Wednesday, August 6, 2025

Siuling Wong, Artist in the United States and Hong Kong from 1938 to 1947

In 1938 Siuling Wong filed a travel application at the American Consulate General in Hong Kong.
 

“Siu-Ling Wong” (line 7) was aboard the ship President Coolidge when it departed Hong Kong on August 25, 1938. He arrived at San Francisco, California on September 12, 1938 and admitted the same day. His Chinese Exclusion Act case file number was 38510/008-07.


Wong studied at the California School of Fine Arts.

 
Wong has not been found in the 1940 United States census. On October 16, 1940 Wong signed his World War II draft card. His San Francisco address was 855 Kearny Street. He was described as five feet four inches, 130 pounds, with brown eyes and black hair.


San Francisco Art Association Bulletin, June 1939
California School of Fine Arts
List of Awards of Merit and Scholarships given at the close of the School year—May 19th, 1939.

Life Drawing: Frances Breitstein, Edward Corbett, Richard Hackett, Sturges Mower, Norma Taylor, Georgia Vail, Gregory Golubeff, Beverly Leslie, Florence Short, Louis Stewart, Walter Witt, Leo Holub, Leonard B. Horner, Elizabeth Jorgensen, Wayne Lammers, Isabel Parker, Frank Taira, Harold Taylor, Clayton Lewis, Siu Ling Wong.
San Francisco Art Association Bulletin, July 1940
Student Show at Art School
The California School of Fine Arts held its annual reception and preview of student work on the afternoon of May 17. ...

Awards of Merit
Life Drawing: Lee Blodgett, Edward Corbett, Walter Dale, Isabel Parker, Siu Ling Wong, Dan Bickel Jr., Hewitt Clark, Gregory Golubeff, James O’Hara, Mar- ...
Berkeley Daily Gazette (California), January 30, 1941
Santa Cruz Art League Awards Exhibit Prizes
The 12th State-Wide Area Exhibition to open Sunday, Feb. 2, in the Municipal Auditorium in Santa Cruz, sponsored by the Santa Cruz Art league, today announced prizes as follows:

... Second prize for oil, $30, was awarded Siuling Wong of San Francisco—for “Lady With Red Scarf.” ...
Oakland Tribune, February 2, 1941
Santa Cruz Annual to Open Today
Two art annuals of especial interest to Californians are approaching. The first is the Santa Cruz Art League’s 12th State-wide annual which will open today at the new Civic Auditorium, Center and Church Streets, Santa Cruz. The second is the Oakland Art Gallery’s annual exhibition of oils which will be held March 2–30.

… Other awards were as follows:
Second prize in oils, $30—“Lady With Red Scarf,” Siuling Wong, San Francisco. ...
Santa Cruz Evening News, February 3, 1941
Santa Cruz Art Exhibit
Santa Cruz Art League, 12th annual state art exhibit, in civic auditorium February 2 through February 10. Sponsored locally and attracting 201 exhibits from California.

... Second prize picture in oils is of a semi-nude by Siuling Wong of San Francisco, called “The Lady with Red Scarf.” His picture is ripe in color, yet subdued, with perfect tonal harmony and very much alive. ...
Santa Cruz Sentinel, February 6, 1941
Visitors Express Pleasure in Art League’s Exhibit at Civic Auditorium
Santa Cruz Art League mailed four checks yesterday to the artists who won cash prizes in the state-wide art exhibition, sponsored by the league, in the civic auditorium February 2–16.

… Siuling Wong, San Francisco, who received the second prize for oils ($30) entered “The Lady with the Red Scarf.” These prizes were offered by the Art League. ...
Oakland Tribune, February 9, 1941
Good Works at Santa Cruz Exhibition
... The second prize for oils ($30) was won by Siuling Wong, San Francisco, for a semi-nude, “The Lady With the Red Scarf.” It’s a good painting, probably with more black outlines than necessary, but that is a matter of opinion. ...
Art Digest, February 15, 1941
Santa Cruz Winners
The 12th State-Wide Exhibition sponsored by the Santa Cruz (Calif.) Art League constitutes a lively unveiling of art production in art conscious California (through Feb. 16). The exhibits, representing artists from many sections of the state, were selected by Thomas A. McGlynn, Mrs. Florence Earnist and Paul Whitman, who also named the show’s prize-winners.

Top prize in oil went to L. E. DeJoiner for his Fishermen’s Village, second prize to Siuling Wong for Lady with Red Scarf, and honorable mentions to Ann Wilson, R. Jerome Jones and Burr Singer. The watercolor prize was awarded to William C. Watts for Indians Fishing, second prize to Emil J. Kosa, Jr., with honorable mentions going to Karoly Fulop and Jade Fon. …
San Francisco Art Association Bulletin, March 1941
Current Exhibitions
… March 26, Watercolors by Wong Siuling. …
San Francisco Chronicle, March 29, 1941
Coming Events in S. F. For Today and Tomorrow
... Tomorrow
San Francisco Museum of Art—Paintings by Kay Saze, Kenneth Morrison, Wong Siuling, Fred Vidar and Arthur Murphy; small sculpture exhibit; water color exhibition by the San Francisco Art Association; 12 noon to 10 p.m.
Oakland Tribune, March 30, 1941
Three New Exhibitions at S.F. Museum of Art
Three exhibitions opened Tuesday for previews at the San Francisco Museum of Art. They were the fifth annual water-color exhibition of the San Francisco Art Association, the retrospective exhibition of painting by Kenneth M. Morrison and an exhibition of water-colors by Wong Siuling.  ...

... Wong Siuling, whose water-colors are being shown, is a young Chinese artist now studying in this country on a fellowship from the Chinese Government.
San Francisco Chronicle, March 30, 1941
... The last of the week’s openings at the San Francisco Museum is devoted to watercolors by Wong Siu Ling, a Chinese artist who has served in the armies of Chiang Kai-shek, and who was sent to San Francisco by the Chinese government apparently for the purpose of keeping him out of the way of the scrap iron and lead San Francisco has been shipping to Yokohama. His earlier pieces, painted before coming to this country, are rather small and rather messy, a little like the run-of-the-mill Oriental studies painted by European and American illustrators for expensive travel books. His later things, all painted here, are much more Chinese in feeling. They have the fluent and vigorous brushlike of Chinese calligraphy; they are spacious and brand; their line swoops and vibrates, and their color exploits fine, thin washes like those of the ancient Chinese tradition.
San Francisco Chronicle, May 8, 1941
Miss Linda Y.C. Wu and Wong Siu-Ling
“Look, these are hers”

A Story of New China
Art Plays Cupid’s Role in a Chinese Romance

Wong Siu-Ling saved his 14-year-old life by drawing pleasing pictures of his bandit-captors in China.

Today, at 31, he is safe in America, painting San Francisco scenes.

Wong was sent here by Generalissimo Chiang Kai-shek to study painting. Later Chiang wants him to return to China and paint a heroic mural glorifying the struggle of the Chinese people for freedom.

