Friday, June 30, 2017

Chen Chi and San Francisco’s Fabulous Chinatown

Brochure cover art was originally printed in Collier’s, July 12, 1952. The brochure was stamped on the back with “Compliments of the Chinese Chamber of Commerce” plus the address, phone number and Chinese characters.

Panel 1

Panels 2 and 5

Panels 3 and 4

Panels 6 and 7

Panel 8







































































































Related Post
Chen Chi’s “Painting the Town: San Francisco”


(Next post on Tuesday: Happy Fourth of July!)

Friday, June 16, 2017

The Modern Revolutionary Chinese Artists’ Club

Oakland Tribune
(California)
March 20, 1927
exhibition of paintings at 18 Waverly Place, San Francisco

Oakland Tribune
(California)
March 27, 1927

The Coshocton Tribune
(Ohio)
April 8, 1927
page 4, column 6: Daily News Letter
by William Parker
San Francisco, April 8—The revolution gripping China has extended to art circles in San Francisco’s Chinatown. “The Modern Revolutionary Chinese Artists’ Club” has been organized and is holding an exhibition at 18 Waverly Place.

Every exhibit is of the impressionistic or futuristic school and all from the brushes of young Chinese students in the quarter. None of the students is more than twenty years of age and one is only fifteen.

The exhibition is conducted by Yun, aged twenty, an Americanized native Chinese who wears a basque cap on his head and fuzz on his chin.






















The Niagara Falls Gazette
(New York)
April 11, 1927
page 7, column 3: same article as above

San Francisco Chronicle
(California)
May 15, 1927
page D7, column 5: Yun, the Modern Revolutionary Chinese Artists Club founder, has taken his pupils’ exhibit to the Telegraph Hill Tavern. It is hard to tell what artistic province these young Chinese will break out in next. Bohemia being a land of no boundaries.











At 150 Wetmore


Friday, June 9, 2017

Yun Gee: Poetry, Writings, Art, Memories






















Anthony W. Lee, Editor
University of Washington Press, 2003

Jacket art: Man Writing (1927)

COLOR PLATES
Head of a Man (1926–1927)
Untitled (An Audience, 1927)
My First Impression of Paris (1927)
How I Saw Myself in a Dream (circa 1929)
Wheels: Industrial New York (1932)
Where Is My Mother (1926–1927)
Man Writing (1927)
Mrs. Salinger in Paris (1927)
Portrait of Paul Valery (no date)
The Flute Player (1928)
The Charm of Music (1930)
Madrid Landscape with a White Building (1928)
Self-Portrait in Beret (1927)
The Last Supper panel 1, panel 2 and panel 3 (1933)
The Red Chair (1928)

PHOTOGRAPHS
Yun Gee with a Bird at the Window (circa 1930s)
Yun Gee Painting (circa 1926)
Yun Gee and Models Standing by the Painting Temptation (circa 1931)
Yun Gee Playing Chess (1954; a similar photograph, from a different point of view, was distributed by United Press International; his daughter, Li-Lan, is also in the picture)
Yun Gee Reading a Scroll (circa 1929)

WORKS ON PAPER
Wheels: Industrial New York (1932 sketch)
The Charm of Music (1930 study)
China and Manchuria (no date)
Hand-lettered brochure for art school (circa 1950)
4-D Is on the Wing and the Wise Men Are Nearest (circa 1954)
Geometrical Theory (no date)
Color Theory (no date)
Color as History of Atmosphere (no date)

Friday, June 2, 2017

Anna May Wong in Picture Play

July 1929
photograph (below)





















November 1929
photograph (below)





















February 1931
photograph (below)





















January 1932
pages 24–25: A Lone Lotus (profile below)
page 64: conclusion























February 1932
Shanghai Express advertisement (below)
pages 54–55: China Lady (Shanghai Express photographs)





















August 1932
page 43: photograph

November 1934
photograph (below)






















Related Posts
Exhibitors Herald-World, January–March 1929
Anna May Wong in The New Movie Magazine
Anna May Wong in Film Annuals


(Next post on Friday: Yun Gee: Poetry, Writings, Art, Memories)