gertrude Bass Warner setting up her camera in the Chinese countryside.

"In those days I was doing a great deal of photography and wanted to take pictures of everthing. The pictures taken at this time have been made into colored lantern slides which I greatly prize." GBW speech at the dedication of the Murray Warner Collection of Oriental Art and public opening of the Muse um of Art, June 10, 1933.

5. Playing baseball near the Forbidden City, China.

6. Japanese women preparing silk threads from cocoons.

7. Campbell Memorial Court, rendering by architect Ellis F Lawrence, October 12, 1929, watercolor on paper.

8. South view of Throne Room, circa 1940.

9. Maude Kerns teaching brush painting class in the lobby of the museum, circa 1940. (iUUG.t<.;(iT!lUN(i J•U!l{ J, UllO !t-:l h !K IKJt<.;AOl!'\G;j

II Bosse, Malcom. The Warford. New York: Soho Press, Inc., 1995.

Buck, Pearl S. Imperial Woman. New York: Moyer Bell Ltd., 1956.

Chan, F. Gilbert and Thomas H. Etzold. China in the 1920s: Nationalism and Revolution. New York: New Viewpoints, 1976.

Chang, Jung. Wild Swans: Three Daughters of China. London: Harper Collins, 1991.

Cohen, Warren I. East Asia and American Culture. New York: Columbia University Press, 1992.

Fairbank, John King. Chinabound. New York: Harper & Row, 1982.

Hsun, Lu. Selected Stories. Translated from the Chinese by Hsien-yi Yang and Gladys Yang. People's Republic of China, 1972.

Haw, Stephen G. A Traveller's History of China. New York: Interlink Books, 1995.

Lawton, Thomas and Linda Merrill. Freer: A Legacy of Art. New York: Harry N. Abrams and the Freer Gallery of Art, 1993.

Ling, Pan. In Search of Old Shanghai. Hong Kong: Joint Publishing Co., 1983.

Meskill, John T An Introduction to Chinese Civilization. Lexington: D.C. Heath & Co., 1973.

Reischauer, Edwin 0. Japan: The Story of a Nation. New York: Alfred A. Knopf, 1970.

Winchester, Simon. The River at the Center of the World: A Journey Up the Yangtze River and Back in Chinese Time. New York: Henry Holt and Co., 1996.

PAGE NO . .. ii?Y..111 JPLA\TE§

Pair of Ruby-Red Overlay White Vases with Battle and Palace Scenes Qian Long period, 1736-96 Chinese Qing dynasty (1644-1912) carved glass

MWCH 3:3, 12 in. high MWCH 3:4, 12 in. high

Deep Cobalt Blue Footed Bowl Qian Long period, 1736-96 Chinese Qing dynasty (1644-1912) translucent glass

MWCH 3:22, 3-7/8 in. high

Mustard-Yellow Vase with Medallions Qian Long period, 1736-96 Chinese Qing dynasty (1644-1912) opaque glass

MWCH 3:27, 6-3/4 in. high

Pair of Peachbloom Vases, One with Misfired Glaze Kang Xi period, 1662-1722 Chinese Qing dynasty (1644-1912) porcelain with underglaze

MWCH 22: 19, 5-3/4 in. high MWCH 22:20, 6-3/8 in. high Decorative Screen Qian Long period, 1736-96 Chinese Qing dynasty (1644-1912) blackwood with applied carved jade design

MWCH 13:4, 105 in. high, 112 in. wide

Ceremonial Guard's Uniform Guang Xu-Xuan Dong period, 1900-1910 Chinese Qing dynasty (1644-1912) coat of embroidered silk with metal studs and plates; helmet of steel with sable tails and fe athers

MWCH 64:1, 91 -3/4 in. long

Red Lacquer Throne of Emperor Qian Long Qian Long period, 1736 -96 Chinese Qing dynasty (1644-1912) lacquered wood, gold leaf

MWCH 13:4, 47 in. high, 46-1 /2 in . wide, 31 -7/8 in. deep

P AG E N O •11 111:2611 1111 Emperor's Semiformal Court Coat (Chi-Ju) Qian Long dynasty, 1740-60 remade and overembroidered, early 20th century Chinese Qing dynasty (1644-1 912) embroidered silk satin, with sleeve extensions of silk satin woven with sets of gold-wrapped threads, trimming of silk compound satin weft-patterned with gold-wrapped thread binding, lining of silk tabby