Yesterday he attended his own exhibition of oils and water colors at the headquarters of San Min Chu I—the Chinese Youth Organization founded by Chiang. It is at 819 Sacramento street.

He was excited about the exhibit—so many people had come to see his paintings.

“My name is Wong Siu-Ling,” he said. “But please call me Ling. My friends do. Wong is my family name. In China there are plenty Wongs—like Smith here.”

A slight, beautiful Chinese girl came in. “Please meet my fiancee, Miss Linda Y. C. Wu.” Miss Wu smiled shyly.

“Look,” Wong said. “These are hers.” He pointed to three sculptured heads. “I read in the paper that I was having a one-man show here. I’m not. These are hers.”

“This is Ling,” Miss Wu pointed to the almost completed head she is doing of her fiance.

They told all about it—how they met in China, how he was sent here and she followed.

Wong boasted about Miss Wu. “She only started sculpturing this year,” he said. “We visited Raymond Puchinelli’s studio—he’s a sculptor, too, and she picked up a little piece of clay. Never before had she worked with it. Very quickly she molded a little duck. Puchinelli thought it was wonderful—he still has it. When Linda learns English a little better, she will have a scholarship with him at Mills College.”

In China Wong often painted with Miss Wu’s distinguished father, Wu Cho-bun, foremost Chinese painter of Mongolian tigers.

“When Miss Wu was just a little girl (now she’s 20), her father entrusted her to my care,” Wong said.

Two years ago he had to leave to come to America. He had been painting murals in Shanghai and Hongkong. He had won many first prizes for his water colors at the Hong Kong Art Club. “But when I left,” Wong wrinned [sic] and Miss Wu became even more shy looking. “She came too.”

Both are students at the California School of Fine Arts, where Miss Wu is studying under Ralph Stackpole.

Wong holds a commission of Captain in the army of Chiang Kai-shek. When the bandits raided his school in the Toishan district and carried off Wong and his schoolmates, they treated him well as a reward for his drawings of them.

Soon Wong will exhibit his paintings at the Palace of the Legion of Honor and at Stanford University.

The current exhibit [is] at 819 Sacramento street and will remain open until Sunday evening.
San Francisco Chronicle, May 9, 1941
It’s News to Me by Herb Caen
Add artistic temperament: Incidentally, there was a little behind-the-scenes controversy just before the Rice Bowl Festival started. Some of Chinatown’s great artists, like Don Kingman and Wong Siuling, formed an art section to exhibit their works during the celebration. The festival directors placed them under the committee on decorations. To the artists, this was the prime insult. “Our works,” they said, “are creative—not decorative.” So the art section was transferred to another group, to everyone’s satisfaction. The artists were placed under—the committee on entertainment.
Lodi News-Sentinel, (California), May 17, 1941
Lion Dance at Rice Bowl
Ceremonial dances are traditionally part of all important celebrations in China and among the most popular is the lion dance, to be featured at the Rice Bowl party in Stockton Chinatown today and tonight, May 17. ...

... Of a different nature will be the attraction at the House of Wong, 131 East Washington street. There a Chinese art collection will be exhibited by Chan Yum Bei, prominent San Francisco artist. Both he and Wong Siu Ling, another San Franciscan, will exhibit their own work for sale.
Art Digest, June 1, 1941
Right Church, Wong Pew
There was a little behind-the-scenes controversy brewing in San Francisco just before the opening of the recent Rice Bowl Festival, all of which Herb Cain duly reports in the Chronicle. It seems that some of Chinatown’s leading artists, “like Dong Kingman and Wong Siuling, formed an art section to exhibit their works during the celebration. The festival directors placed them under the committee on decorations. To the artists this was the prime insult.

“ ‘Our works,’ they said, ‘are creative, not decorative.’ So the art section was transferred to another group, to everyone’s satisfaction. The artists were placed under—the committee on entertainment.”
Sixty-First Annual Exhibition: Oil, Tempera on Panel, and Sculpture
San Francisco Art Association, September 11 to October 5, 1941
San Francisco Museum of Art
Siuling, Wong   San Francisco
235. Girl and Gown (oil)
Wong moved to New York for further studies at the Art Students League. A letter dated September 16, 1941, from the California School of Fine Arts, confirmed his departure.
 

The New York Times, October 26, 1941
War Nations’ Art Display Lauds Women
In a dramatic setting recognizing the part women in England, China and Russia are taking in the defense of their countries, the Women’s National Exposition of Arts and Industries will open tomorrow for one week at Grand Central Palace. Here the handicrafts of countries that have fought against Hitler and those still fighting will receive honorary haven. And these arts, along with time-tested and modern crafts of own country, will be highlighted in a promotion of occupational therapy for every one, in keeping with the slogan of the exposition, “Steady Hands Make Steady Nerves.” ...

China Shows Hand Looms

Large panels flanking the entrance within the palace, painted by Wong Siu-ling and Miss Gertrude Hermes, bring into prominence the women working in industrial cooperatives of China and the multiple achievements of British women aiding the war effort.

“In free China,” Mme. Lin Yutang, one of the sponsors of that exhibit, explained, “utilizing the ancient methods of production is a purely practical idea. It is difficult to get machinery now. Furthermore, it helps solve the problem of living for the 50,000,000 refugees who have moved into the interior from the coast. In the caves housing many of the cooperatives, women and men are using the old hand looms, spinning and weaving textiles for blankets and uniforms for the soldiers.” ...
New York Post, October 27, 1941
Chinese and British Join in Show.
To emphasize the close unity of China and Great Britain in the present world crisis, China and the British Commonwealth are sharing the most important exhibit space at the 18th Annual Women’s National Exposition of Arts and Industries in Grand Central Palace from today through Saturday. The exhibits are spectacular.

As visitors enter the vast exhibit hall they face two large booths at the head of the stairs, identical in size and design, highlighted by two great signs similarly lettered, “Women of China” and “Women of Britain.” At the right is the exhibit sponsored by United China Relief and at the left that of the British Commonwealth.

In the Chinese exhibit six specially-built panels, hand-drawn and illustrated by Wong Siuling, famous Chinese artist who exhibited recently at the San Francisco Museum of Art, show Chinese women at work, engaged not only in the new vest-pocket industries developed since the war began, but at their usual peace-time occupations.

Across the aisle, British women at work are shown by McKnight Kauffer, top poster artist in Britain who had a recent show at the Museum of Modern Art. Flanking these panels at the right are the Chinese lion, symbol of Republican China, and at the left the British lion.

