Anna May Wong in The Flame of Love (Wardour Films, 1930), Chu Chin Chou

Description

Anna May Wong in The Flame of Love (Wardour Films, 1930), Chu Chin Chou (Gainsborough Pictures, 1934), Java Head (A.B.F.D., 1934), Limehouse Blues and King of Chinatown (Paramount, 1934/1939) 8" x 10" Key Set Photographs (40+). Vintage gelatin silver glossy and matte (5-double-weight) 8" x 10", 9.5" x 7.25", 6.5" x 10", and 8" x 8" key set photographs of Anna May Wong in Flame of Love (2) with Fritz Kortner in Chu Chin Chow (15+), Java Head (3), with George Raft and Jena Parker in Limehouse Blues (15+), and King of Chinatown (3), with wet stamp, typewritten caption, date stamp, and paper caption on the verso (2). Very Fine, with light handling. Comes with a COA from Heritage Auctions.

More Information: This exceptional archive of photographs spans a pivotal decade in the career of Anna May Wong, the first Chinese American film star to gain international fame. Capturing scenes and portraits from five films—The Flame of Love (1930), Chu Chin Chow (1934), Java Head (1934), Limehouse Blues (1934), and King of Chinatown (1939)—this group of photographs represents a cross-section of Wong's evolving screen image as she moved between British and American studios and navigated a complex terrain of racial typecasting and stardom. . The stills from Chu Chin Chow, a British production, show Wong draped in stylized exoticism, underscoring the ongoing tension between the spectacle of Orientalist cinema and her attempts to assert screen agency. Limehouse Blues, where Wong stars opposite George Raft, marks her return to Hollywood and her reentry into the underworld of crime melodramas and doomed romanticism. The stills capture her elegance and charisma, even as the script confines her to marginal roles. In contrast, King of Chinatown (1939) presents her in a rare position of authority—as a doctor—offering a glimpse of the progressive roles she fought to inhabit late in her career.

Collectively, these images chart not only Wong's filmography but the visual construction of "Asianness" in 1930s cinema. They speak to both her magnetism as a performer and the limits imposed by a film industry deeply invested in stereotypes. More importantly, they provide visual evidence of Wong's resilience and innovation, as she carved out a career across continents and cultures, becoming a global icon despite systemic barriers. This grouping offers an unparalleled window into Wong's complex legacy—as an actress, style icon, and symbol of cultural negotiation between East and West in early 20th-century film.


Heritage Auctions provides as much information as possible but strongly encourages in-person inspection. Condition statements are offered as general guidance only, not as complete representations of fact, and do not constitute a warranty or assumption of liability by Heritage. Some condition issues may not be noted but may be visible in the photos, which are considered part of the condition report. Lots estimated at $1,000 or less are not de-framed for inspection, and we may be unable to provide additional details for lots valued under $500. Heritage does not guarantee the condition of frames and is not liable for damage to frames, glass/acrylic coverings, original boxes, display accessories, or artwork that has shifted in the frame. All lots are sold "AS IS" under our Terms & Conditions of Auction.