Attributed To: Gee Yun, Chinese (1906 - 1963) Oil on Canvas "Portrait of a Woman" Signed Top Right Corner. Measures 24" x 18". Frame measures 31" x 25". Condition: Some in painting, toning otherwise good condition. Estimate 800 - 1200 Domestic shipping Third party
Yun Gee (Chinese, 1906-1963), modernist standing nude, charcoal on paper, signed L/R, 23" x 15", framed 30" x 24". Provenance: Westbury, New York collection.
Yun Gee, Chinese, American, 1906 to 1963, oil painting on paper depicting a scene with nude dancers figures in a landscape. Signed lower right. Framed. Stamped, The Exhibition of American Modernists, on the backside. Yun Gee was a Chinese American modernist artist. He lived and painted in San Francisco, Paris, and New York City, and was considered one of the most daring avant garde painters during his time. One of a kind artwork.
Yun Gee (Zhu Yuanzhi, 1906-1963). Modernist oil painting MAN IN PROFILE by Yun Gee. Signed by Yun Gee in both English and Chinese on the upper right corner. Framed oil on canvas. Dimensions: framed: 29 inches x 23 inches, canvas: 24 inches x 18 inches. Condition: good original framed estate condition, no repairs noted. Provenance: private estate.
Yun Gee (Chinese/American, 1906-1963) oil on board study of a nude male, seated, signed upper left in English and Chinese, in "OG" wood frame. [Art: 19 1/2" H x 23 1/2" W; Frame: 27" H x 31" W]. Slight craquelure.
ZHU YUANZHI dit YUN GEE (1906-1963) Vue de Saint Germain en Laye Huile sur papier Signée en bas à droite Numérotée 124 et portant le cachet Charles Egan NY, au dos 28 x 19.5 cm Provenance : Collection particulière, USA
水手肖像 A Sailor 簽名右下：Yun 沅 27 - Signed lower light Yun in Chinese and English, dated 1927 東學西漸，一境風華 朱沅芷的東方美學 1920 年代的歐美正經歷「咆哮的20 年代」：前所未有的現代化風潮、旺盛的消費欲望與都會生活、反傳統精神的社會、對未來的樂觀無限巨大，所有人都感到一個全新而截然不同的時代即將到來。在藝術上，一波波全新的藝術概念橫空出世，藝術流派各家爭鳴，形成絢爛多彩的年代。 綜觀朱沅芷的藝術歷程，可分為「舊金山共色時期」、「巴黎抒情時期」與「紐約工業時期」。生於東方，成長於美國，兩度闖蕩巴黎，朱沅芷以自身深厚東方文化底蘊致力參與當時西方國際現代藝術運動。他於1927年受到法國穆哈特王子與王妃夫婦的引薦第一次前往巴黎，巴黎豐沛的藝術養分及時代風華深深吸引著朱沅芷。此時期除了以往歐菲斯主義和共色主義影響外朱沅芷更受到當時巴黎藝壇的主流影響，有著塞尚般色彩薄疊鋪陳、回歸心性的內省精神更反映出一種東方詩意情懷。受到歐洲文化交融影響，朱沅芷試圖藉由西方藝術形式匯通東方哲思，並於作品中融入更多的東方文化底蘊。 朱沅芷「共色主義」時期的作品，是創作於藝術家在舊金山加州藝術學院（California School of Fine Art）就讀的階段。《水手肖像》正是該時期的作品，作品有類立體派的分割造型，在色彩的使用上採高彩度的互補或跳躍性的對比用色，而於人物的描寫時，亦能精準地捕捉被繪者的感情。朱沅芷以許多躍動的色塊構成、描繪出畫中水手認真工作的臉龐，傳遞出畫中人物辛勤的氛圍。背景瑰麗的用色，讓作品充滿溫暖的氣息。 朱沅芷的創作已超越了時代的限制，幾經文化流轉，他將心靈悸動下的時代歷練把東方與西方獨有的繪畫特質做了巧妙的精粹。側重個人文化底蘊的展現，對生命價值思考的呈現，體現了人與物並呼應了東方精神的宇宙觀。朱沅芷以東方哲理之詩意及富東方情調的藝術語言綻放出跨時代之璀璨風華。 Learning from east to west, Splendidly elegance The Oriental Aesthetics of Yun Gee Both Europe and the United States in the 1920s were experiencing "The Roaring Twenties", an unprecedented storm of modernization, a vigorous desire for consumption and metropolitan lifestyle, a society with the essence of anti-traditional, an infinite optimism for the future, everyone can feel that a new and completely different era is on its way coming. While in terms of art, a continuous waves of brand new artistic concepts were born, and the contention of various art schools forming a gorgeous and brilliant era. Overviewing the artistic journey of Yun Gee, it can be categorized into "The Synchromism Period in San Francisco ", "The Lyrical Period in Paris" and "The Industrial Period in New York". Born in the