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Berkeley, California
October 21, 1935

MEMORIAL RESOLUTIONS FOR PROFESSOR NAHL

Perham Wilhelm Nahl was born in San Francisco in 1869, the son of H.W. Arthur Nahl and Annie Sweeney Nahl, both pioneers in the settlement of California. On his father's side, the German ancestors of Professor Nahl were artists. His great-great-grandfather, Johann August Nahl, sculptor and decorator, designed the interior of the library of Frederick the Great at Sans Souci, the fountain figures of Poseidon and Amphitrite in the Lustgarten in Berlin, reliefs on the Royal Opera House and other notable works. Feulner calls him the most inventive decorative artist of the German rococo. The great-grandfather, who bore the same name, was a teacher in and director of the Akademie in Kassel. Charles Nahl, [[strikethrough]] (?) [[/strikethrough]] an uncle of Perham Nahl was a prominent artist in the early days of California. 

Our colleague was twice married: in 1894 to Nan Wood and in 1908 to June Connor. A son by a first marriage, Malcolm W. Nahl, lives in San [[strikethrough]] Rafael [[/strikethrough]] Anselmo. By the second marriage a son, Parham C. Nahl, Teaching Assistant in Economics, and a daughter, Mary Nahl, live with their mother in Oakland.

Perham Nahl's education as an artist, begun informally at home in childhood, was formally initiated at the Mark Hopkins Institute of Art (now the California School of Fine Arts [[strikethrough]] and Crafts [[/strikethrough]]) which he attended from 1899 to 1906. Here he received honorable mention and scholarships in drawing, painting, design and composition, as well as the highest certificate to teach drawing, modeling, perspective, anatomy, composition of design and art history.

His first connection with the University was in 1906, January to May, when he was Instructor in Drawing in the School of Architecture. Resigning at the end of the year, he spent the remainder of 1906 and part of 1907 in study at the "Atelier" in Paris, but chiefly in the Heymann Akademie in Munich. Therewith he ended his institutional training, but he became interested toward the last decade of his life in Japanese Art and, after wide reading in the field at home, devoted a semi-sabbatical in 1928 in the museums of Japan.

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