The interior of the Chinese exhibit is filled with beautiful Chinese objets d’art for sale for the benefit of United China Relief. Chinese girls in native costume sell rare Chinese teas and other merchandise. Some of the notable objets in the collection are jewels collected by Madame Chiang Kai-shek from her friends in China and sent to this country in the care of Mrs. Lin Yutang, wife of the author-philosopher and chairman of the Chinese Women’s Relief Association. These jewels, including many rare and fine jades, are being sold to aid Madame Chiang’s war orphans.
Brooklyn Eagle (New York), October 28, 1941
Exposition Shows That Women Still Work for More Gracious, Peaceful Living

... In the Chinese exhibit six specially-built panels, hand drawn and illustrated by Wong Sio-Ling, famous Chinese artist who exhibited recent at the San Francisco Museum of Art, shows Chinese women at work, engaged not only in the new vest-pocket industries developed since the war began but at their usual peacetime occupations. ...
Wong wrote a letter, dated November 12, 1941, to the Immigration and Naturalization Service.


The Art Students League letter, dated November 12, 1941, confirmed Wong’s attendance.

 
 
Art Digest, November 15, 1941
Oakland Prizes
Prizewinners in the 9th annual Oakland Art Gallery watercolor and print exhibition, reported in the Digest’s last issue, have been announced. Top award went to Francis Todhunter for his Sunday Afternoon, second to Alexander Nepote for his East 8th Street and third to James A. Holden for his Nora.

Honorable mention winners were Tom Craig, Karoly Fulop, George Hamilton, Louis J. Hughes, Karl Kaston, Emil J. Kosa, Jr., Barse Miller and Siu-Ling Wong.
San Francisco Art Association Bulletin, January 1942
New Art Association Members not previously listed in the Bulletin include:

... Associate Artist: Felicia Altman, Marcia Bohr, Anne Porter Burmister, William G. de Classon, Leona Garibaldi, Dorothy Grover, Doris Hansen, June Foster Hass, Waldemar Johansen, Friedolin Kessler, William Kingwell, Minnie S. Lilley, Josephine Robbins, Wong Siu-Ling.
The New York Times, February 20, 1942
Chinese Officials Rent Apartments
Ping-Heng Li Is New Tenant in 285 Riverside Drive, Wong Siuling in West 57th St.
A Chinese delegate to the International Labor Conference and former representative of China at the International Labor Office in Geneva, Ping-Heng Li, has taken residential quarters consisting of seven rooms and three baths in the apartment house at 285 Riverside Drive in a lease arranged by the Apartment Renting Company, Inc., brokers.

Wong Siuling, a compatriot of the official, has taken a suite in 100 West Fifty-seventh Street through Walter & Samuels, Inc., ...
Magazine of Art, April 1942
April–May Exhibitions
Associated American Artists, 711 5th Ave.: Thomas Hart Benton; to Apr. 25, Paul Burlin; Apr. 15–May 4. Wong Siuling; May 6–21.
Art Digest, April 15, 1942 (repeated May 1, 1942; June 1, 1942; and July 1, 1942)


San Francisco Art Association Bulletin, April-May 1942
Wong Suiling [sic] held an exhibition of paintings in the galleries of the Associated American Artists, New York.
Magazine of Art, May 1942
May–June Exhibitions
Associated American Artists, 711 5th Ave.: Wong Siuling; to May 21. Sherman Raveson; May 25–June 10.
The Art News, May 1–14, 1942
New York City
Assoc. American, 711 Fifth
Paul Burlin, to May 11
Wong Siuling, May 6–21
The New York Times, May 3, 1942
Wong Siuling—Paintings by a young Chinese. Associated American Artists Galleries. (May 8–23.)

New York Sun, May 8, 1942

Relief Shows Dominate Week
The fact that China and her attempts to adapt herself to the Western order of things are very much in the public eye just now gives a certain added interest to the paintings that Wong Siuling is now showing at the galleries of the Associated American Artists in his first New York display. For the name of the artist seems the only Oriental thing about them. Yet we are told that he was a captain in the army of Generalissimo Chiang Kai-shek as far back as 1932 (he is but 31 now) and three years ago was sent to this country by his Government to absorb Western culture. Since his arrival he has studied at the Art Institute in San Francisco and at the Art Students League here. He has made so thorough a job of it that, for all his present paintings show, he might have been born in Pell street or the Chinese Quarter in San Francisco. Although purely Western in approach and handling, the inherited aptitude of his race for the medium may have aided him in his water colors, for they seem on the whole more accomplished than his oils. The former, which include a number of New York scenes, seem as American as John Whorf or Ogden Pleisner. His several portraits in oils, though naturally more sedately handled, display no alien influence, though all but one are devoted to Chinese subjects.

Part of the proceeds from the exhibition are to go to the United China Relief Fund.
The New York Times, May 8, 1942
News and Art Notes
An exhibition of oils and watercolors by Wong Siuling, Chinese artist, opened yesterday afternoon with a reception and preview at the galleries of the Associated American Artists, 711 Fifth Avenue. The artist, who is only 31 years old, fought in the army of Generalissimo Chiang Kai-shek in the defense of Shanghai, taught in the University of Kwangsi until it was bombed and forced to move inland, and, before coming to the United States, worked in the publicity department of the Central Chinese Government.

While here on a scholarship from the Chinese Government he is painting American scenes, hoping that his pictures, on his return to his native land, will help to better acquaint his people with this country. A part of the proceeds from the sales of paintings in the present show will be devoted to United China Relief.

The exhibition, which will open to the public today, will continue through May 23.
The New York Times, May 10, 1942
West by East
At Associated American Artists Galleries a Chinese painter, Wong Siuling, brings forward a large group of water-colors and several oils. All of this work is highly accomplished and all of it is, so far as I can see, entirely occidental, both in approach and in technique. The oils are strong and the water-colors very fluent and expert. Part of the proceeds from sales will go to the United China Relief.
Springfield Sunday Union and Republican (Massachusetts), May 10, 1942
According to the gallery’s press release, Mr. Wong “is the first artist of modern China to be sent to America instead of Europe as the seat of western art culture.” Studying in this country on a scholarship from the Chinese government, he has spent three years here. In this time, he has studied in California and at the Art Students league in New York and exhibited his work in San Francisco. In the current exhibition, on view till the 24th, it is interesting to compare the small water colors painted in China and larger water colors and oils painted in this country.

Mr. Wong started with the inheritance of a style which is transitional, representing the adaptation of the highly formal convention of the great periods of Chinese painting to the mood and needs of the modern world. Since the East and the West had ceased to be two separate zones of influence, the impact of Europe may be seen already in the water colors of Chinese subjects painted in China.

Though information is lacking as to what influences he came under in the United States, the general tradition is clear in his work: a modified impressionism has affected him, so that the water colors of American subjects are looser and freer and bigger (at least in size). At first glance, one might question whether the influence of the western world on the Chinese painter had been toward disintegration. And as far as technic goes, certainly he seems to have borrowed from the school of George Grosz.

However, there is a strong calligraphic quality in Mr. Wong’s water colors which holds them together. There are powerful linear movements of objects and forms, such as the piles in the scenes along the New York waterfront. He is actually drawing with a brush, adding to his native tradition color but otherwise putting the masterly convention of eastern calligraphy to work.

Add to this the artist’s keen interest in subject matter of the word about him, and we have a pretty good combination. The moral, perhaps, is: If China, a less industrially advanced country that our own, can find energy even in wartime to support culture, why cannot we?