MWCH 45:30, 53-7/8 in. long

Daoist Priest's Coat Dao Guang-Guang Xu period, 1850-1900 Chinese Qing dynasty (1644-1912) embroidered silk satin, trimmed wi th silk satin piping and lined with hemp tabby

MWCH 45 :1, 37-3/4 in. long

Pair of Shufu Molded Plates with Floral Relief Designs 14th century Chinese Yuan dynasty (1280-1368) porcelain with glaze

MWCH 26:12, 6-5/8 in. diameter MWCH 26:13, 6-1/2 in. diameter Yusei (drawing) and Koma Yasutaka (lacquerwork) Japanese

Chest of Drawers and detail, 18th-century Scabbard chest, c. 1700 scabbard, c. 1780 Edo period (1603-1867) chest, lacquered wood with gold maki-e, silver metal fittings scabbard, lacquered and mounted with inlaid metal

MWJ 13:8a, chest, 13-1/2 in. high, 47-7/8 in. wide, 13-1/8 in. deep MWJ 62:41, scabbard, 37 in. long

Scene and Text from Tosa-Style Illustrated 'ijWi11t Dowry Album of the Tale of Genji ( Genji 0 1 7 , ~t i{ ·"< Monogatari), Volume Three 1 J~3~f~ t 1688-1704 , t~~ 1 t11 Japanese 1'Y {lf(z~~ Edo period (1603-186 7) 1 l t< 1!t~t, ink, colors, and gold on paper MWJ 35:5, 9-1/2 in. high, 14-1/4 in. wide

Black and Gold Lacquer Letter Box n.d. Japanese Edo period (1603-1867) lacquered wood

MWJ 8:58, 3-1/4 in. high, 12-3/8 in. wide, 5 in. deep

PAGE NO •11111111111:2,Q Woman's Headdress late 19th century Mongolian silver, semi-precious stones, human hair

MWM 65 :2, 29-1/4 in. wide

Tadakazu Japanese

Wasp's Nest with Persimmons C. 1870 Edo period (1603-1867) carved wood

MWJ 13:1 , 3-3/4 in. diameter

Carpenter or Lumberman's Jacket late 18th century Japanese Edo period (1603-1867) embroidered indigo-dyed hemp

MWJ 45:16, 45 in. long JPJRECl!OU§ CAJRGO: CJHECKU§T

Compiled by Jean Nattinger

All items unless otherwise indicated are from the Murray Warner Collection of Oriental Art.

CHINA

Pair of Ruby-Red Overlay White Vases Plum-Colored Lobed and Fluted Oval Bowl with Battle and Palace Scenes Qian Long period, 1736-1796 Qian Long period, 1736-1796 Chinese Chinese Qing dynasty (1644-1912) Qing dynasty (1644-1912) glass carved glass MWCH 3:37 MWCH 3:3 MWCH3:4 Imperial Seal with Lion Top from the Summer Palace at Jehol Deep Cobalt Blue Footed Bowl Qian Long period, 1736-1796 Qian Long period, 1736-1796 Chinese Chinese Qing dynasty (1644-1912) Qing dynasty (1644-1912) carved crystal translucent glass MWCH 3:45 MWCH 3:22 Red Lacquer Throne of Emperor Qian Long Yellow Dragon Vase and Decorative Screen Qian Long period, 1736-1796 Qian Long period, 1736-1796 Chinese Chinese Qing dynasty (1644-1912) Qing dynasty (1644-1912) carved glass throne of lacquered wood, gold leaf; MWCH 3:26 screen of blackwood with applied carved jade design MWCH 13:4 Mustard-Yellow Vase with Medallions Qian Long period, 1736-1796 Roof Tiles and Assorted Architectural Chinese Elements Qing dynasty (1644-1912) mid-19th century opaque glass Chinese MWCH 3:27 Qing dynasty (1644-1912) stoneware with glaze Octagonal Yellow Fluted Vase MWCH 14:1 Qian Long period, 1736-1796 MWCH 14:3 Chinese MWCH 14:18 Qing dynasty (1644-1912) MWCH 14:40 translucent glass MWCH 3:28 Pair of Peachbloom Vases, One with Misfired Glaze Black Flecked Vase Kang Xi period, 1662-1722 Qian Long period, 1736-1796 Chinese Chinese Qing dynasty (1644-1912) Qing dynasty (1644-1912) porcelain with underglaze glass with copper flecks MWCH 22:19 MWCH 3:34 MWCH 22:20