East, raised in the United States, and traveled to Paris twice, Yun Gee devoted himself to participating in the international modern art movement as seen in the West with his profound oriental cultural heritage. In 1927, he was referred to Paris for the first time by the French Prince and Princess Achille Murat, the abundant artistic nutrients and the splendor epoch in Paris deeply attracted Yun Gee. During this period, in addition to the previous influence of Orphism and Synchromism, the mainstream of the art world in Paris at that time undoubtedly also influenced Yun Gee. The Cézanne-like layers of colors and the introspective spirit of regress and heal nevertheless reflect an oriental poetic feeling. Affected by the mingle among European cultures, Yun Gee tried to integrate Eastern philosophy through Western art forms, and incorporated more Eastern cultural background into his works. The works of Yun Gee's "The Synchromism Period " were created when the artist was studying at the California School of Fine Art in San Francisco. "A Sailor" exactly is the work in this period. This piece has a cubist-like segmentation shape, complementing or contrasting colors are applied. When depicting the characters, their feelings can also accurately be captured. Yun Gee deployed many vibrant color blocks, describing the seriousness hard working attitude of the sailor, conveying his diligent atmosphere in the painting. The magnificent color of the background enables the work full of warm sentiment. The creation of Yun Gee has transcended the limitations of the times, after several cultural exchanges, he has ingeniously achieved the essence of unique characteristics in both Eastern and Western paintings in the era experiencing the throbbing of his soul. He focuses on the display of personal cultural heritage and the presentation of thinking about the value of life, which exemplify people and objects and echo the cosmology of the oriental spirit. With the poetic oriental philosophy and the artistic language that is full of oriental sentiment, Yun Gee has bloomed with dazzles across the era.
百美戲浴圖 Hundred Bathing Beauties 簽名題識左上：百美戲浴圖 芷沅 藍五洲 簽名右下：沅芷 Yun Gee Paris mi de nuit 29 Titled and signed upper left in Chinese Signed lower right Yun Gee in Chinese and English, Paris mi de nuit in French and dated 29 「朱沅芷」二十世紀永遠的異鄉人，游泊於時代交替的洪流，盡心竭力實現理想的中國藝術家。朱沅芷本名「朱榮沅」，生於1906 年武昌起義尚未成功的晚清時期，家鄉位於廣東開平縣朱屋村，在家排行第三，上有兩位兄長榮秩、榮章，還有妹妹瑞蘭。他父親長年在美經商，於朱沅芷十五歲時，將其帶往美國發展。朱沅芷私塾時期已展現出過人的藝術天份和早熟思想，其理想主義，追求完美與自毀傾向的性格，伴隨一生，也預示他不凡精彩的人生。 綜觀朱沅芷繪畫風格的發展，因其旅居不同城市，受外在環境探索啟發，各種時期有著顯著的風格差異。其作品多為具象畫，從執著於美國當時盛行的社會寫實風格，後融入歐洲超現實主義特色，經年累月的洗禮，調和色域及筆觸，集大成為晚期個人色彩濃厚的表現風格。這位受廣東「嶺南畫派」思潮啟蒙，積極擁抱現代化的晚清學子，其多重經歷可視為大時代的縮影。1924 年進入加州美術學院（即現在的舊金山藝術學院），受留歐返美亦師亦友的歐蒂斯‧ 歐菲德（Otis Oldfied）啟發，學習立體主義與現代主義畫風，進而發展出「鑽石主義」（Diamondism）。此時期朱氏筆下畫作，緊貼美國西部拓荒、鐵路文化、在地人文風景，美學與歷史意義非凡。朱氏1927 年首登歐陸，第一次巴黎時期為期三年，藝術家彷彿從美國對華裔不公的種族偏見中釋放，優游於巴黎藝壇，這處多元種族匯集，藝術發展歷經東亞文化薰陶之地。他大膽展示中國背景，希冀得知音共鳴，以傳統文化為主題：《孔子》、《莊周夢蝶》、《日光浴中的老子》、《貴妃出浴》和今次拍品《百美戲浴圖》都是此期的代表作品。 悠久的中國人物畫傳統，以描繪宮廷「仕女」場景為題，經過漫長演變，明清以降各式「百美／媚圖」的敘事傳統蔚然成風，廣泛流傳於民間。然「人物裸體畫」，對二十世紀初的中國來說，依然陌生，直至1914 年劉海粟在上海美專教學首次採用人體寫生，才開啟中國人對這項西洋藝術傳統的認識。朱沅芷1929 年創作的《百美戲浴圖》無疑是時代的先驅，濃縮東西方古典美學的珍品。此時期的巴黎，百家齊鳴，無論是立體派、野獸派、德國表現主義，亦或大行其道的超現實主義，和諸多珍藏歷代大師傑作的美術館，對於一個二十三歲心懷抱負的青年畫家而言，自然是無比震撼且深刻。 《百美戲浴圖》曾著錄於2014 年河北教育出版社出版的「世界名畫家‧ 朱沅芷」專冊。