A further word. Part of the proceeds of sales from the exhibition are being given to United China Relief.
In Wong Siuling’s One-Man Show
Exhibition at the Associated American Artists galleries, 711 Fifth
avenue, New York (through May 23). Upper: “Hong Kong Harbor,
1936” (left) and “Chinese Grandmother.” Lower: “Skyline for
Brooklyn,” painted as part of the artist’s record of America.
Art Digest, May 15, 1942
Wong Siuling Sketching America

Wong Siuling of China Exhibits in New York
Wong Siuling, 31-year-old Chinese painter, who fought as a captain in the army of Chiang Kai-shek during the seige [sic] of Shanghai, is holding his first American show at the Associated American Artists, New York (until May 23). Bombed out of his own University by the Japs, young Wong was sent to America on a scholarship from his Government and spent three years studying in San Francisco and the Art Students League in New York.

Except for the name, Wong’s fluent watercolors could have been painted by America’s own John Whorf, since there is little Oriental about these lively impressions of San Francisco, New York and their respective Chinatowns. Working in the best watercolor tradition, this young Chinese artist gives a comprehensive cross-section of big city life in America, with perhaps a touch of the intuitive observation of the East and a highly artistic sense of arrangement and color. Emphasis is not so much on brilliancy but on subtle atmospheric effects.

Considerable movement is felt in Columbus Circle, Mott Street—Chinatown and Market Street—San Francisco. In a different vein and treated in a simpler, perhaps more original manner, are the unusually patterned Dirt Road and The Old Wharf. Along with the American impressions is a series of studies of Kweilin, China. A few oils are also included, but these seem to have less freedom than the watercolors.
House & Garden, July 1942
Wong’s painting of Miss Wu Yee-Chau is in the background.
In September 1942, Wong filed an application to extend his stay in the United States.


Wong continued his studies at the National Academy of Design.


In a letter to an immigration official, Wong explained his situation.


Wong replied to the immigration official’s advice.


Art Digest, March 1, 1943
Nanking Artist Exhibits at Columbia
Siuling Wong, Chinese artist now occidentalized, will show his oils and watercolors at Columbia University’s Teachers College through March 6. Mr. Wong left Kwangsi and Nanking in 1938 to come to America. He attended four leading art schools in this country in quick succession. Result was, oriental qualities in his work were replaced by an American formula for acceptable painting in oil and watercolor. Reproduced herewith is his oil painting Lady with Red Scarf and the artist and Miss Wu Yee-Chau, student of sculpture at the National Academy school of art, are shown with the painting. Incidentally, we have learned that Wong has wooed and won Miss Wu.
The Art News, March 1–14, 1943
New York City
Teachers Coll., Columbia Univ.
Wong Siuling, to Mar. 6
Brooklyn Eagle, February 27, 1944
At the Art Galleries
American Watercolor Society Launches Its 77th Annual

... The closest approach we have ever seen to the inspirational art of Samuel Halpert is that of Wong Siuling in “San Francisco Ferry Building.” The intricate bridge and public buildings have been translated into an art of elimination by means of emphasizing only the essentials. It was not so long ago that this type of work was referred to as an unfinished sketch. ...
Wong filed for another extension.


After filing the extension, Wong and his wife were question by an immigration inspector.

Wong, Siuling e 100 W 57 St
Wu, Yee-Chau e 100 W 57 St
 The New York Times, May 2, 1945
Prizes to Be Given to Junior Artists
Young Painters and Sculptors to Get Awards at National Arts Club This Evening
The annual exhibition of work by junior members of the National Arts Club will begin with a preview this evening in the club’s gallery, 15 Gramercy Park. It opens to the public tomorrow and will remain through this month.

The jury of award has completed its task of judging, and prizes will be distributed at tonight’s preview as follows: In the oil division, first prize of $25 to Wong Siuling, for her [sic] portrait entitled “And the Storm Passed”; ...

The water-color prize of $10 goes to Hode Frankl, for “Land,” Wong Siuling to receive an honorable mention for “Campus Snow.” Linda Wu is to get the $10 sculpture prize, for a piece called “‘Supplication.” ...
Art Digest, May 15, 1945
The Versatile Wongs
Wong Siuling and his wife Linda Wu may congratulate themselves upon something of a cultural triumph in connection with the current annual exhibition of painting and sculpture by junior members of the National Arts Club. Mr. Wong was not only awarded first prize in the oil division for his portrait titled And the Storm Passed, but earned an honorable mention for his watercolor as well, while his wife’s head, Supplication merited a prize in the sculpture division.

Members of the jury of award responsible for this signal honor to the Wong family were: Alphaeus Cole, Van Deering Perrine, and Walter Biggs, for painting, with George Lober judging the sculpture.

Biographically speaking, Mr. Wong fought as a Captain in the Army of Chiang Kai-shek during the seige [sic] of Shanghai. Bombed out of his own University by the Japs, the artist was sent to America on a scholarship from his Government and spent three years studying in San Francisco and the Art Students League in New York. It was during his stay in New York that he met his wife, who was at that time studying sculpture at the National Academy School of Art. ...
Wong filed another extension.


The New York Times
, December 5, 1945
The Chinese Consul General, Dr. Tsune-Chi Yu and Dr. Lin Yutang, Chinese writer and philosopher, Will attend along with invited guests the preview this afternoon of an exhibition of oils and watercolors by Capt. Wong Siuling at Columbia University’s art gallery in University Hall. The exhibition will open to the public beginning tomorrow and may be seen from 9 A.M. to 5 P.M. daily, except Sundays. Captain Wong will soon return to China, where he will direct art projects for the Chiang Kai-shek government.
The New York Times, December 6, 1945
Chinese Artist Opens Show
The first New York one-man exhibition of pictures by Wong Siuling, Chinese artist, was held yesterday in the university art gallery of Columbia University. Almost equally divided between oils and watercolors, his pictures included a number of Columbia scenes. The exhibition will be open daily except Sundays, from 9 A.M. to 5 P.M. At present teaching in the university, the artist plans to return to China next year to do a series of murals for the Chiang Kai-shek government.
Art Digest, December 15, 1945
Wong Siuling—From China to Columbia
Wong Siuling is holding his second exhibition of oils and watercolors in the Art Gallery of Columbia University, where it was opened by the Chinese Consul General, Dr. Tsune-Chi Yu, on December 5. One would never guess from looking at his work that this young Chinese artist had been a captain in the army of Chiang Kai-shek during the siege of Shanghai, and was once bombed out of his own University by the Japs when that war was still referred to as The China Incident. His work is fluently Occidental now, and shows little trace of Oriental style.