PAGE N 0 .11111.BO111111 Dish Daoist Priest's Coat Yong Zheng period, 1723-1735 Dao Guang-Guang Xu period, 1850-1900 Chinese Chinese Qing dynasty (1644-1912) Qing dynasty (1644-1912) porcelain with glaze embroidered silk satin, trimmed with silk satin MWCH 22:23 piping and lined with hemp tabby MWCH 45:1 Hexagonal Bowl with Floral Design Yong Zheng period, 1723-1735 Daoist Priest's Coat (Hong-i) Chinese Jia Qing-Dao Guang period, 1800-1850, dated by Qing dynasty (1644-1 912) inscription in lining to second month, 1804 or 1864 porcelain with enamel Chinese MWCH 23:1 Qing dynasty (1644-1912) embroidered silk satin, lined with hemp tabby, silk Pair of Blue and White Mallet-Shaped Vases satin at sleeve openings, cotton tabby band at neck with Fish MWCH 45:2 Kang Xi period, 1662-1722 Chinese Woman's Nonofficial Formal Coat Qing dynasty (1644-1912) Dao Guang-Guang Xu period, 1850-1875 porcelain with underglaze Chinese MWCH 23:30 Qing dynasty (1644-1912) MWCH 23:31 embroidered silk gauze, trimmed with gold­ wrapped-thread ribbon and silk tabby piping Pair of Vases with Design of Waves MWCH 45:10 and Dragons Qian Long period, 1736-96 Emperor's Semiformal Court Coat (Chi-Ju) Chinese Qian Long dynasty, 1740-1760; Qing dynasty (1644-1912) remade and overembroidered, early 20th century porcelain with glaze Chinese MWCH 26:10 Qing dynasty (1644-1912) MWCH 26:11 embroidered silk satin with sleeve extensions of silk satin woven with sets of gold-wrapped threads, Pair of Shufu Molded Plates with trimming of silk compound satin weft-patterned Floral Relief Designs with gold-wrapped thread binding, lining of silk 14th century tabby Chinese MWCH 45:30 Yuan dynasty (1280-1368) porcelain with glaze Woman's Quasi-Official Vest MWCH 26:12 Dao Guang-Guang Xu period, 1850-1875; MWCH 26:13 remodeled later Chinese Imperial Inscription, "May There Be Prosperity Qing dynasty (1644-1912) for the Future Years" patterned silk tapestry wi th painted details with Kang Xi period, 1662-1722 facings of silk satin weft-patterned with gold­ Chinese wrapped thread, trimming of silk thread knotted Qing dynasty (1644-1912) fringes and tassels, lining of silk tabby calligraphy on paper MWCH 45:44 MWCH 35:1 Mandarin Square with Rabbit and Imperial Inscription, "Honesty and Diligence Gold Characters Enrich the Country" probably Qian Long dynasty, 1736-1796 Yong Zheng period, 1723-1735 Chinese Chinese Qing dynasty (1644-1912) Qing dynasty (1644-1912) embroidered satin with lining and trimming of satin calligraphy on paper MWCH 46:116 MWCH 35:2 Ceremonial Guard's Uniform Woman's Headdress Guang Xu-Xuan Dong period, 1900-1910 late 19th century Chinese Mongolian Qing dynasty (1644-1912) silver, semi-precious stones, human hair coat of embroidered silk with metal studs and plates; MWM 65:2 helmet of steel with sable tails and feathers MWCH 64:1

Woman's Headdress 19th century Chinese Qing dynasty (1644-1912) kingfisher feathers, pearls, precious and semi­ precious stones MWCH 65:2

