Number 16
June 30, 1927
(Next post on Friday: Keye Luke, Gunslinger)
Showing posts with label 1927. Show all posts
Showing posts with label 1927. Show all posts
Friday, June 12, 2020
Friday, February 9, 2018
Anna May Wong in Universal Weekly
page 12 article
Related Posts
Anna May Wong in The Toll of the Sea
Anna May Wong, Illustrated
Anna May Wong by Armando Drechsler
Anna May Wong in Look Magazine
Exhibitors Herald-World, January–March 1929
Anna May Wong in The New Movie Magazine
Anna May Wong in Picture Play
Anna May Wong in Film Annuals
Anna May Wong in Photoplay
Anna May Wong in Theatre Magazine
Anna May Wong in Chinese Digest
Anna May Wong in Women Who Dare 1998 Calendar
Anna May Wong in Universal Weekly
(Next post on Friday: Chinese New Year Prints)
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
(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
(Next post on Friday: James Wong Howe in The New Movie Magazine)
Monday, February 22, 2016
Yun Gee in The Argus: A Journal of Art
April 15, 1927
page 4: Yun, who must have a bouillant temperament under a quiet appearance, is sometimes extravagant in his ideas. His attempt at plasters in his Head is amusing, but does not do any good to his reputation. His Drawing and his Portrait of a Man make up for it and prove that he can be a serious artist and has a fine talent.
July 1927
page 2: Dorr Bothwell’s Exhibition
The Modern Art Gallery brought its first season to an auspicious close with a fine exhibition, the paintings and drawings of Dorr Bothwell. Miss Bothwell’s work impressed me as being definitely sincere, unhampered by stylistic emulation of any renowned contemporary….
…The picture of the young Chinese artist, Yun, is another extremely successful piece of work, due to its value as a portrait as well as to compositional solidity….
page 5: The “Portrait of Yun,” by Otis Oldfield, is an excellent canvas, from the standpoint of color, proportion, depth and perspective, but it does not show the genuine young Chinese painter as most people know him. It represents him as a mature and stern man, which is a respectable viewpoint but an altogether different conception to that which most people who know Yun have of this artist.
page 8: Yun, Chinese artist of San Francisco, will leave for Paris on July 9 for an indefinite period of study and work.
October 1927
page 11: We read in the “Brooklyn Daily Eagle” of August 22nd: “Out of war-torn China has come a young futurist who senses the soul of the world.” This comment refers to Yun Gee, Chinese artist of San Francisco, who is now in Paris preparing for his first exhibit there.
After reviewing some of the work of Yun, the art critic of the “Daily Eagle” concludes with the observation that “Yun’s work provokes thought. His immaturity and faulty technique yield before the idea.”
November 1927
page 8: Modern Gallery Elections
At the annual election of officers last month, Julius Pommer was re-elected president and Marian Trace secretary of the Modern Gallery, a group of young San Francisco artists. The organization has grown so prosperous that it was found necessary to create a new office, that of treasurer. Jacques Schnier was elected to fill this responsible position.
Ten directors, who are likewise the charter members of the Modern Gallery, will continue in office. They are Dorr Bothwell, Ruth Cravath, Frank Dunham, Parker L. Hall, Rosalie Maus, Ward Montague, Julius Pommer, Marian Trace, Don Works and Yun Gee.
December 1927
page 10: Yun, the Chinese painter who started his artistic career in San Francisco, held a one man show in Paris during the month of November, at the Galerie Carmine. Besides this exhibit, three of his pictures have been accepted by the Princess Lucien Murat and are hung at her gallery, “Fermé la Nuit.”
June 1928
page 6: A young modern who may disappoint the prophesies which were made for his future is Yun Gee, if his Paris acquaintances turn out to be mere snobs trying to encourage him in the direction of the eccentric and in a style which, so long as it is a transitory experiment, is interesting, but which will lose its value if it becomes a set mode of expression. This does not particularly refer to the two paintings by Yun exhibited last month at the East West, as they were done last year. It is rather a far distant warning from those who follow his work in the French capital where he resides at present.
July-August 1928
page 16: Advertisement
For Sale—George Grosz’s “Ecce Homo,” $10; two Drew etchings, $5 each; a Yun crayon drawing, $3.50, and a few color reproductions of masters and moderns, 50c to $2.50.
Little Pierre Library
508 Powell St. San Francisco
page 4: Yun, who must have a bouillant temperament under a quiet appearance, is sometimes extravagant in his ideas. His attempt at plasters in his Head is amusing, but does not do any good to his reputation. His Drawing and his Portrait of a Man make up for it and prove that he can be a serious artist and has a fine talent.