The current exhibition includes a number of scenes around Columbia University where the artist is teaching now, including a well composed Campus Twilight. Other pictures noted are an outdoor portrait of Mrs. W. L. Bailey, and a watercolor impression of Park Row.
“Campus Twilight”, 1945
 
The New York Times, April 1, 1946
Openings Today at Art Galleries
... Paintings by the Chinese artist Wong Siuling are on view at the Friedman Gallery, 20 East Forty-ninth Street. ...
The New York Times, April 14, 1946
Stress on the Exotic
... A modern Chinese artist, Wong Siuling, is showing oils and watercolors, somewhat oriental in spirit and occidental in execution, at the Friedman Gallery, 20 East Forty-ninth Street. Especially successful are his misty river scenes of China
New Orleans States (Louisiana), September 24, 1946
Chinese Artist, Seeking Local Color, Paints in Rain
New Orleans’ French Quarter and business center were captured in quick water color brush strokes by an outstanding Chinese painter, Wong Siuling, upon his arrival here for a visit.

Wong, former Chinese army captain under General Chiang Kai-Shek and native of Canton, teaches painting at Columbia university and on his arrival here did paintings of the city in the rain. Columbia university is sending him over the country to capture its varied beauty.

“I placed my stool under a canopy on Canal Street or staid under the building of the Terminal railway station to paint in the rain, but today with the sun I hope to capture more of the color and warmth of the Vieux Carre.” Explained the 38-year-old artist.

Wong and his wife, Linda Wu Wong, a sculptress, have won prizers over the country. Her portrait head of herself and his painting of her attracted art critic attention last April at the showing at the National Art Club in New York.

At the age of 14, Wong was kidnapped by Chinese bandits, was ransomed for $5000 and made a sketch of his captors that led authorities to their hide-out.

Wong’s work may be exhibited in New Orleans shortly. He does not sketch his scenes before painting them but uses the meticulous, exact strokes of the traditional Chinese without changing his painting after he has begun.

His portraits are done with a study of the inner character or drama of his sitter with an appropriate background painted to interpret this.
Wong applied for an extension.


New Orleans Item
(Louisiana), September 25, 1946
Chinese Painter Pictures Quarter
Wong Siuling, former Chinese Army captain and now an art instructor at Columbia University, Tuesday visited New Orleans and set up his easel to paint some French Quarter scenes in the rain.

The artist, now on an [sic] nation-wide tour sponsored by the university, has taken many prizes with his work. His painting of his wife attracted wide-spread attention last April at the National Art Club in New York.
Times-Picayune (New Orleans, Louisiana), September 25, 1946
Wet New Orleans Is Being Painted
The first act of Chinese Painter Wong Siuling upon his arrival in New Orleans Tuesday was to set up his easel and put on canvas scenes of Canal street and the French Quarter in the rain.

The visitor, a former Chinese army captain and now art instructor at Columbia university, voiced belief that with the sun he could capture more of the warmth and color of the city.

He does his painting in bold, vivid free-hand, without preliminary sketching, and explained that his portrait painting emphasizes the inner characteristics of his subject, with interpretative background.

The artist, now on a nationwide tour sponsored by the university, has captured numerous prizes with his work. His painting of his wife, a sculptress attracted wide-spread attention last April at the National Art Club in New York.
Report of the Acting President of Columbia University for 1946
Paintings by Siuling Wong
In 1947, an exhibition of Wong’s paintings was held in Hong Kong.

Hongkong Telegraph
, October 25, 1947


Hongkong Telegraph, November 1, 1947
Mr. Wong Siu-ling, the artist, showing Lady Grantham his pictures
at a preview of his one-man show at the Hongkong Hotel on Monday.
Hong Kong Sunday Herald, November 9, 1947 
Lady Grantham attended the preview of Mr. Wong Siu-ling’s
art exhibition on October 27th. Picture shows Lady Grantham
with Mrs. Oliver (left) and Mr. Wong Siuling (right). Mrs. T.
W. Kwok is also in the picture.
Wong prepared for his return to the United States.

(Edan Hughes’ book, Artists in California, 1786–1940, identified the wrong person. Hughes said “Sui-Ling Wong” was born in California on May 20, 1884 and died in Monterey, California on January 2, 1968. Ancestry.com has the same birth and death information. However, the censuses recorded his occupations as Sacramento dry goods store proprietor (1920), Sacramento self-employed merchant (1930), San Francisco drugstore clerk (1940) and unemployed in San Francisco (1950). His obituary in The Californian, January 4, 1968, named his survivors and funeral service date. There was no mention of an art career.)
 
 
Related Posts
Siuling Wong, Artist in China and Hong Kong from 1909 to 1937
Siuling Wong, Artist in the United States from 1948 to 1989

 
(Next post on Wednesday: Siuling Wong, Artist in the United States from 1948 to 1989)

Wednesday, July 30, 2025

Siuling Wong, Artist in China and Hong Kong from 1909 to 1937

Siuling Wong aka Siu Ling Wong aka Wong Siu-Ling was born on October 7, 1909 in Taishan, China. The birthdate was on his naturalization petition and Social Security application. His birthplace was recorded on two passenger lists. (Edan Hughes’ book, Artists in California, 1786–1940, identified the wrong person. Hughes said “Sui-Ling Wong” was born in California on May 20, 1884 and died in Monterey, California on January 2, 1968. Ancestry.com has the same birth and death information. However, the censuses recorded his occupations as Sacramento dry goods store proprietor (1920), Sacramento self-employed merchant (1930), San Francisco drugstore clerk (1940) and unemployed in San Francisco (1950). His obituary in The Californian, January 4, 1968, named his survivors and funeral service date. There was no mention of an art career.)

So far the earliest newspaper mention of Wong, the artist, may have been two photographs published in 1931. Wong was profiled by artist Luis Chan for the Hongkong Telegraph, December 1, 1936. Wong’s decision to study at the California School of Fine Arts may have been influenced by meeting San Francisco artist S. B. Wong in Hong Kong (see Hong Kong Sunday Herald, February 28, 1937).

Hongkong Telegraph, December 5, 1931
Pictorial Supplement
A “pig study,” photographed by Mr. Wong Siu-ling,
noteworthy for good lighting effects.
 
The clam-gatherers, another effective 
study taken by Mr. Wong Siu-ling.
 
Mememtos
... The “set subject” this month was “shipping”, and about twenty entries were secured. Of these she selected a water-colour showing several junks moored at the Wanchai Praya, by Mr. Wong Siu Ling, who has been busy lately on the “murals” to adorn the Ball Room at the Hotel Cecil. ...


Two young Chinese artists at work at the studio of the Working Artists’ Guild. The picture in the background is a portrait by Luis Chan (left of Wong Siu-ling (right) at work. Lady Southorn selected one of Mr. Wong’s paintings of jumps as her parting gift from the Art Club. (“Herald” photo.)
Wong and Wu Yee Chau testified, on August 17, 1944 to a United States immigration officer, that they married on May 5, 1936 in Hong Kong.

