Page 206 - C.T. Loo A paper about his impact and activities in the Chinese art Market

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again the colossal marble statue, lent by Mr. C. T. Loo, of a standing Maitreya, nineteen

feet high, which dominates the exhibition from its commanding position in the Central

Hall.” (Percival 1935, 176) The display of this colossal statue in the international

pageantry of art and politics was a two-edged sword. It not only effectively advertised

Loo’s business, but also served a nationalistic and political agenda, as suggested by the

presentation of the statue later by the Chinese government to the British Museum to

commemorate this exhibition (Gray 1985-6, 13) (Fig.64).

Volume, scope, quality, and medium also helped to convey the sense of grandeur.

Impressed by the more than 1,000 pieces in all major media dated from the Shang to the

Qing dynasties at Loo’s 1941-2 Exhibition of Chinese Arts, the New York Times

acclaimed it as “the procession of the art of China through the ages” 407 . Loo’s exhibitions

were known for their encyclopedic scope as well as the high quality of the objects on

display. Loo noted in the 1941-2 sale catalogue, “ I understand that our Gallery has been

considered an exclusive place with high prices…I have always consistently tried to

present each individual type of object at its best period and highest quality and to avoid

objects that only have an effective appearance with uncertain authenticity.” (Loo 1941,

Introduction)

Loo’s signature collection included not only large-scale stone sculptures but also a

group of exquisite ancient bronzes and jades characterized by their superb draftsmanship,

precious materials, and decorative splendor. A large group of antiquities dated to the

period of Warring States well illustrated the features of the “Looesque”. An outstanding

407 New York Times, December 28, 1941.