July 1927
page 2: Dorr Bothwell’s Exhibition
The Modern Art Gallery brought its first season to an auspicious close with a fine exhibition, the paintings and drawings of Dorr Bothwell. Miss Bothwell’s work impressed me as being definitely sincere, unhampered by stylistic emulation of any renowned contemporary….
…The picture of the young Chinese artist, Yun, is another extremely successful piece of work, due to its value as a portrait as well as to compositional solidity….
page 5: The “Portrait of Yun,” by Otis Oldfield, is an excellent canvas, from the standpoint of color, proportion, depth and perspective, but it does not show the genuine young Chinese painter as most people know him. It represents him as a mature and stern man, which is a respectable viewpoint but an altogether different conception to that which most people who know Yun have of this artist.
page 8: Yun, Chinese artist of San Francisco, will leave for Paris on July 9 for an indefinite period of study and work.
October 1927
page 11: We read in the “Brooklyn Daily Eagle” of August 22nd: “Out of war-torn China has come a young futurist who senses the soul of the world.” This comment refers to Yun Gee, Chinese artist of San Francisco, who is now in Paris preparing for his first exhibit there.
After reviewing some of the work of Yun, the art critic of the “Daily Eagle” concludes with the observation that “Yun’s work provokes thought. His immaturity and faulty technique yield before the idea.”
November 1927
page 8: Modern Gallery Elections
At the annual election of officers last month, Julius Pommer was re-elected president and Marian Trace secretary of the Modern Gallery, a group of young San Francisco artists. The organization has grown so prosperous that it was found necessary to create a new office, that of treasurer. Jacques Schnier was elected to fill this responsible position.
Ten directors, who are likewise the charter members of the Modern Gallery, will continue in office. They are Dorr Bothwell, Ruth Cravath, Frank Dunham, Parker L. Hall, Rosalie Maus, Ward Montague, Julius Pommer, Marian Trace, Don Works and Yun Gee.
December 1927
page 10: Yun, the Chinese painter who started his artistic career in San Francisco, held a one man show in Paris during the month of November, at the Galerie Carmine. Besides this exhibit, three of his pictures have been accepted by the Princess Lucien Murat and are hung at her gallery, “Fermé la Nuit.”
June 1928
page 6: A young modern who may disappoint the prophesies which were made for his future is Yun Gee, if his Paris acquaintances turn out to be mere snobs trying to encourage him in the direction of the eccentric and in a style which, so long as it is a transitory experiment, is interesting, but which will lose its value if it becomes a set mode of expression. This does not particularly refer to the two paintings by Yun exhibited last month at the East West, as they were done last year. It is rather a far distant warning from those who follow his work in the French capital where he resides at present.
July-August 1928
page 16: Advertisement
For Sale—George Grosz’s “Ecce Homo,” $10; two Drew etchings, $5 each; a Yun crayon drawing, $3.50, and a few color reproductions of masters and moderns, 50c to $2.50.
Little Pierre Library
508 Powell St. San Francisco
Related Posts
(Next post on Monday: Mei Lan-fang in This Week in Chicago)
Friday, August 21, 2015
Yook Yee Wong and the American Institute of Architects
Yook Yee Wong / Huang Yuyu (黄玉瑜) was a Junior member of the American Institute of Architects, which published membership lists in The Annuary. The following pages from The Annuary, 1926 to 1930, were provided by The American Institute of Architects Archives. Special thanks to Nancy Hadley, Assoc. AIA, CA, DAS, and Senior Manager, Archives and Records.
Juniors of The American Institute of ArchitectsThere shall be a class of Juniors whose affiliation with the Institute shall be in accordance with the following provisions of this Article. No other provision of this Constitution and By-laws shall have any application to Juniors except as herein expressly provided.
Any graduate in architecture of a school recognized by the Institute, or any special student in such a school who shall have spent at least two years there, and is recommended by the head of the school, is eligible as a Junior, provided application is made within two years of graduation or completion of his special course.
The Junior affiliation shall expire automatically when the Junior is elected to Chapter associateship, or Institute membership, or when he reaches age of thirty.—By-laws, Art. III, Section 1.
