signed in pinyin and Chinese and dated 2/29/27

Private American Collection

The work is overall in good condition. There is a paint loss and craquelure in the middle of the upper edge. There is a minor dot in the middle of the right edge. There is a paint loss in the left bottom corner. There is no evidence of restoration under UV light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

"In the effort to determine possible features of an Asian American relationship to modernism, the life and work of Chinese American Yun Gee offers an excellent starting point. I view him as the touchstone for an investigation and discussion of Asian American participation in the modernist endeavor that defines twentieth century art."
Paul J. Karlstrom, American Contemporary Art Historian

In Artists, Yun Gee uses more saturated colours than he did in San Francisco Street Scene and highlights the intertwining relationship of the shapes and forms of different objects. Through transforming the people and setting into geometric forms, this work is imbued with a Cubist-style movement. In this work, with their heads down, the three artists are busy with creating their own paintings. The man squatting in the center is smoking a cigar where its red foot draws the viewer's attention. Another artist with black hair and yellow skin on the right only reveals his face and right hand, while the other person on the left shows solely the upper half part of his body. We can only notice his presence through the pen he is holding. Applying the theory of Synchromism, Yun Gee integrates the space and objects in Artists through painting numerous blocks with vibrant colours, reverberating the spirit of German Expressionism. Since the artist almost never created this kind of semi-representational works after he moved to Paris and New York later on, this work is an important and fine example of Yun Gee's artistic development in his early years.