Page 229 - C.T. Loo A paper about his impact and activities in the Chinese art Market

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gallery. Loo knew that no advertisement could be as effective as placing his objects at

Rockefeller’s home, which were visited by all kinds of celebrities, who could potentially

become Loo’s clients. In 1929, Loo wrote to Rockefeller, “ The honor of having placed

some of my things in your famous collection is worth more to me than the material

question, and the pleasure it will afford me to know that some of my objects are in your

house has decided me to gladly accept your kind offer.” 441 Loo’s intention was clearly

indicated by the same letter in which Loo asked Rockefeller whether he could bring his

442
buyer to visit his family gallery.

It is noteworthy that Loo’s exhibition events had an ephemeral nature, and their direct

impact could only be felt by visitors. Loo’s exhibitions usually lasted for a brief period of

time, ranging from a few days to a month. The number of visitors was also limited. The

use of photography, printed media and other reproduction technology created lasting and

pervasive display venues for Loo’s business. Thousands of well-organized negatives and

photographs made mostly in the 1930s and 1940s in the Frank Caro Archive attest to

Loo’s heavy reliance on the production and dissemination of images. In this way, Loo

turned photographs, newspapers, magazines, catalogues, and books into his virtual

galleries. The image of the kneeling bronze figure (Minn. 50.46.114), for example,

appeared in a variety of media and places. It was photographed by Loo, and later

published in the Bulletin of the Minneapolis Institute of Arts. The image of this statue

was also included in A Catalogue of the Chinese Bronzes in the Alfred F. Pillsbury

441
C. T. Loo to JDR Jr, December 18, 1929, folder 1370, C. T. Loo 1916-1949, box 137,
OMR-RAC.
442 Ibid.