Founded in 1933, the Seattle Art Museum is home to a premier
collection of Chinese art. This book is the first to chronicle and
analyze the growth of the collection, which was largely assembled
during the first half of the twentieth century. Reviewing more than
one hundred boxes of museum archives, annual reports,
correspondences, and available records of all transactions, Josh
Yiu provides a nuanced account of Seattle U s Chinese art
collection, and reconsiders the UIgolden age U? of collecting
Chinese art in the early twentieth century. Yiu demonstrates the
challenges for Westerners to acquire authentic objects of
historical significance when Chinese art study in the West was in
its nascent stage. He argues that a first-rate collection is a
condition that needs to be maintained through relentless quest for
superior objects. As a case in point, Seattle U s collection of
more than 2,500 objects was not merely accumulated over time, but
distilled through decades of nimble acquisitions and deaccessions.
The main figure behind this story is the founding director Dr.
Richard Fuller (1897 UO1976), who started collecting as early as
the 1910s. In contrast to conventional hagiographical accounts of
museum patrons, Yiu shows how Fuller U s interest shifted from
tourist souvenirs to high-quality objects that represent China U s
artistic legacy, and how he refined the collection over time.
Gradually Fuller became a great collector through diligent study
and earnest consultation with experts, such as Sherman Lee. The
book thus serves as a vivid reminder that good collection requires
much more than resources and UIgood taste. U?"
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