JAPAN

Censer with Pierced Lid Wooden Box n.d. n.d. Japanese Japanese metal wi th top incised and sides decorated with Edo (1603-1867) or Meiji (1868-1912) period gold lacquerwork carved wood inlaid with brass, stones, MWJ 6:27 mother of pearl; silk cord with bead and stone toggle MWJ 13:4 Black and Gold Lacquer Letter Boxes n.d. Wooden Container with Lid Japanese 19th Century Edo period (1603-1867) Japanese lacquered wood Meiji period (1868-1912) MWJ 8:58 carved wood with lacquered interior MWJ 8:59 MWJ 13:5

Writing Table c. 1780 Yusei (drawing) and Koma Yasutaka (lacquerwork) Japanese Japanese Edo period ( 1603-186 7) lacquered wood with gold maki-e, silver metal Chest of Drawers in Two Pieces fittings c. 1700 MWJ 8:83 Edo period (1603-186 7) lacquered wood with gold maki-e, silver metal Tadakazu fittings Japanese MWJ 13:8a MWJ 13:8b Wasp's Nest with Persimmons C. 1870 Tosa-Style Illustrated Dowry Album of the Tale Edo period (1603-1867) of Genji (Genji Monogatari), Five Volumes carved wood 1688-1704 MWJ 13:1 Japanese Edo period (1603-1867) ink, colors, and gold on paper, bound in silk wrapper MWJ 35:5

PAG E NO • 1111

Panel of Cloth for a Young Girl's Kimono Ichikawa Yoshikazu with Design of Cranes, Tortoises, and Bamboo Japanese (1829-1899) C. 1790 Japanese Americans Edo period (1603-1867) 1861 indigo-dyed linen Edo period (1603-1867) MWJ 45:12 woodblock print MWJ Y51:Y5 Carpenter or Lumberman's Jacket late 18th century Foreigners' Household in Yokohama Japanese n.d. Edo period (1603-1867) Edo (1603-1867) or Meiji (1868-1912) period embroidered indigo-dyed hemp woodblock print MWJ 45:16 MWJ Y51:Yl2

Farmer's Jacket late 18th-early 19th century Japanese lchimosai Yoshitora Edo period (1603-1867) Japanese (fl. 1850-1880) cotton embroidered with indigo-dyed thread MWJ 45:17 America n.d. Edo (1603-1867) or Meiji (1868-1912) period woodblock print, diptych MWJ Y51:Y30 MWJ Y51:Y31 American Wandering and Drinking Suit of Modern Armor (Tosei Gusoku) n.d. early 18th century Edo (1603-1867) or Meiji (1868-1912) period Japanese woodblock print Edo period (1603-1867) MWJ Y51:Y41 lacquered iron, leather, fabric MWJ 64:1

Stirrups (Abumi) Ichikosai Yoshimori n.d. Japanese (1831 -1885) Japanese iron, silver, lacquer A Glance at Miyozaki Street MWJ 64:3 1861 Edo period (1603-1867) woodblock print MWJ Y51:Y40

Sword Blade by the lchimonji School with 18th-century Scabbard blade, 1324-1325 scabbard, c. 1780 Japanese Kamakura (1185-1336) and Edo (1603-1867) periods blade, metal; scabbard, lacquered and mounted with inlaid metal MWJ 62:41

WESTERN ARTISTS

Helen Hyde The Red Umbrella American (1868-1 919) 1915 etching The Bridge, Hang Chow MWA 54:Hl4 1907 (inscribed "To Clug Warner, A Souvenir of House­ boat Days together") watercolor Elizabeth Keith MWA32:H2 Scottish (1887-1956)

The Muslin Shop on Nanking Road, Shanghai Black and White 1907 c. 1925-1936 watercolor woodblock print MWA32:Hl0 MWB 51:Kl

I Baby San Blue and White 1899 C. 1925-1936 etching woodblock print MWA54:Hl MWB 51:K2