China Mail
, May 16, 1936
At the Hotel Cecil yesterday Mrs. A. N. Macfadzen made an appeal for the Hong Kong Working Artists Guild, on the occasion of a gathering of members and their friends to view the mural decorations of the ball-room by Mr. Wong Siu-ling, one of China’s foremost artists.
Hongkong Daily Press, August 20, 1936
Artists’ Guild Exhibition
Opening to-Day at the Gloucester
A representative Exhibition of the Hong Kong Working Artists’ Guild, preparations for which have been in progress for some time, is announced to open to-day and will remain open for one week daily from 10 a.m. to 6 p.m. It is being heid at the Gloucester Building, 1st floor.

Amongst the exhibitors are Messrs. Luis Chan, Lee Byng, Lee Y. Tong, F. S. Nicholls, Pau Siu Yau, Wong Siu Ling, Mrs. A. N. Macfadyen, Mrs. B. Smith-Wright and others. ...
China Mail, November 21, 1936
Exhibition of Paintings by Mr. Wong Siu Ling
Another exhibition of the work of one of the group of young Chinese artists who are painting in the Western style has been arranged by the Hong Kong Working Artists Guild and will be open to the public on December 2, 3 and 4 from 10 a.m. to 6 p.m. at the Hotel Cecil.

Mr. Wong Siu Ling was commissioned some time ago to do the mural decorations in the ball-room of the Hotel Cecil, which have been very much admired both by Europeans and Chinese, and it adds to the interest of the exhibition of his paintings that it is being held in the ball-room.

A preview, to which a number of guests have been invited, is being held on December 1 from 4 to 6 p.m. His Excellency the Governor and Lady Caldecott have graciously consented to be present at the preview.
Hongkong Daily Press, November 21, 1936
Exhibition of Paintings
Chinese Artist’s Work on View
Mr. Wong Siu Ling
Another exhibition of the work of one of the group of young Chinese artists who are painting in the Western style has been arranged by the Hong Kong Working Artists Guild and will be open to the public on December 2nd, 3rd, and 4th from 10 a.m. to 6 p.m. at the Hotel Cecil.

Mr. Wong Siu Ling was commissioned some time ago to do the mural decorations in the ballroom of the Hotel Cecil which have bee very much admired both by Europeans and Chinese, and it adds the interest of the exhibition of his paintings that it is being held in the ballroom.

A preview to which a number of guests have been invited, is being held on November [sic] 1st from 4 to 6 p.m. His Excellency the Governor and Lady Caldecott have graciously consented to be present at the preview.
Hongkong Telegraph, November 21, 1936
Chinese Art Exhibition
Fine Show Very Shortly
Another exhibition of the work of one of the group of young Chinese artists who are painting in the Western style has been arranged by the Hongkong Working Artists’ Guild and will be open to the public on December 2, 3 and 4 from 10 a.m. to 6 p.m. at the Hotel Cecil.

Mr. Wong Siu Ling was commissioned some time ago to do the mural decorations in the ballroom of the Hotel Cecil which have been very much admired both by Europeans and Chinese, and it adds to the interest of the exhibition of his paintings that it is being held in the ballroom.

A preview to which a number of guests have been invited, is being held on December 1 from 4 to 6 p.m. His Excellency the Governor and Lady Caldecott have graciously consented to be present at the preview.
Hong Kong Sunday Herald, November 22, 1936
Exhibition of Paintings
By Mr. Wong Siu Ling
Another exhibition of the work of one of the group of young Chinese artists who are painting in the Western style has been arranged by the Hong Kong Working Artists Guild and will be open to the public on December 2, 3 and 4 from 10 a.m. to 6 p.m. at the Hotel Cecil.

Mr. Wong Siu Ling was commissioned some time ago to do the mural decorations in the ball-room of the Hotel Cecil which have been very much admired both by Europeans and Chinese, and it adds to the interest of the exhibition of his paintings that it is being held in the ball-room.

A preview, to which a number of guests have been invited, is being held on December 1 from 4 to 6 p.m. His Excellency the Governor and Lady Caldecott have graciously consented to be present at the preview.
Hongkong Telegraph, November 28, 1936
“The Arrival of the Empress,” a water-colour painting by Mr. Wong Siu-ling, whose exhibition is to be held at the Hotel Cecil on December 2, 3 and 4. (Oil version, in color, at askART)
Hong Kong Sunday Herald, November 29, 1936
Mr. Wong Siu Ling
Keeping to this more cheerful subject of the attempt to create beautiful things, the series of shows of the work of our local artists which the Guild has organised during the current year is to be rounded off next Tuesday by a show of the work of Mr. Wong Siu Ling at the Hotel Cecil. Mr. Wong has made a name for himself as a painter of mural decorations through the happy chance that some of his work shown in Hong Kong attracted the attention of one of the foremost Chinese artists, and he has a list of commissions to fulfill when he leaves Hong Kong at the end of the year. His exhibition of easel pictures, mostly water-colors, is in the nature of a farewell, we hope not permanent—both to Hong Kong and to his early methods. Those who remember the vigour of his sketches of the Chinese coast towns will not miss the chance of seeing his collected work.
Hongkong Telegraph, December 1, 1936
The Art of Wong Siu-ling
Special to “Telegraph” by Luis Chan
The Hongkong Working Artists’ Guild is presenting an exhibition of the work of Mr. Wong Siu-ling at the Hotel Cecil. A preview is arranged for this afternoon at 4 o’clock at which His Excellency the Governor and Lady Caldecott will be present, and the exhibition is open to the public for three days as from to-morrow.

In writing  on the art of Wong Siu-ling, I may claim to be a competent person for the purpose, considering my intimate acquaintance with him, thereby knowing not only his art but his personality.

Although Wong Siu-ling started his commercial career 10-years ago he did not do any fine art work until I knew him in 1929 when I too began my art career. Since then we have always had something to learn from, and influence in, each other’s work.

Broadly speaking, Wong’s art so far as the exhibits shown are concerned, can be divided into three periods—the preliminary, the Singapore and the Northern China periods.

The preliminary period dates from 1929 to 1931 when the artist mainly worked in the Colony and in Canton. In this we can clearly see that the commercial artist began to lay his hand on fine art using the colour scheme of commercial art. (No. 51 “Huts, Tungshan”).

In his Singapore period (1932 to 1933) there is still some influence of his poster colour scheme as “The Fountain” (No. 71) clearly shows. In “After Rain” (No. 70), however, the colour scheme has been changed to a more sombre note and the feeling of the Artist has fuller play.

In his Northern China period (1934 onwards) he became ambitious to do larger scale work as a result of the commission for mural paintings for the Bank of China at Shanghai in 1934 which he executed in co-operation with two other artists. In this period, however, he utilised n much fuller gamut of colours with great effect.

Since Wong’s return to the Colony in 1935 he has generally painted big scale watercolours but he has also experimented in oil painting with a pallette knife, and I may say that in the latter type of work he has certainly been influenced by myself.

There is occasionally a touch of harshness in the artist’s treatment of foliage, but with the exception of this the method adopted by the artist in painting landscapes in places ranging from Singapore to Peiping may be said to be as various as the places themselves, giving the sense of different atmospheres and expressing feelings and moods imposed upon him by the subject. Thus his style though individual is far from being monotonous.

