#gamut gallery

[brianbritigan]

Super excited to have this drawing featured in the upcoming group show at Gamut Gallery in Minneapolis!

"A Warning" - Colored pencil on wood panel, 7.5"x7.5"

It’s my first time exhibiting there and I’m very much looking forward to the opening event on the 15th — Get your tickets here!

[slim-jims-in-this-shit-hole]

what's up my feral friends? 🌶

it's imperative that we talk about the amount of truly hot & spicy art that has been & is being made in this fandom! I MEAN, COME ON! we are blessed!

where you peek at these bad, bad boys is up to you! but from this point on, you've been warned to view at your own risk!!! 😏🥵✨

⭒ ⭒ ⭒ ⭒ ⭒

↳ Gallavich Porn Gallery & Gallavich Kinktober 2021 by @psychicskulldamage

mitch has moved on to blessing other fandoms with their immense talents, but they have left us so many gifts to continue enjoying!! heed the tags, these really run the gamut & enjoy! (trans mickey my ultimate love)

↳ Gallavich Kinktober 2022 by @darthvaders-wife

alice is a fucking real one & her kinktober art this last year is ripe for a coffee table book, good looooord. the style is immaculate!

↳ Smut, smut, and more smut by @doodlevich

jena art! jena feeds us art of all kinds & is just a creative genius. & they write too! check out their collection of illustrated smut, which spans many fandom fests! co-created with @camnoelgallavich!

↳ nsfw art collection by bigassbigtits

yooooo babes, some of these are not for the faint of heart lol, truly they'll make ya woozy. honorable mentions go to: "some ass eating" "soft" & "9 inches"

↳ Bottom Ian Gallagher fanarts by @filorux

filo has made some incredibly spicy works over the years, but we all know her true passions lie with bottom!ian !!!!! as they should !!!!!!!

↳ Gallavich Gallery - Original Pieces by gallavich_mylove

i love these!!!! they're like a sweet cartoon style, but they're feral as fuck! i hope there are more soon!

↳ I Need You to Touch Me & Kinktober Art  & Art for 'Cinematic' by catgrassplantdad by @heymrspatel

when julissa decides to get sexy, we all fucking prosper! they're all so loving & also mickey's getting choked so much!!! yay for him! yay for us!

↳ southside spice & 5 polaroids that ian takes + 1 that mickey takes 📸  by @gallawitchxx

i've decided to put myself on the rec list this time whoops! but i do think my slightly spicy snaps deserve to be seen!

↳ How's That Feel, Private? by @crossmydna

cross art?! more please! & this one's inspired by ray words, which really is just the best combo ever!

↳ Double the Pleasure, Triple the Fun & Gallavich Kinktober 2022 Collection & My Gallavich Art by @suzy-queued

deeeeeena! capping this rec list with a real bang because deena is a star & has really given us so much spice! peruse these galleries & indulge!!!! deeeeeena! capping this rec list with a real bang because deena is a star & has really given us so much spice! peruse these galleries & indulge!!!!

↳ shout-out to @mikhailoisbaby @takeyourpillsbitchh & @deathclassic who also have some amazing & sexy pieces on tumblr!

[zahri-melitor]

If you thoughts on Selina? 13, 14, 29

13. Your favorite friendship they have

So given it's me: I actually really enjoy the small number of occasions we get to see Selina with Ted Grant.

Getting a massive soft spot for Selina and Eiko as well, actually, but one of the things about Ted is that he makes such a great mentor and uncle figure for the young women around him, and he seems bemused every time.

14. Best storyline they had

I have to say, Catwoman: Lonely City is very hard to go past. Cliff Chiang bottled some greatness there. Is it partly because we never get to have properly middle aged women in comics still being heroes? I know it's not main continuity, but it's beautiful and atmospheric and contained, and it spins out of one of my favourite periods of DC comics with a heartbreaking AU concept.

29. How do you think they would be as a parent? (and if they are a parent, how do you think they would be if they weren't?)

Ahahaha. Ahahahah. Ahahahaha. Well, the thing is, we've seen Selina as a parent, we've seen her as not a parent, we've seen her make the decision to opt out of parenting, and we've seen her (very occasionally) in the role of stepparent. We certainly have the Selina gamut on parenting!

I think, given her history, becoming a parent is something Selina needs to actively choose, and not just out of regret. Because she's run away from the concept so many times, I think she'd need to be in the correct headspace to do it, given how much it involves overtones of 'settling down' and 'putting up her whip'. She needs people around her to understand that she can still be herself as a parent, and she seems very worried she'll lose herself if she tries.