PAGE NO. 11 ,

Sport in Peking F enollosa, Ernest F. Ursprung und Entwickfung der 1922 chinesischen undjapanischen Kunst. Two volumes. woodblock print Leipzig: Karl W. Hiersemann, 1923. MWB 51:K48 Harada, Jiro. Examples of Japanese Art in the Imperial White Buddha, Seoul, Korea Household Museum. C. 1925-1936 Tokyo: The Imperial Household Museum, 1934. woodblock print MWB 51:K54 Hunter, Dard. Chinese Ceremonial Paper A Monograph Relating to the Fabrication of Paper and Tin Foil and the Use of Paper in Chinese Rites and Religious Ceremonies. N .p.: The Mountain House Press, 1937. Maude I. Kerns American (1876-1965) Laufer, Berthold. Chinese Clay Figures. Part I. Prolegomena on the History of Defensive Armor. Sumi-e Crab The Mrs. TB. Blackstone Expedition. n.d. Chicago: Field Museum of Natural History, 1914. watercolor Maude Kerns Archives M. Tch'ou To-Yi. Bronzes Antiques de fa Chine MKA appartenant a C.T Loo et Cie. Edited by G. Van Oest. Paris and Brussels: Librairie Nationale d'Art et Sumi-e Horses d 'Histoire, 1924. 1937 watercolor Mason, George Henry. The Costume of China, Maude Kerns Archives lffustrated by Sixty Engravings. MKA 162 London: W. Miller, 1800.

Sumi-e Fish Maspero, M. Georges. Un Empire colonial franrais n.d. f'Indochine. Two volumes. watercolor Paris and Brussels: Les Editions G. Van Oest, 1929 Maude Kerns Archives and 1930. MKA Reed Warner, Worcester. Selections from Oriental Objects of Art Coffected by Worcester Reed Warner Most of Which Have Been Presented to the Cleveland Museum of Art. New York: Bartlett Orr Press, 1921.

Siren, Osvald. The Waifs and Gates of Peking Researches and Impressions by Osvafd Siren. New York: Orientalia, 1924.

Weber, V. -F. "Koji Ho-ten" Dictionnaire a !'usage des amateurs et coflectionneurs d' objets d'art japonais et chinois. Two volumes. Paris: Chez ]'auteur, 1923. GERTRUDE BASS WARNER EPHEMERA

Gertrude Bass Warner, Train diary, November, 1924.

Gertrude Bass Warner, "When \,Vest Meets Ease," unpublished manuscript, 1924.

Gertrude Bass Warner, Yangtze River diary, 1908.

Menus from ocean liners.

Calling cards from antique dealers in China and Japan.

Poster announcing Murray Warner Essay Contest.

Drawing of the Museum of Fine Arcs, The First Unit, colored pencil and watercolor.

Drawing of the Museum of Fine Arcs facade, pencil and watercolor.

Drawing of the Ease End, P. L. Campbell Memorial Court in the Museum of Fine Arcs, pencil and watercolor, 1929.

Study for the Main Entrance, Museum of Fine Arcs, pencil and watercolor, 1929.

PAG E NO •11111111111"G 1Vi\U§EU2Vil Of' ART §TAFJF' MiU§EUM OJF ART lBOAiRD OJF DHRECTOR§

David A. Robertson Susie Anderson Nancy Lindburg Director Ted Baker John MacKinnon Roger Best John Moseley Heather Brown Gwyneth Booth Judy Murphy Collections and Public Relations Assistant Judy Cleaveland Susie Pape Nannie Cole George Pernsteiner Stephen Deck Jo Courtemanche Dan Powell Administrative Assistant Steve Durrant Hope Pressman Ann Edwards Ginevra Ralph Lawrence Fong Barbara Edwards Marge Ramey Associate Director Amy Fields David A. Robertson Nonie Fish Roger Saydack Richard Gehrke Dede Gilchrist Jon Schleuning Photographer Antoinette Hatfield Jordan Schnitzer Del Hawkins Dana Skillern Maureen Keefe Linda Lawrence Suzanne Storms Millis Director of External Affairs

Catherine Kenyon Assistant Registrar

Charles Lachman Curator of Asian Art

Jean Nattinger Assistant Registrar

Kurt Neugebauer Exhibition Designer/Preparator

Dorothy Schuchardt Housekeeper

Ethel Weitman Administrative Assistant

The University of Oregon Museum of Art exhibition program for 1996-1997 is supported in part by a grant from the Institute of Museum Services, a federal agency supporting the nation's museums, the Oregon Arts Commission and the National Endowment for the Arts, the Oregon Community Foundation, and media sponsors KMTR NBC-16. The University of Oregon is an equal­ opportunity, affirmative action institution committed to cultural diversity and compliance with the Americans with Disabilities Act. This publication will be made available in accessible formats upon request.