The Yuen Residence
8915 140th Street
Constructed: 1958-59
Lee Kow Yuen, a Hongkonger, came to Canada in 1922 — he was only ten. By twenty, he was a respected artist.
From a young age, Lee showed a profound skill for portraiture. Supported by his father — with whom he immigrated — the Chinese-Canadian, then only sixteen, applied to the University of Toronto. He was accepted, and while there Lee vigorously studied the works of Arthur Lismer, the famed Group of Seven painter. Lismer and the Group’s work so-affected the young Lee, that in 1929 he transferred to the Ontario College of Arts to receive instruction from Group members Fredrick Varley, James E.H. MacDonald, Frank Johnston, and Alexander Y. Jackson. “Graduating in 1932, he worked as a commercial artist in Toronto until 1934 when he returned to China. He taught and painted in Hong Kong, Shanghai, and Peaking for three years,” the Edmonton Journal recounted.
The Japanese invasion of Hong Kong in December 1941 forced Yuen to flee to Canada. He resettled in Edmonton and soon became a regular fixture at its Museum of Arts. At first Lee’s displays were ad-hoc as he donated only the odd piece for display, but so impressed were curators, Lee’s contemporaries, and the public alike by his skill, the Museum offered him a chance to produce a months-long “one-man show” in 1949. Yuen accepted and centred the event around thirty-six oils he produced in both Edmonton and China. John McLean, an Edmonton Bulletin staff writer, described:
“There are several portraits in the show, that of a young man and an Edmonton woman being particularly outstanding.
His landscapes are good.
And there’s one of construction gangs working under lights on the Low Level Bridge job last summer.
But there’s one that [stood out].
‘I call it ‘Woman with a Hat,’’ explained the artist. ‘I am trying to express all the stages of womanhood from adolescence to maturity.’ It’s convincing, too. If you look closely you can see at least five women under the same hat.”
Major Frank H. Norbury, the Journal’s art critic — and a prolific artist in his own right — agreed with McLean’s assessment. Of an April 1951 exhibit, Norbury remarked that Yuen displayed “considerable ability in several directions… comprising incursions into portraiture, figure painting, landscape, still life and two industrial projects all in oils.” Continuing, he noted that Lee’s paintings “‘Chrysanthemums,’ ‘Bouquet,’ ‘Still Life,’ and ‘Fruits’ are good, conscientious, and pleasing examples with special mention due to the textures and colours which are first rate.”
Day-to-day, however, Lee primarily worked as a restaurateur, “just in case the demand for oil paintings should falter.” He purchased one restaurant in Redwater, a traditional greasy-spoon known as Al’s, in the mid-1940s before opening a Chinese restaurant in Edmonton in 1951. As with his paintings, the Journal raved. “The Cathayan,” they said, offered “nutritious Chinese food and friendly efficient service in an oriental atmosphere… The extensive menu includes a full selection of all popular Chinese dishes, soups, chow mein, chop suey and fancy selections as well as standard western preparations.”
In his free time Yuen volunteered as an instructor with the Y.M.C.A. where he taught swim classes and ran donation drives. Lee’s wife, Jesse, joined him and hosted meetings for their Mennettes Club. Jesse herself was once the subject of a Bulletin feature article detailing Chinese recipes. The “sparkly-eyed young homemaker’s favourite party time dish is ‘Shrimp Fried Rice,’” the paper wrote. Jesse found “Chinese cookery a delightful entertainment for her guests,” opining that “they seem to enjoy it as much if not more than we do.” The decimation of Chinese culture went further for Jesse, who, with Lee, actively organized “China nights” at their local United church. Traditional meals, dress, and Mao’s then-ongoing communist revolution were common topics.
The Yuens moved into their new Westend home in 1959. While significant for its connection to two pioneering Chinese-Canadians, it’s also noteworthy architecturally. Inspired by the work of American architect Frank Lloyd Wright, the Yuens’ home deliberately evokes elements of his trademarked Prairie Style in an admittedly paired-down way. The style, Maitland, Hucker, and Rickets write, makes use of “low horizontal proportions; flat or gently pitched roofs extending beyond the walls in deep, projecting eaves; and rectangular windows whose glazing bars form angular, geometric patterns.” Of particular note is the Yuen Residence’s use of a long horizontal plan, and mix of brick banding, pilasters, and pattern work.
Lee and Jesse Yuen occupied this property with their two sons, Richard and Gerald, for over two decades. Lee passed on January 26th, 1982. Jesse followed on December 28th, 1985.
Image Gallery:
Sources:
“United Campaign Reaches $109,500,” Edmonton Bulletin, June 18, 1947.
“Young Adult Class Attended By 160,” Edmonton Journal, October 28, 1948.
“Missionary Opportunities Open In India, China,” Edmonton Bulletin, March 17, 1949.
John McLean, “Women Fascinate Artist But He Once Hurled Pot At One,” Edmonton Bulletin, November 15, 1949.
Jane Scott, “Chinese Specialty Dishes Delight Menu-Minded Homemakers Here Too,” Edmonton Bulletin, January 26, 1950.
“Recreational Short Course,” Edmonton Bulletin, May 17, 1950.
“City Artist’s Work Shown At Museum,” Edmonton Journal, April 14, 1951.
Frank H. Norbury, “Pleasing Exhibit At City Museum,” Edmonton Journal, April 20, 1951.
“Popular Chinese Dishes Are Specially Featured At New Cathayan,” Edmonton Journal, February 20, 1951.
“Yuen, Lee Kow,” Edmonton Journal, January 27, 1982.
Leslie Maitland, Jacquelin Hucker, Shannon Rickets, A Guide to Canadian Architectural Styles (Peterborough, Ontario: Broadview Press, 1993), 172.
“Property Information Data (Current Calendar Year),” City of Edmonton, s.v. “8915,” accessed May 1, 2020,
Henderson’s Edmonton City Directory (1959) s.v. “8915 140.”