Essentially Wong Siu-ling is a water colourist and his oil colour is still in the stage of being worked out. He seems to paint more vividly and more happily in water colours than in the oil medium but he is gradually finding his way out of the amateur’s tendency to harshness and muddle into a touch gaining in sureness and already very strong and pleasing.

Wong Siu-ling is leaving for Singapore at the end of this month. That there will be vital progress in his future work is certain because he is continually increasing his knowledge of the art of painting, and such progress will be eagerly and sympathetically watched by his intimate friend, the writer of this notice, who has so much in common with him, both of us being self-taught artists.
Hongkong Daily Press, December 2, 1936
An Artistic Treat
Mr. Wong Siu Ling’s Exhibition
The Governor’s Purchase
If you wish to give yourself an artistic treat, then go to the Ballroom of the Hotel Cecil and gaze upon one hundred paintings and sketches by a Chinese artist, Mr. Wong Siu Ling, whose work combines rare craftsmanship with an even rarer adroitness at capturing the sentiments of a scene or a living being.
continued on page 16

China Mail, December 4, 1936
Local News Brevities
The exhibition of paintings by Mr. Wong Siu Ling is to be continued for one more day and closes to-day at 10 pm., H. E. the Governor bought two pictures at the preview and has the intention, it is understood, of purchasing at least one more.
Hongkong Daily Press, December 4, 1936
Painting Exhibition
The exhibition of paintings by Mr. Wong Siu Ling is to be continued for one more day and closes Friday at 10 p.m.
Hongkong Telegraph, December 5, 1936
Captured Hongkong Artist Who Sketched Bandits

Once captured by bandits, Wong Siu-ling is shown with His Excellency the Governor who admired his pictures.

When Wong Siu-ling, whose exhibition of art at the Hotel Cecil ended yesterday, was 14, he and 27 boys of Sun Wui City, Canton, were captured by bandits and held for ransom for eight long months. During that time, the boys had a hard time, very little to eat and suffered such exposure and starvation that three of them died.

Wong gained special favour by the cleverness of his art for he would take a charcoal brand from the fire and draw portraits of his captors. Incidentally, he drew a sketch of the camp which proved useful to the police later, for when the boys were eventually ransomed for $5,000 each, Wong’s sketch was sufficient guide to result in the capture of the bandits.

Born at Tungshan, Wong was educated at Wah Yan College, Hongkong, and is now recognized as an artist of calibre.
Hong Kong Sunday Herald, December 6, 1936

“Landscape” was the title given to this painting which was shown
at the exhibition held by Mr. Wong Siu-ling at the Hotel Cecil.
The exhibition wan opened by His Excellency the Governor.
 
Hongkong Telegraph, December 10, 1936
Four Hong Kong Artists
Yee Bon and Wong Siu-ling do not present such a violent contrast as Luis Chan and Lee Byng, but the contrast is there. Yee Bon who held an exhibition, with Lee Byng, recently in Gloucester Building, also received his training in the Ontario College of Art and at a very, early age found recognition in the form of scholarships, prizes and admittance to important exhibitions.

Wong Siu-ling, on the other hand, whose exhibition was held last week in the Hotel Cecil, is entirely self-taught.

Luis Chan stands isolated as much by his own will as by the force and virility of his work, Lee Byng by the intellectual quality of his, Yee Bon by his accomplishment, and Wong Siu-ling by a quality which he alone of the four appears to possess, that of appraising what he does at its real value.

This was the real contrast between Mr. Wong Siu-ling’s exhibition and those given by the other three young men. Mr. Wong hung his pictures so that the best were given prominence, the less successful in less favourable places. In the other exhibitions good elbowed bad, and, sometimes, because the good was less immediately compelling to the eye, was overshadowed by it.

Mr. Wong Siu-ling is self-taught, but Whistler’s comment made of another artist who made the same claim: “Yes and he has had a very bad master” does not apply. While Mr. Wong’s “master” remains his severest critic he is sure to make steady progress.

There is another point of contrast between Yee Bon and Wong Siu-ling which it is difficult to express in words.

Both are Chinese, both are working in the Western Style, Yee Bon has had his training in a famous art school in Canada, Wong Siu-ling has studied from books and from the paintings of other people which he has been able to see here in Hongkong, in Malaya and in China. Yee Bon for all his accomplishment is still mentally an art student, Wong Siu-ling is a student. Yee Bon, despite his birth and the centuries of tradition behind him, looks, as he paints, with Western eyes, his own personality and his racial instincts colour what he does and sees, but the basis of his observation is Western not Chinese. Mr. Wong Siu-ling is a Chinese artist studying and practising the art of the West. I do not know if he has any aptitude for painting in the Chinese style, if he started from that and then turned to the Western manner, but it seems evident that the mind behind the eyes which observe form and colour and set them down in the Western style, is Chinese.

The Chinese expression is, I believe, to read a picture, not to look at it, Mr. Wong Siu-ling, confronted with a landscape or a harbour scene, is not, one feels, swept away on a tide of desire to express the impression of the moment, but sets himself to “read” what he sees, to pick out from it its meaning, and in particular its meaning to him, and to set down that meaning as clearly and as plainly as he can on paper or canvas.

Here is a young man for whom one would have no fear if circumstances enabled him to go to Europe, or Canada, for a serious training. He might not progress very much further, but nothing could take from him what he has already.

Mr. Yee Bon may be a genius or his may be one of those gifts that flare up and die down. He paints in a variety of styles and the main impression created by his recent exhibition. was one of bewilderment.

There were two or three pictures that have already been exhibited in Canada in the National Gallery there, that were suave, careful and admirably controlled in composition, colour and technique; hanging near one of them was an oleographic effort that should never have seen the light of day. There were delicate and charming flower studies, and bold and flaunting ones painted with very little impulse beyond a desire to splash and riot in color. There were sensitive and carefully painted portraits, nudes sentimental and formless, and nudes of a brutal  ruthlessness in pose and color. There were landscapes which ranged from the oleographic through every style to a glittering cornfield topped with a full sun, the whole worked in bold pointillistic manner, and, between the two, strong and sensitive scenes of the countryside of his native land. Most arresting and astonishing of all were two big canvasses done in the Sickert manner, one of which he called “The Sew Amah” and the other “Street Scene”. Painted with freedom of technique, yet with the utmost restraint in colour and modelling, these two pictures had they stood alone would have been sufficient to convince one of his genius, to make one say; “It is intolerable that a man who can paint like that should, be left in Hongkong where he will, as things are at present, get so little chance or encouragement.”

If Yee Bon goes on, if his art grows as one feels that it must if he is given the help and encouragement of which he stands in need, these two pictures will be among those for which he will be remembered.

