Friday, May 26, 2017

Yun Gee in Pioneers of Modern Chinese Painting in Paris

de Sarthe Gallery, Hong Kong
May 13–June 21, 2014
Exhibition Catalog
Yun Gee, pages 53–57
(click images to enlarge)

The Flute Player (Self-Portrait), 1928

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(Next post on Friday: Anna May Wong in Picture Play)

Friday, May 19, 2017

Yun Gee in 20th Century Chinese Art, 2014

Sotheby’s, Hong Kong
April 6, 2014

Yun Gee, cover art and pages 90 to 99
Photograph of Yun Gee painting (1926)
Self-Portrait (1927; aka Head of Man in Cap)
“A Pioneering Chinese Artist Who Emerged from San Francisco’s Art Scene”
by Professor Anthony Lee
Essay illustrated with self-portraits of Rembrandt (1629), Van Gogh (1887); Xu Beihong (1922); and Pan Yuliang (1940); two pages from Who’s Who in China (1932)
“Off to the New World: Chinese Artists in North America”
Artwork by Hon-Chew Hee, Chao Chung-Hsiang, Chuang Che, Tony Wong, Ming Fay, and Walasse Ting

Sotheby’s, Hong Kong
October 6, 2014

Yun Gee, pages 52 to 61
Man Holding Baby (1926)
Park in Spring (no date)
Artist’s Handmade Album (1926; photographs of Gee and hand-drawn maps)

15 Contact Prints (1927; 12 paintings and 3 with people)

Portrait of Otis Oldfield (1926)
Otis Oldfield, Notes of a Promenade with Yun Gee: Sutter’s Fort, Sacramento; Stevenson House, Monterey; Yosemite Trees (1926)

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(Next post on Friday: Yun Gee in Pioneers of Modern Chinese Painting in Paris)

Friday, May 12, 2017

Yun Gee in 20th Century Chinese Art, 2009

Sotheby’s, Hong Kong
April 6, 2009

Yun Gee on pages 24 to 26
The Last Supper (circa 1930s)

four studies (1933; one, two, three, four)
Photograph and biography of Yun Gee

Christie’s, Hong Kong
November 29, 2009

page 4: detail of The Last Supper panel one

Yun Gee on pages 54 to 61
pages 54–55: The Last Supper (1933; in the gatefold: panels onetwo and three)
page 55: My Conception of Christ (1926; reference only); photograph of Gee with The Last Supper mural; and detail of Leonardo de Vinci’s The Last Supper
pages 56–57: Three Graces (1939)
pages 58–59: Madame Murat Sculpting Statue (1937; aka Yvonne Serruys Sculpting Statue)
pages 60–61: Nude with Pearl Necklace (no date in catalog)

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Friday, May 5, 2017

Anna May Wong in The New Movie Magazine

February 1930
page 122: Hollywood Boulevardier

February 1931
page 57: Hollywood Boulevardier
page 58: spot illustration

July 1931
page 111: Hollywood Boulevardier

August 1931
page 11: Where to Write the Movie Stars
page 15: What the Stars Are Doing

November 1931
page 88: Daughter of the Dragon review
page 92: Decline of the West

December 1931
page 9: Where to Write the Movie Stars
page 11: What the Stars Are Doing
page 16: Guide to the Best Films
page 59: Sessue Hayakawa Returns
page 88: Daughter of the Dragon

January 1932
page 48: photograph (below)

March 1932
page 42: Anna May Wong and Marlene Dietrich photograph (below)

May 1932
page 61: Shanghai Express photograph

June 1932
page 92: East Is West...

July 1932
page 24: Between Two Worlds; profile with photographs (below)
page 74: profile conclusion
page 80: Edgar Wallace’s Hollywood Diary
page 89: Why Not Chinese as Chinese?

August 1932
page 8: Chicago World’s Fair photograph (below)

November 1932
page 98: mention

February 1933
page 63: party photograph (below)

May 1933
page 64: photograph
pages 116–117: party in Chinatown

June 1933
pages 64–65: party hosted by Quan Ti and her husband Harry Lachman (below)
page 114: recitation in German and Chinese

July 1933
page 65: photograph
page 105: party guest

August 1933
page 60: mention

September 1933
page 36: Hollywood Nights’ Entertainment

December 1933
page 51: impersonator

January 1934
page 80: mention

March 1934
page 92: mention

August 1934
page 68: mention

October 1934
page 68: taboo to kiss a Caucasian

November 1934
page 68: her parents visit China

December 1934
page 25: photograph (below)
page 47: Limehouse Nights photograph
page 96: Limehouse Nights synopsis

January 1935
page 7: photograph (below)
p67: Chinatown dinner

February 1935
page 72: work in London