此圖長寬91 x 72 公分，直幅畫面左上落款題名：百美戲浴圖 芷沅 藍五洲；而右下對角則以法文簽名：沅芷 Yun Gee Paris mi de nuit 29。整體畫面採中式S 形構圖法，從左下的粉色菡萏開啟，順著畫中溪流的方向，從前景向中段與後景延伸，構成縱深方向的空間關係，營造生動視覺感。細數畫中人物，整整一百位姿態各異的裸體女像，有的圍圈舞蹈、潛游水中、吹奏樂器、吟詩划船，或坐或臥四肢伸展，斜倚在水岸綠坡。宛如裊裊水煙中的仙境，毫無羞赧之色，優閒自在的林中仙子。畫家以柔軟曲線勾勒人物軀體，呼應傳統中式技巧，而整體偏暗的青綠用色，及群像構圖則可見西洋古典藝術薰陶後的成果：馬諦斯《舞蹈》、畢卡索《亞維儂姑娘》、波提且利《優美三美神》。而右側三三兩兩的直木綠葉，則渾然天成地提高視角，如同漂浮於雲端，俯看這理想國度的美好景緻。 《百美戲浴圖》為朱氏畫中人數最多、最具中西經典特色匯聚的人物畫作。這件歸屬於「第一次巴黎時期（1927-1930）」的作品，標示了年輕藝術家渴求創作之道，勵精圖治的成果。對比舊金山時期，下筆之前注重理性思考，強調合理性與鮮明色塊構圖的嚴謹；《百美戲浴圖》的超現實場景，匯聚中西經典繪畫元素，突破人物畫傳統而自成一格。畫中色彩，相較於舊金山時期更加柔合、層次豐富且充滿詩意，符合水天相連、遠山若黛的意境。此作品象徵朱氏在創作的征途中，擴大了視野及方向，奠定返美後「紐約時期」如《工業之輪在紐約》極為特殊，充滿動感的表現方式。若說美國形塑朱氏的創作技巧，那巴黎就是從精神層面，徹底解放他心中感性，作為一位喜愛吹笛、眷養雀鳥，眼中溢滿浪漫風情的現代中國文人。 二十世紀初期留洋海外的華人藝術家非常稀少，像朱沅芷擁有前衛思想，隻身開拓藝術史，並非以團體行動的更為稀少。大環境的變遷與戰亂，迫使他在世時總有志不能伸，經歷萬般波折和委屈。除了全球知名博物館：包括法國龐畢度藝術中心；紐約惠特尼美術館；華盛頓赫胥宏美術館；洛杉磯郡立美術館；加州奧克蘭美術館以及台灣的台北市立美術館等機構，與少量私人藏家有朱沅芷的作品，過去其作品多留在遺孀朱海倫與女兒朱禮銀之手。經多年家屬、贊助者和藝術專家的努力，回頭梳理歷史，才使朱氏的藝術免於滄海遺珠之憾。由於存世的畫作不多，1992 年台北市立美術館回顧展之後，二手市場屆滿三十周年，目前有紀錄的拍賣交易僅三百多筆，平均一年上拍十件左右，數量相對地珍稀罕有。而至今藝術家離世一甲子，拍品《百美戲浴圖》更是猶如歷史的吉光片羽，值得藝術收藏者珍惜、典藏。 Yun Gee, eternal stranger of the 20th century moored amid a torrent of changing times, was a Chinese artist who labored exhaustively to realize his ideals. Zhu Yun Gee, originally Zhu Rongyuan, was born during the Late Qing dynasty in 1906, a period when the Wuchang Uprising had not yet been successful. Originally from Zhuwu Village, Kaiping County, Guangdong, he had two older brothers Rongzhi and Rongzhang and a younger sister named Ruilan. His father did year-round business in the U.S. When Yun Gee was 15, his father took him to grow up in America. During this private school period, Yun Gee was already showing extraordinary artistic talent, and his precociousness, his idealism, his pursuit of perfection and his self-destructive tendencies, would accompany him for the rest of his days and predicted a life of uncommon brilliance. Speaking broadly on his stylistic development, Yun Gee dwelt abroad in different cities, and in so doing was stimulated by explorations of his external environments, each period revealing their own differences in style. Many of his works are representational paintings, from his attachment to the social realism prevalent in America blended later with characteristics of European surrealism, the baptism over the years, blending color gamut and brushwork, culminating in the individually dense coloration of a latter-day expressionist style. Instructed in the zeitgeist of Guangdong's "Lingnan School" as a student of the late-Qing who actively embraced modernization, Yun Gee's myriad experiences can be seen as a microcosm of a great era. In 1924 he entered the California Institute of the Arts (today's San Francisco Art Institute), and was inspired by Otis Oldfield, his mentor and friend, who had studied abroad in Europe and returned to the U.S. Studying cubism and modernism, he developed "Diamondism". During this period, his paintings stuck close to the aesthetic and historic peculiarities of open landscapes, railroad culture, and human scenery of the American West. Yun Gee first traveled to continental Europe in 1927. His first phase in Paris lasting three years, the artist seemed liberated from America's unjust racial prejudice toward ethnic Chinese, moving