From the Gilded Age to World War II, elite collectors and museums in the United States transformed from owning a smattering of Chinese porcelain as curios to possessing some of the world's largest and most sophisticated collections of Chinese art. Imperial Stewards argues that, beyond aesthetic taste and economics, geopolitics were critical to this transformation. Collecting and studying Chinese art and antiquities honed Americans' belief that they should dominate Asia and the Pacific Ocean through the ideology of imperial stewardship—a view that encompassed both genuine curiosity and care for Chinese art, and the enduring structures of domination and othering that underpinned the burgeoning transpacific art market.

Tracing both transatlantic and transpacific networks across the Pacific and the Atlantic, K. Ian Shin uncovers a diverse cast of historical actors that both contributed to US imperial stewardship and also challenged it, including Protestant missionaries, German diplomats, Chinese-Hawaiian merchants, and Chinese overseas students, among others. By examining the development of Chinese art collecting and scholarship in the United States around the turn of the twentieth century, Imperial Stewards reveals both the cultural impetus behind Americans' long-standing aspirations for a Pacific Century and a way to understand—and critique—the duality of US imperial power around the globe.