I think Selina with a kid who was older than Helena K ended up at the point of her adoption would be the sort of parent who hauls her kid along with her everywhere and doesn't let it cramp her lifestyle. Despite a lot of Helena W storytelling, I don't actually think Selina settles down to active parenting with nothing else going on. I think small Helena gets taken to the Caribbean where she learns to speak French and Italian in seaside resorts as her mother teaches her how to track and spot pickpockets and what tricks actually work. I think they do tours of the art galleries of the world. I think Selina actually works out how the Gotham Village functions as any kid of hers has so many unofficial aunts, uncles, cousins and siblings throughout Gotham and other cities that she now exists in an all encompassing network who will teach her kid things Selina doesn't really want Helena to learn and keep an eye on her while Selina's busy being herself.

[allenc-h]

Finally! Here are the recolors of Life and Death Hairs in The Gamut Palette including those pesky ombres! It was so big I had to split it up. Part 1 is Masc Hairs, Part 2 is Feminine. The child hairs are split between them.

Plus download The Cunex Family seen above, using these recolors!

We've got Fiesty Gramma Gem, Mother Mortina, Father Gorman, little Penly and of course Cunex, Tuesdae who lives up to her name. Also there's Unck, Mortina's younger brother. All have likes, dislikes, and attractions and skills relating to their personalities as well as Milestones depending on the packs you have. They don't have jobs, but if you have University, Mortina and Gorman have Honors Degrees. Mostly used Life and Death, Seasons, BG and Event pieces.

I was able to included some CC in the .zip, but please download the CC from the list if you want them to look like they do in the photo. They are also available on the gallery, just check the show cc box. Gallery ID: TheAllenC-H

Another goody. I've taken the Scythe off of the Scythe Hawk for versatility and also recolored that in The Gamut. They're both Standalone. Unck uses this but you can just replace it with the original if you don't want the No Scythe Hawk.

Let me know if there are any f-ups. My current defaults and TOU are now pinned on here for convenience. Follow me to see what I do next. Have Fun!

You can find The Cunex Fam, CC list with links and the download links for my cc on my Patreon. Everything is free foreva.

Thanks to all the CC creators who made this family possible! Especially @ice-creamforbreakfast for those absolutely necessary tassles. ;-)

[bloodcrosses]

My gallery running the gamut of Cillian's emotions.

[manmetaphysical]

It is well known that Sagittarians make great teachers, lawyers, performers, comedians, artists, philosophers, leaders and musicians. And even with Mercury in Sagittarius, great writers too. So that runs the gamut. So this is a comprehensive round up just in case you missed how multi faceted this zodiac sign actually is, its range is wide. Top of the list are the giants like William Blake who straddles poetry, art and mysticism, and Ludwig Beethoven whose work is monumental and will still be listened to in hundreds of years. But there was  also Oliver Messiaen who composed music  La Constellation du Sagittaire which was his zodiac sign.

proteusastrologydotcodotuk.files.wordpress.com

Sagittarians make great magicians like Franz Bardon.  He was much less known than Aleister Crowley, but nevertheless regarded as one of the most important occultists of the 20th Century, and still we have Dion Fortune, let’s not forget, who was also a Sagittarian and an acute psychologist. for a modern Sagittarian magicians look to  Uri Geller. Needless to say Sagittarians also make great astrologers like Robert Hand Nik Kollerstrom and Karen Hamaker-Zondag and these are only the known charts.

Dec 2nd, is the birthday of Britney Spears, who in spite of her wobbly personality is still much loved and, when on form, delivers the goods as a performer. But so many Sagittarian singers. Note also Christine Aguilera, Taylor Swift, Miley Cyrus, and Nicki Minaj- who all love to perform. But before them some of the greats of old include Frank Sinatra, Dionne Warwick and thunder thighs (Sagittarius is linked to the thighs) herself, Tina Turner who became the ultimate Buddhist fulfilling the yearnings of her spiritual nature.

There are also some oddball singers Little Richard, Frank Zappa, Ted Nugent and Tom Waits, and there are two outstanding opera stars Maria Callas, whose voice no one can match, and Jose Carreras.

Sagittarians can even be great hedonists crazies who go off piste from time to time, but are still entertaining. There’s Jim Morrison of the Doors, Ozzy Osbourne of Black Sabbath, Jay-Z and wild man Billy Idol. Some Sagittarians in this category can come across with a certain edgy swagger like Keith Richards of the Rolling Stones.