freely through Parisian art circles in this place of multi-racial convergence, a land where artistic development had been influenced by East Asian culture. Boldly revealing his Chinese background, Yun Gee hoped to find resonance through traditional cultural themes: "Confucius", "Butterflies: Dreams of Chuang-Tze", "Laotzu", "Empress Yan Kwei Fei at the Bath", and "Hundred Bathing Beauties" (this lot) are all works representative of this period. The long thematic tradition of Chinese character painting depicting scenes of ladies in court has gone through countless iterations. Since the Ming-Qing era, the narrative traditions of all manner of "Hundred Beauties" paintings have been a common trend that has circulated extensively. This being the case, "nude paintings" were still unfamiliar to 20th-century Chinese until 1914, when Liu Haisu introduced this feature of the Western artistic tradition to Chinese people in his first sketches of the human body at Shanghai University Fine Arts College. Yun Gee's 1929 work, "Hundred Bathing Beauties" is without doubt a pioneer of the era, a valuable work integrating both Eastern and Western classical aesthetics. During this time period, Paris rang with the tones of a myriad artistic voices, whether cubist, animalist, German expressionist, or perhaps the rampantly popular surrealist, and many museums with the collections of successive generations of masterpieces; to a 23-year-old man with his heart full of ambition, this was naturally and incomparably shocking and profound. "Hundred Bathing Beauties" was recorded in "World Famous Artists: YunGee Chu", released by Hebei Educational Publishing in 2014. The painting is 91cm x 72cm, a vertical painting with an inscription in the front upper left: "Hundred Bathing Beauties Painting / Yun Gee / Five Blue Continents"; and a signature in French in the bottom right corner opposite: "Yun Gee Paris mi de nuit 29". A Chinese-style 'S'- shape compositional style was selected for the entire scene, starting from the pink-white lotus blossom in the bottom left and following the direction of the stream in the middle of the painting, extending from the foreground toward the middle and into the background, comprising the spatial relationship of the direction of depth and constructing a vivid visual sensation. Enumerating the people in the picture are one hundred individual nude female forms, all in different postures - dancing, swimming, playing wind instruments, or reciting poetry while rowing a boat; others sitting or laying with their limbs stretched out, reclining on sloping shores. They are neither remarkably dignified nor graceful, but more like unrestrained, unabashed fairies of the forest circling round and round amid the smoke and water of a paradise. In accordance with traditional Chinese technique, the painter delineates the contours of their bodies with soft and delicate curves, but the results of Western artistic influence can be seen in the compositional grouping and overall blue-green hues: Matisse's "Dance", Picasso's "The Girls of Avignon", and Botticelli's "The Three Graces". By contrast, the straight wood and green leaves in threes and twos on the right side increase the angle of perspective in a manner resembling nature itself, as if hovering