Hongkong has something to be proud of in having these, four young men, Luis Chan, Lee Byng, Yee Bon and Wong Siu-ling as citizens. Anyone of them may bring the Colony added honour, all of them have already contributed much which is of value. If the Art School which has beer already born in the minds of the group known as the Hongkong Working Artists Guild, becomes a reality, these four young men, who have all some experience of teaching, will be invaluable to it. Chinese themselves, with an understanding of Chinese art but practising successfully in the Western style, they will be able to teach the art of either country to students from the other.
China Mail, December 30, 1936
Local News Brevities
The art exhibition held at the Hotel Cecil and sponsored by the Overseas Chinese Fine Arts Association was a great success. Hundreds visited the show, among whom were Prof. Hsu Yi-shan, Messrs. Li Sing-kue and Wong Mou-lam. A large number of artists, including Messrs. Suey B. Wong, Fu Po-hsien, Ho Chi-yuen, Yung Siu-shek and Wong Siu-ling also attended.
Hongkong Daily Press, February 27, 1937
Artistic Evening
Music, paintings and explanations in abundance marked the local Theosophical Society’s meeting last Thursday. Introducing the musical programme arranged by Mr. Lau Kwong Chung, Mrs. O. M. Parkinson, M.A., quoted Rev. Cyril Scott, a clairvoyant, who said that all great music was inspired by higher beings and each piece had its special part to lay in the evolution of a race. ...

... Thanking Mr. Lau Kwong Chung, Mrs. Parkinson then introduced Mrs. Macfadyen who proceeded to give a short talk on some of the paintings which were exhibited in the Lodge room during the meeting. Among the paintings were those executed by Messrs. Luis Chan, Lee Byng, Wong Siu Ling, S. B. Wong and a few drawings by Mrs. Macfadyen herself. It was interesting to learn that both Luis Chan and S. B. Wong were entirely self-taught having had no training in Art schools. Mr. S. B Wong is to give an exhibition of his work at the Hotel Cecil on Monday, March 8, under the auspices of the Hong Kong Working Artists’ Guild. ...
Hong Kong Sunday Herald, February 28, 1937
Is Colony Becoming Art Conscious?
Local Exhibitions of 1936 by Luis Chan
It may be said that an account of the art exhibitions held in the Colony throughout 1936 is long overdue for that Hong Kong has been art conscious is clearly suggested by the fact that the exhibitions of 1936 were not only various in character and great in number, but that sales ran into several thousands of dollars.

The success of many of the shows was due, no doubt, to the help rendered by the Hong Kong Working Artists’ Guild and to the genuine interest taken by H. E. the Governor whose untimely departure from the Colony will bring regret to every artist and art lover. ...

... Traditional Work

The ‘rotation Exhibition’ was followed by a show of the work of members of the Working Artists’ Guild. The exhibitors were Mrs. Burnard, Mrs. G. V. Griffith, Leo Byng, Li Y. Tong, M. D. Lorenzo, Mrs. A. N. Macfadyen, F. S. Nicholls, Pau Siu Yau, Mrs. B. Smith-Wright, Wong Siu Ling, Yee Bon and myself. As most of the exhibitors held their own shows and have been or will be dealt with elsewhere in this review, suffice it to say that Pau Siu Yau’s Chinese traditional paintings, though reviving the tradition of the art of the Sung period had some affinity to the art of Japan, partly on account of his studies in Japan. ...

The Blobby Manner

Lee Byng’s watercolors were distinctly personal in character, and were typically painted in a “blobby” manner the result of which was full of imagination. His art belongs to the present in the sense that it is modern and yet retains the tradition of the watercolour art. His sketches could not be said to be too vivid but they were certainly vital.

Less vital and more vivid was the work of Wong Siu Ling whose one-man show was held at the Hotel Cecil. Mr. Wong’s, art, of course, owed its style to his practice of commercial art in which field he had many years’ experience.

I have purposely withheld commenting on my own show, but I would like to acknowledge here the keen interest taken by H. E. the Governor and Lady Caldecott, making the success of my show possible and the benefit I have obtained from the study of other artists’ work shown during the year.

The Hong Kong Working Artists’ Guild is now busily preparing an Exhibition of the work of a San Francisco artist, Mr. S. B. Wong, which will take place soon. Mr. Wong was trained in the California School of Fine Arts and is a member of the San Francisco Art Association and San Francisco Art Centre, having won second prize in figure painting at the Californian State Fair and Art Exhibition held under the auspices of the State Agricultural Society in San Francisco. He held a show in Canton last year, besides exhibiting in other parts of China with great success. He came to the Colony only 4 weeks ago for the purpose of sketching its beautiful scenery the result of which has produced no less than 30 oil paintings which will be a special feature in his coming show.
Hongkong Telegraph, November 18, 1937
H.K. Art Club Exhibition
High Standard
The cream of the products of local artists is now on view in Hong Kong for those who desire to see or maybe buy. The exhibits form the exhibition of the Hong Kong Art Club which is being held on the eight floor of the Gloucester Hotel.

When a “Daily Press” representative visited the show shortly after it was opened to the public yesterday at 10 o’clock he found 183 specimens, the work of 22 artists adorn the walls. These comprise pictures and paintings of every description. Water colour paintings, pastels, oils, brushwork studies, pen and ink sketches, charcoal portraits, ivory carvings, photographs. Almost all the exhibits are for sale with prices marked on the official catalogue. ...

… The list of exhibitors is as follows:

Mr. George Arnold, Mrs. H. C. J. Asche, Mrs. S. H. Bond, Maurice R. Brice, Mrs. C. B. Brown, Miss Elise Blanchard, Mr. Luis Chan, Mr. Chen Tze Yang, Mrs. M. C. Franks, Robert Freese, Miss Helen Ho, Mr. Lee Bying, Mr. Peter S. Leong, Miss S. Mackichan, Mrs. A. N. Macfayden, Mrs. H. A. Mills, Mr. F. B. Nicholls, Mrs. M. O. Pfister, Mrs. A. Tatz, Miss M. Whitham, Mr. Wong Siu Ling, Mr. Chau Kong Lee.
Hongkong Telegraph, November 21, 1937
Art Club Exhibition Reflections
It must be the unanimous opinion of all who visited the Hong Kong Art Club’s exhibition held during the past week at Gloucester Building, that the exhibits displayed were on the whole of a high standard and in keeping with past exhibitions of this Club. It was, to put it shortly, an hour well spent midst a feast of water colours, pastels, oils and ivory carving, the whole  of which together formed a most pleasant variety. ...

Mr. Wong Siu-ling

Mr. Wong Siu-ling was the best among the Chinese exhibitors. This artist’s work had a good, wholesome finishing touch and this was easily seen in his landscapes of Kweilin, Kwangsi, and local scenes. “In the Dockyard” was very effective as was “Sunset” and a study in clouds. ...
Hongkong Telegraph, November 22, 1937
Art Club Exhibition Reflections
… Mr. Wong Siu Ling

Mr. Wong Siu-ling was the best among the Chinese exhibitors. This artist’s work had a good, wholesome finishing touch and this was easily seen in his landscapes of Kweilin, Kwangsi, and local scenes. “In the Dockyard” was very effective as was “Sunset” and a study in clouds. ...
Wong prepared for travel to the United States.