“Y.Y. Wong: An Overseas Chinese Architect”
Guangdong Overseas Chinese Museum
Guangzhou, China
September 2–15, 2015
Guangdong Overseas Chinese Museum
Guangzhou, China
September 2–15, 2015
Related Posts
(Next post on Friday: Poy Gum Lee’s Kimlau Memorial Arch)
Saturday, November 23, 2013
Yun Gee’s Bank Account
Online Archive of California
Hongkong and Shanghai Banking Corporation
Hongkong and Shanghai Banking Corporation
Record of Accounts 1906–1934
page 72, left-hand page, second column
A joint account:
A joint account:
63/2 Gee Quong On (Yun’s father), $1,000
& / or
& / or
63/2 Gee Yun, $1,000
(click image to enlarge)
Related Posts
(Tomorrow: Yun Gee in Asia Magazine)
Friday, August 16, 2013
Kwei Dun in Seattle
Ancestry.com Passenger List
Name: Kwei Dun
Gender: Male, Single
Age: 23
Calling or Occupation: Student
Language: English, Chinese
Race/Nationality: Chinese
Last Residence: Shanghai, China
Name and complete address of nearest relative
or friend in country whence alien came:
Dun Tsun, Nan Kao Chiao, Pootung, Shanghai
Purpose of coming to United States:
To study at the University of Washington,
Seattle, Washington
Length of stay: 2 Yrs
Height: 5 feet 6 inches
Complexion: Yel
Hair: Blk
Eyes: Brn
Birthplace: Pootung, Shanghai, China
Ship Name: President Jackson
Port of Departure: Shanghai, China
Departure Date: December 9, 1924
Port of Arrival: Seattle, Washington
Arrival Date: December 23, 1924
(click images to enlarge)
Seattle Daily Times
(Washington)
December 25, 1924
.jpg)
January 23, 1925
To Demonstrate Finger Painting.
March 1, 1925
To Demonstrate Finger Painting.
Members of the Commonwealth Club at their meeting next Monday evening will be entertained by B. Dun, Chinese finger artist. Mr. Dun will give an illustrated talk and demonstration of his finger painting art. The club meets at Meves Cafeteria at 6 p.m.
March 1, 1925
His English name was Benjamin.
.jpg)
March 6, 1925
Vaudeville to Be Presented by Church Organization.
In the auditorium of the Women’s University Club tomorrow evening the Pep Class of the First Baptist Church will present a vaudeville program, with Salvatore Santaella, pianist and orchestra director, and Mr. K.K. Dun, Chinese finger artist, as the main attractions. The program will open at 8:15 o’clock.
Seattle City Directory 1926
(second column)
Name: Kwei Dunn
Street Address: 4546 15th av NE
Occupation: Student
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+02.jpg)
+01.jpg)
(Tomorrw: Kwei Dun Exhibition in San Francisco)
Friday, July 12, 2013
Jack Chen, Cartoonist
Return to the Middle Kingdom
One Family, Three Revolutionaries, and the Birth of Modern China
Yuan-tsung Chen
Sterling Publishing, 2008
Chapter 16
...Jack’s first cartoon was published on March 12, 1927. His father and Rayna had chosen this day to begin the People’s Tribune of Wuhan because it was Sun Yatsen’s birthday. The picture was of a coolie carrying a pole across his shoulders, a basket on each end. One was marked “wage,” the other “work.” The hopeful caption read: “It balances better now the Kuomintang has come.”
In 1927, Jack and growing millions of Chinese believed in the truth of that drawing. They believed they would be able to add ten cents (Chinese) to the coolies’ daily wage of twenty-five cents for sixteen hours’ work. This was no more than a first, minuscule attempt to alleviate the suffering of the working poor, but it was reviled by the colonialists as a Red plot. Why? Jack was at once confused and disturbed.
The day his first cartoon was published, Rayna congratulated him. “Do you feel great? You are the first Chinese artist recording in cartoons a glorious revolutionary period!”
One Family, Three Revolutionaries, and the Birth of Modern China
Yuan-tsung Chen
Sterling Publishing, 2008
Chapter 16
Jack Sails into the Eye of a Revolutionary Storm
(excerpt)
…His father had a private talk with him and asked if he wanted to work at the soon-to-be-published People’s Tribune. The paper, a four-page English daily, would voice the opinions of the Wuhan government. Eugene decided its general policy, giving the staff wide latitude on the details. Brordin acted as a consultant. The editor, Rayna Prohme, gave the paper her own buoyant slant.
Among those who had come to meet Jack and his sisters, when their ship waddled its way sideways to berth itself by the floating jetty at Hankou, was this young American woman, Rayna Prohme. She had been working for Eugene since they first met in Peking in 1925, as the editor of his newspaper, the People’s Tribune of Peking. When Eugene was appointed foreign minister in 1926, he invited Rayna and her husband, Bill, to come south. Bill was slated to head the new National News Agency, while Rayna ran the newspaper, the Canton Gazette. When the Canton government moved to Wuhan, they followed. There Rayna set out to prepare the first Wuhan issue of the English edition of the People’s Tribune.