in the clouds and looking down upon the beauty and elegance of an idyllic country. "Hundred Bathing Beauties" has the highest number of people as well as the greatest convergence of Chinese and Western characteristics in any of Yun Gee's figure paintings. This piece belongs to works during the artist's first time in Paris (1927-1930), indicating the path of the young artist striving to create and the results of his hard work. Compared with his time in San Francisco, when he focused on rational thought before painting, emphasizing the strictness of rationality and distinct color blocking composition. The surreal setting of "Hundred Bathing Beauties" converges Chinese and Western classical painting elements, breaking through figure painting traditions to stand alone. Compared with the artist's San Francisco period, the painting's coloration is softer, richer, and brimming with poetry, an artistic concept that accords with the connection between the water and the heavens, far-off mountains like the brows of a beautiful woman. This work symbolizes Yun Gee expanding his vision and orientation along the path of his creative journey, laying the groundwork for his return to America. His "New York Period", like "Wheels: Industrial New York" are exceedingly peculiar, its manner of expression brimming with a sense of movement. If it is said that America shaped Yun Gee's creative technique, then Paris, on a spiritual level, was a complete liberation of the emotions in his heart, a modern-day Chinese literatus that loves to play the flute and cares for birds, with romance in his eyes. Chinese artists who studied abroad in the early 20th century were rare, like Yun Gee's avant-garde thinking, breaking ground in art history on his own, and group action was even rarer. The changes and the chaos of war in the greater environment always forced Yun Gee to curb his ambitions, causing all manner of twists, turns, and grievances. Except for museums of global renown: including institutions like the Centre George Pompidou, Whitney Museum, New York, Hirshhorn Museum and Sculpture Garden, Washington D.C., The Los Angeles County Museum of Art, Oakland Museum, California, and the Taipei Fine Arts Museum, with small private collectors who had Yun Gee's works, in the past his works were left with his widow Hellen Gee or in the hands of his daughter Li-lan Gee. Following years of hard work by Gee's family, supporters, and art experts, sorting our history by and by, until his art was spared the loss of going undiscovered. Since there are few extant paintings, following the 1992 retrospective exhibition at the Taipei Fine Arts Museum, the 30-year anniversary of the secondhand market, recently recorded auction numbers come in at only over 300 deals, with ten auctions more or less each year, which are comparatively precious and rare. Up to now the artist has been gone for sixty years, the photograph "Hundred Bathing Beauties" is more akin to an auspicious piece of history worthy of being treasured and collected.
Yun Gee 1906 - 1963 Female Nude Carrying Ball watercolor on paper signed Yun Gee and dated 1952 painted in 1952 59 by 48 cm; 23¼ by 18⅞ in. --------------------------------- 朱沅芷 1906 - 1963 帶著球的裸女 水彩紙本 款識 Yun Gee 1952（左下） 一九五二年作 59 x 48 cm; 23¼ x 18⅞ in.