Then there are philosopher teachers, leader and gurus like Osho, Bruce Lee and B.K.S. Iyengar also embody many quintessentially Sagittarian traits as ultimate teachers all offering some form of physical practice yoga and martial arts-which marries the higher and lower self. Iyengar said ‘my body is my temple and the asanas are my prayers’ but he also said, as a true Sagittarian, that ‘honesty is essential’ in teaching. With Mercury in Sagittarius he could sometimes be difficult to understand when speaking. But there’s also wiseacre, Noam Chomsky, who functions in dual areas as linguistic philosopher and political activist, and then there's author who popularises 'Life School' philosophy, Alain de Botton.

Then we have the artists and painters from Masaccio, to Kandinsky, Paul Klee, Jan Toroop to Lucien Freud and the ever controversial, Marina Abramovic. But one mention must go to French artist and teacher of painting, William Adolph Bougereau, His name was tarnished as being too traditional, not  being ‘modern’ enough by Picasso and the art gallery owners who ganged up against him and cast him into the margins of art history as an old fuddy duddy, but he was was as skilled and technically accomplished as any of the Renaissance painters, ran his own school and more hard working and prolific than any of the Impressionists or Post-Impressionists or Cubists.

Then we have the visionary Sci Fi writers  Philip K. Dick author of the stories that made it into film: Blade Runner, Minority Report and The Adjustment Bureau. Dick spoke of visions of the future that have if not come true, then are resonating widely. His imagination was as fertile as any and he worked at top speed even bringing downloads of Gnostic wisdom into novels like Valis. Also Arthur C. Clarke and C.S. Lewis were both Sagittarians. These are the big names in the field whose legacy remains strong.

And the film directors can’t be bigger Fritz Lang, Stephen Spielberg and Ridley Scott who directed some of the best known films in past decades and has just directed Napoleon. But working on a smaller, more intimate scale we should not ignore Woody Allen, John Cassavetes, and the lesser known Argentinian film director, Marco Berger.

And who is the most loved actress in the UK?  Yorkshire born, Dame Judi Dench as talented and versatile as any actress can be. But world renowned actors include Liv Ullman, John Malkovich, Christopher Plummer, Brad Pitt, Kim Basinger, Julianne Moore and Jake Gylenhaal, most of them known around the world not just in their home countries.

Finally the athletes. Sagittarius is a fully developed physical sign – the hybrid centaur- so we have runner Florence Griffiths-Joyner, Donovan Bailey, and Oscar Pistorius, and football player Kylian Mbappe, along with Tennis players Boris Becker and Monia Seles.

See who else you can recognise in the collage of famous Sagittarians and in the list.

And now to end with comedian Bill Hicks, a Sagittarian, capturing the essence of a daily thought in the minds of these fiery, idealistic spirits:

“The world is like a ride in an amusement park, and when you choose to go on it you think it’s real because that’s how powerful our minds are. The ride goes up and down, around and around, it has thrills and chills, and it’s very brightly colored, and it’s very loud, and it’s fun for a while.

Many people have been on the ride a long time, and they begin to wonder, “Hey, is this real, or is this just a ride?” And other people have remembered, and they come back to us and say, “Hey, don’t worry; don’t be afraid, ever, because this is just a ride.” And we … kill those people. “Shut him up! I’ve got a lot invested in this ride, shut him up! Look at my furrows of worry, look at my big bank account, and my family. This has to be real.” It’s just a ride. But we always kill the good guys who try and tell us that, you ever notice that? And let the demons run amok …

But it doesn’t matter, because it’s just a ride. And we can change it any time we want. It’s only a choice. No effort, no work, no job, no savings of money. Just a simple choice, right now, between fear and love. The eyes of fear want you to put bigger locks on your doors, buy guns, close yourself off. The eyes of love instead see all of us as one. Here’s what we can do to change the world, right now, to a better ride. Take all that money we spend on weapons and defenses each year and instead spend it feeding and clothing and educating the poor of the world, which it would pay for many times over, not one human being excluded, and we could explore space, together, both inner and outer, forever, in peace.”

If you think the world is accelerating towards a collective psychosis, you are not alone but it could be a  magnified reflection of our own fears. According to author Paul Levy to recognise that there’s a dream-like quality to reality is the first step to activating your creative higher self, and to use the Daimon- the inner genius or ‘higher’ self- is a way to counter the wetiko mind-blindness that appears to have become virulent in the world. This means taking a ‘quantum’ perspective and Sagittarius is at home with the quantum world and the weird and multiple perspectives and dimensions it brings to bear on the old solidified way of seeing reality.

#Sagittarius #Sagittarian #Jupiter #Zodiac #SagittarianWriters #SagittarianArtists #SagittarianLeaders #SagitarianSingers #SagittarianComedians

0 notes

manmetaphysical

[pynkhues]

Hey Sophie, I'm going to be in Melbourne soon! Do you have any tips for what to do, see, or eat?