Across the road from the Foreign Office Building there stood a large yellowstone three-story mansion containing the editorial offices and printing presses of the People’s Tribune. It had a block to itself, most of it an empty, dusty playground surrounded by a six-foot-high wall. Rayna was at her desk when Jack walked in unannounced one morning in late February. She stood up from her chair to welcome him. A ray of sunlight caught her red hair; her locks were a burst of fire; and underneath then was a most engaging smile. The became friends immediately.
Jack was attracted to Rayna’s vivid personality. Rayna was an all-American girl, friendly, open, and straightforward, just as jack imagined an American girl would be. Without wasting time on preliminaries, she explained how together they would make the People’s Tribune the greets newspaper in the world.
“I have done some drawing while in college, but not too well,” Jack said apologetically. “I liked David Low’s cartoons in the London Star.”
When she heard that he had tried to draw, she was immediately certain that he would make a good cartoonist. Jack’s job became producing cartoons to accompany and highlight her editorials. So, at age eighteen, Jack became the first Chinese editorial cartoonist. And when she heard that he had taken care of the foreign minister’s personal correspondence and scribbled some replies, she instantly discovered the writer and journalist in him....
…His father had a private talk with him and asked if he wanted to work at the soon-to-be-published People’s Tribune. The paper, a four-page English daily, would voice the opinions of the Wuhan government. Eugene decided its general policy, giving the staff wide latitude on the details. Brordin acted as a consultant. The editor, Rayna Prohme, gave the paper her own buoyant slant.
Among those who had come to meet Jack and his sisters, when their ship waddled its way sideways to berth itself by the floating jetty at Hankou, was this young American woman, Rayna Prohme. She had been working for Eugene since they first met in Peking in 1925, as the editor of his newspaper, the People’s Tribune of Peking. When Eugene was appointed foreign minister in 1926, he invited Rayna and her husband, Bill, to come south. Bill was slated to head the new National News Agency, while Rayna ran the newspaper, the Canton Gazette. When the Canton government moved to Wuhan, they followed. There Rayna set out to prepare the first Wuhan issue of the English edition of the People’s Tribune.
Across the road from the Foreign Office Building there stood a large yellowstone three-story mansion containing the editorial offices and printing presses of the People’s Tribune. It had a block to itself, most of it an empty, dusty playground surrounded by a six-foot-high wall. Rayna was at her desk when Jack walked in unannounced one morning in late February. She stood up from her chair to welcome him. A ray of sunlight caught her red hair; her locks were a burst of fire; and underneath then was a most engaging smile. The became friends immediately.
Jack was attracted to Rayna’s vivid personality. Rayna was an all-American girl, friendly, open, and straightforward, just as jack imagined an American girl would be. Without wasting time on preliminaries, she explained how together they would make the People’s Tribune the greets newspaper in the world.
“I have done some drawing while in college, but not too well,” Jack said apologetically. “I liked David Low’s cartoons in the London Star.”
When she heard that he had tried to draw, she was immediately certain that he would make a good cartoonist. Jack’s job became producing cartoons to accompany and highlight her editorials. So, at age eighteen, Jack became the first Chinese editorial cartoonist. And when she heard that he had taken care of the foreign minister’s personal correspondence and scribbled some replies, she instantly discovered the writer and journalist in him....
...Jack’s first cartoon was published on March 12, 1927. His father and Rayna had chosen this day to begin the People’s Tribune of Wuhan because it was Sun Yatsen’s birthday. The picture was of a coolie carrying a pole across his shoulders, a basket on each end. One was marked “wage,” the other “work.” The hopeful caption read: “It balances better now the Kuomintang has come.”
In 1927, Jack and growing millions of Chinese believed in the truth of that drawing. They believed they would be able to add ten cents (Chinese) to the coolies’ daily wage of twenty-five cents for sixteen hours’ work. This was no more than a first, minuscule attempt to alleviate the suffering of the working poor, but it was reviled by the colonialists as a Red plot. Why? Jack was at once confused and disturbed.
The day his first cartoon was published, Rayna congratulated him. “Do you feel great? You are the first Chinese artist recording in cartoons a glorious revolutionary period!”
Related Posts
(Support you local bookstore and online bookseller. Tomorrow: Jack Chen in Life Magazine)
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