Yun Gee 1906 - 1963 Man with Beard oil on paperboard signed Yun Gee in Pinyin and Chinese and dated 26.2 (lower left) painted in 1926 29 by 22 cm; 11 ⅜ by 8 ⅝ in. ----------------------------------- 朱沅芷 1906 - 1963 有鬍子的男人 油畫紙板 款識 沅Yun 二、二六（左下） 一九二六年作 28 x 20.2 cm; 11⅛ x 7⅞ in.
Untitled, (Standing Nude), oil on canvas board, 24 x 18 in (61 x 45.7 cm), framed 30 x 24 in (76.2 x 61 cm), signed in both Chinese and English lower right, PROVENANCE: Private collection Brooklyn, NY
Signed Gouache Painting Attributed to YUN GEE, signature to lower right reads YUN Gee, Please Note: All lots that do not carry established documented provenance nor any past record of auction history record are described in the catalog as attributed to , AFTER, or in the style of. TBS Does not guarantee authenticity of stamps labels and or piece, subject figures sitting on a bench, measures 18 x 14 7/8 inches, wooden frame, surface wear to frame, professionally framed and double matted in beige, not examined out of frame, Yun Gee was a Chinese American modernist artist. He lived and painted in San Francisco, Paris, and New York City, and was considered one of the most daring avant-garde painters during his time - Wiki YUN Gee, signed, gouache painting, artwork, abstract art, modern art, wall art, home decor. 11
YUN GEE (ZHU YUANZHI, USA/CHINA, 1906-1963) Double Self Portrait signed in Chinese ; signed and dated ‘Yun 12/8/26’ (lower left) Dorr BOTHWELL (middle right) inscribed in Chinese; inscribed ‘Self-Portrait $40.00’ (on the reverse) oil on paperboard 28.5 x 42 cm. (11 ¼ x 16 ½ in.) Painted in 1926
Lot 25 Yun Gee Chinese/American, (1906-1963) Confucius (1930) bronze signed and numbered 2/8 base 16 1/8 x 9 x 6 inches Condition: Excellent Provenance: from the collection of Manon Grau Rodriquez
YUN GEE (1906 - 1963) en zijn dochter LI-LAN olieverfschilderij op doek : "Stilleven" - 33 x 43 gemonogrammeerd (Y G voor Yun Gee en L voor Li-Lan) en gedateerd (19)56 rechtstreeks van Yun Gee aangekocht in 1956 te New York 20th Cent. Chinese oil on canvas by Yun-Gee and his daughter Li-Lan - with monogram (Y G for Yun Gee and L for Li-Lan" - dated
Portrait of a woman with a blue face turned sharply. Red lipstick contrasts with angular features. Gee's signature elongated fingers play prominently in the composition.
signed in Pinyin Pasadena Museum of California Art, William Benton Museum of Art, Oakland Museum, Bowdoin College Museum of Art, Weatherspoon Art Gallery, and Yageo Foundation labels affixed to the reverse
Yun Gee (Chinese/American, 1906-1963) Double Self Portrait, 1926 Oil on paper board, Signed with artist signature lower left and dated "12/8/26" "DO/BO/WE" middle right, Chinese script on verso "Self Portrait Heads" English inscription on verso "Self Portrait $40" 11 x 16 ½ inches Provenance: Collection of Mr. and Mrs. Morris Fish, New York, 1930s; Given as a wedding gift to their niece, the present owner, 1960s. $10,000-20,000
Yun Gee (1906-1963) Nudes on Horseback oil on canvas: signed 'Yun Gee' in Pinyin (lower left) ink and watercolour on paper: inscribed in English (bottom) oil canvas 122 x 108 cm. (48 x 42 1/2 in.); & 27 x 21 cm. (10 5/8 x 8 1/4 in.) 20th Century 2 (2)
1906-1963 SAN FRANCISCO STREET SCENE signed in pinyin and Chinese and dated 11/24/26; The Oakland Museum, The William Benton Museum, Connecticut and Bowdoin College Museum of Art, Brunswick labels affixed to the reverse oil on paper mounted on canvas 30.5 by 23.5 cm. 12 by 9 1/4 in.
