Fred Eng in Jetta #6 and #7

Jetta #6

February 1952

“Music from Afar”

In the top panel his last name is on the edge of
the red platform near the lower right-hand corner.

(click images to enlarge)

Jetta #7

April 1953

“Atom and Evil”

In the top panel his last name is on the

blackboard in the lower left-hand corner.

Both stories are in Dan DeCarlo's Jetta.

(Tomorrow: Fred Eng, Illustrator)

Fred Eng in Sunny #13

Sunny

#13, April 1948

Art by L.B. Cole and Fred Eng

(click images to enlarge)

To the right of the title, “Sour Notes”, is the spine

of a book with L.B. Cole and Fred Eng’s names.

Taxi passenger door:

Owned by F. Eng

Operated by L.B. Cole, Esq.

Side of truck: F.E. Trucking Company

(Tomorrow: Fred Eng in Jetta #6 and #7)

Fred Eng in Classic Comics

Classic Comics

#5, “Moby Dick”

(click images to enlarge)

#6, “A Tale of Two Cities”

#7, “Robin Hood”

#8, “The Arabian Nights”

 #9, “Les Miserables”

#33, The Adventures of Sherlock Holmes
according to the Grand Comics Database Fred was the inker

(Tomorrow: Fred Eng in Sunny #13)

Chung Wun, Portrait Painter

The Sun

(New York)

July 29, 1881

A CHEERY CHINESE ARTIST.

The First of His School to Venture to New York.

A Visit to His Studio—Portraits and Sketches

that Adorn the Walls—Not Appreciated,

He Fled to Gotham, and Going to Leave Us.

Fourth avenue, near, thirty-fourth street, has the distinction of harboring the first Chinese artist who ever plied palette and brush in this city. The representative of Chinese art is quartered upon the second floor of a newly-painted and neatly kept flat. Stained glass panes in the lower sashes of the front windows serve as a pleasing contrast to the plain glass in the windows of the other tenants, and temper the light to the shorn and queued artist within. Under the windows is a modest sign, “Chung Wun. Portrait Painter.” A smaller sign of the same purport is on the outer door of the artist’s rooms. In a little obelisk-like column, on either side of the Roman letters of the inscription are the Chinese equivalent.

(click image to enlarge)

(Next post September 6: Fred Eng in Classic Comics)

Kwei Teng in China

China Institute Bulletin
January 1931
Teng-Kwei
Member of the Soochow Fine Arts Society, Soochow; former art instructor and lecturer at the University of Washington, Seattle; fellow of the Harvard-Yenching Institute of of the Royal Society of Arts, London. Subjects: —

Introduction to Chinese Painting
A Comparison of the Arts of the East and the West
The Philosophy of Life and Art of the Chinese Painters
The Technique of Chinese Painting, and other technical subjects (upon request)


China at War
Volume 1, Issue 3, 1938
Harvard Man Runs Refugee Factory
Harvard-trained Chinese sculptor Teng Kwei whose works are permanently exhibited in various American museums has turned factory-manager out of patriotism to his country. He is now in Hankow supervising the work of hundreds of refugees who are making socks, fans, straw sandals, and towels for Chinese soldiers at the front.

Mr. Teng, who some time ago taught art in Yenching University, an American institution in Peiping, envisages in his present work an interesting experiment, which if successfully carried out, will go a long way toward rehabilitating China’s thousands of hapless war refugees.

The project of which Mr. Teng is now in charge and upon which he is expending his entire efforts, comes under the New Life Movement Association of which Generalissimo Chiang Kai-shek is the chairman.

The refugee-workers, mainly women and girls in their teens, work in two improvised factories which were once schools. They receive from twenty to thirty cents a day, which, while insignificant in amount, represent their net earnings, as their lodging places and meals are provided for by local charity organs.

According to Mr. Teng’s plan, the experiment will be shortly extended to other cities. In addition to the four articles now being produced, the refugees will be instructed to make under-shirts, gauze and absorbent cotton, all for consumption by the Chinese troops.


Magazine of Art
October 1951
Reminiscence and Reverie by Mark Tobey
...I have just had my first lesson in Chinese brush from my friend and artist Teng Kwei. The tree is no more solid in the earth, breaking into lesser solids in the earth, breaking into lesser solids bathed in chiaroscuro. There is pressure and release. Each movement, like tracks in the snow, is recorded and often loved for itself. The Great Dragon is breathing sky, thunder and shadow; wisdom and spirit vitalized.


Chinese Art and Its Encounter With the World
David Clark
Hong Kong University Press, 2011
When American painter Mark Tobey (1890–1976) discussed his artistic development, he emphasized the importance of his study of Chinese brushwork, undertaken in Seattle with a Chinese friend, in liberating him from bondage to the Renaissance heritage and in permitting him to discover the dynamic linearity that became the hallmark of his style. Referred to variously in English as ‘T’eng Kwei’, ‘Teng Kuei’, ‘Teng-Kroei’, ‘Teng Quay’, or even ‘Kwei Dun’, the artist in question was Teng Gui, known to many in China by his pen name Teng Baiye. This chapter attempts to throw more light on that former Seattle resident, tracing his career following his return to China. By putting together information on Teng from Western and Chinese sources, it is possible to suggest that this artist has a greater historical importance—as both a cultural interpreter and as an artistic practitioner—than he has so far been accorded in either China or America.

(Next post August 30: Chung Wun, Portrait Painter)

Kwei Teng Exhibitions in New York

Seattle Daily Times

(Washington)

October 17, 1929

(click images to enlarge)

New York Evening Post

October 19, 1929 

At the Weyhe Gallery finger paintings by Kwei Teng form the current attraction. Writing and painting have always been closely allied in China, in fact, considered identical in early times, because of the ideographic character of Chinese letters. Hence, calligraphy was one of the fine arts, as it still is. But interest in technical accomplishment outstripped that in esthetic content in the later work certain artists of the Northern School (as it did in the parallel development of the Kano School in Japan), so that even painting with finger nails had its vogue because of the technical adroitness requires for its execution. Much of this superficial interest in merely technical means is felt in the paintings of Kwei Teng. Occasionally a personal conception seems especially well served by the swift and casual fluency of the technique, but in general the work makes a negligible impression.

Boston Herald
(Massachusetts)
January 12, 1930
last paragraph

(Tomorrow: Kwei Teng in China)

Kwei Dun / Kwei Teng at Harvard

Seattle Daily Times
(Washington)
August 23, 1929

Plain Dealer

(Cleveland, Ohio)

December 9, 1929

Richmond Times Dispatch

(Virginia)

December 29, 1929
(click image to enlarge)

Report of the President of Harvard College
and Reports of Departments
1932
Kwei Teng, Fellow of the Harvard-Yenching Institute.
Fine Arts. Fellow of the Harvard- Yenching Institute, in Paris.

(Tomorrow: Kwei Teng Exhibitions in New York)