Hey! Ah! How exciting! Melbourne's a really fun city to visit, and I feel really does have something for everyone.

Hmmm, tip wise, I think I'd say:

grab a Myki card for public transport. You can buy these at any news agent, train station or petrol station. Melbourne has a free inner-city tramzone, which is great for getting around the CBD, but you should also take advantage of Melbourne's incredibly good train network which'll open up the broader city to you. A Myki card works on all forms of public transport - buses, trams (for trams outside of the free tram zone) and trains - so they're pretty straight forward.

On that note, the PTV app is pretty useless for public transport (you're better off using Google maps tbh), but it does let you top up your Myki instantly via your phone, which makes it useful. The TramTracker app is very good for trams though, especially because you can type in the number of the tram you're on and know exactly which stops you're heading towards. The logos look like this: (trust the doggo)

Don't drive in the city - it's a layer of hell.

Have a little bit of cash on you. Most places take cards or smart watches, but you'll need gold coins for certain things too, particularly accessing certain gardens or markets.

Pack for all weather. Melbourne's known for having four seasons in a day, and having lived here for almost five years now, it's not an exaggeration. Layering is your friend, and always have an umbrella!

Hook turns are a real thing here, and whether you're driving or just crossing the road, they're worth being aware of.

Places to visit

Melbourne's famous for its street art, and while you can just wander around and observe yourself, doing a tour is particularly fun (and makes sure you see the best stuff!)

Australian Centre for the Moving Image (ACMI) is one of my favourite places to show out-of-towners (although that's probably partly just because it's me, haha). It's a museum of film, tv and games, and explores the moving image as both a form of commercial entertainment and as a form of art. Their cinema is often playing really interesting films too.

National Gallery Victoria is always worth checking out.

Chapel Street is known for it's little galleries, restaurants and indie shops, and makes for a fun day out.

Queen Vic Market and South Melbourne Market are both iconic and for good reason. They've been operational since the mid-1800s, and you can often feel that when you're in them. They can get packed though, so just a heads up.

I love love love heritage buildings and exploring history through place, so will always recommend checking out the National Trust's historic sites in Melbourne. Rippon Lea Estate is a personal fave and only about 20 minutes out of the CBD on the train. They shot parts of Miss Fisher there, and even if you don't get to tour the house (although I recommend you do!) even just exploring the gardens are beautiful.

Abbotsford Convent & Collingwood Children's Farm are right next door to each other and a pretty amazing day out.

If you fancy seeing a movie, my all time fave cinemas are The Classic and The Lido, which are owned by the same family. Either spot is worth checking out.

If you're looking to see a show or performance, you can look for the big ones at any of the big theatres, but for smaller, exciting indie stuff, I'd check out the programs at Malthouse, La Mama, Art House, Meat Market, and Footscray Community Arts Centre,

What to eat

Wellllll, this ultimately depends on your budget, haha, since Melbourne restaurants can run the gamut. Some of my favourite restaurants that are a bit more on the expensive side but great for a special occasion:

Maha's probably my favourite restaurant in Melbourne? It's modern Middle Eastern cuisine and their seafood in particular is divine. It's a set menu, and like I said, a little exy, haha.

Mabu Mabu is modern Australian First Nations (Torres Strait Islander) cuisine and is very good! They sell some of their own sauces too, and I highly recommend snagging their pineapple hot sauce! It's also very easy to get to, as it's located in Fed Square right next to the Koori Heritage Trust which often has Indigenous exhibitions on (and a great gift store if you're looking for anything to take home)

Chin Chin's - delicious South East Asian fusion cuisine. Again, a little exy.

Transformer - incredible vegetarian restaurant. They do both ala carte and a fixed menu. Highly recommend their fixed menu! They're also very good with dietary requirements, particularly if you're gluten free or if you have annoying allergies for a vegetarian restaurant like me, haha (tomato and eggplant).

Cheaper eats that are also delicious:

A little out in the South Side 'burbs, but Saigon Mamma is my favourite Vietnamese restaurant in Melbourne.

Rice Paper Scissors is good too, as is Chocolate Buddha, Green Man's Arms, and oh! Studley Park Boathouse is a fave. It's beautiful location-wise with pretty standard (but good) pub eats, and they've got a lot of water birds you can feed and boats you can hire pretty cheap ($30 for a kayak, $40 for a row boat) to row along the Yarra River. It's also really close to the Convent + Children's Farm if you fancy making a day of it.

If you're willing to travel a little further out of inner Melbourne, I'd also suggest:

Healesville Sanctuary - the bird show is i n c r e d i b l e. I took my nephews last year and the older one still talks about it, haha.

Mornington Penninsula Hot Springs - Mornington Penninsula is a great day trip from Melbourne. It's only just over an hour drive, and it's pretty stunning. Full of wineries and beachy walks. The hot springs are so relaxing though, and really centring if you need it.

Mount Macedon - home of the Hanging Rock of Picnic at Hanging Rock fame! Plus it's just a beautiful area.

Cranborne Gardens - the Royal Botanical Gardens in the city are beautiful too, but I'm particularly partial to these ones.

Hope this gets you started, and just let me know if you have any other questions!

[mantacid]

I once saw a sunset so vibrantly pink I stopped to take a picture. Then another, adjusted my settings then took a third. Color corrected, and took a fourth. I grasped at straws as the sunset faded, never to be seen again, leaving only a dull and faded memory in the annals of my phone gallery. I kept editing, hoping to preserve the fleeting moment. I could not.

I realized that the colors therein were out of gamut. My phone screen Is Incapable of producing them, and the file format is incapable of even describing them. And this was AFTER manual color correction; no matter how hard I tried I couldn’t get the colors to match.

The fact that there are colors that the sky can create effortlessly, yet nonetheless evade our capture. That there are colors we have no hope to imitate with our multitude of advancements strikes me with similarly indescribable awe.

Have you seen pictures of the pinkest pink pigment? They are nothing compared to the real thing. We cannot represent it in mere data.

There are colors indescribable to all, colors that sometimes don’t even exist in the first place. Can we truly know what it is to see in ultraviolet the secret codes of the bees? Have you ever seen a reddish-green that wasn’t brown? Or that pulsing bluish-orange coronal spectre of light long dead, that lingers and floats in the Eigengrau of slumbering eyes?

That there are colors truly unique to a singular moment in space and time — fleeting, transient, yet permanent in their resplendence — is beauty that is transcendently profound.

[nurhangokturk]

Enhancing Your Collection: Tips for Art Enthusiasts in New Orleans

The vibrant cultural hub of New Orleans has a popular reputation for its history, music and versatile art scene. Art enthusiasts looking to enhance their collections will find myriad opportunities and avenues in the city. In fact, the gamut of local art New Orleans works reflects the city’s diverse heritage. Both seasoned collectors and beginners can use these tips to enhance their art collection.

Explore Local Art Galleries and Studios

You will find numerous art galleries in New Orleans showcasing a wide range of local talent. While you look forward to enhance your collection, visit some popular art districts like the French Quarter, Magazine Street, or the Warehouse District. In these regions, many galleries feature pieces from emerging as well as seasoned New Orleans-based artists. Engaging with local galleries is a great way to discover rare paintings and sculptures, and mixed media art that can reflect the creative spirit of the city.

Attend Art Markets and Festivals

Art markets and festivals are a reliable way to come across affordable and original pieces, which is also an opportunity to support local artists. Events like the Frenchmen Art Market, the Arts Market of New Orleans, and the New Orleans Jazz & Heritage Festival provide access to a wide variety of artwork, from photography to handcrafted sculptures. In these venues, you can directly connect with local art New Orleans artists and learn about their creative process. This will be a good chance to add unique local pieces to your collection.

Focus on Local Themes and Styles

To create a collection that will reflect New Orleans’ culture, look for art centered on the city’s rich history and distinctive style. Themes like jazz, Mardi Gras, voodoo culture, and the lush Louisiana landscapes are recurring popular themes in local art New Orleans.

Commission Custom Works

If you look forward to a truly personal addition to your collection, you may consider commissioning a piece from a New Orleans artist. Many local artists accept to undertake custom painting works, which will make it possible for you to collaborate on a piece that matches your vision while incorporating the unique flavor of the city.

Take Away

Art enthusiasts in New Orleans have abundant opportunities to enhance their art collection. Stay up-to-date on New Orleans' art scene, visit galleries, collaborate with local artists, attendlocal exhibitions, openings, and artist talks. All these different avenues will give you some great opportunities to engage with the local art New Orleans community and enhance your art collection in a meaningful way.

For more information about New Orleans Artists and Custom Paintings New Orleans please visit:- Nurhan Gokturk

[writer59january13]

Please come join me in spirit if not in body...

regarding my resumption of daily/mostly nightly constitutional

I accompany my dark shadow... (small number of hours before edge of night,

where twilight zone evokes night gallery - drawing celestial sphere closer to me from the outer limits),

and resumed walking a circuit

around perimeter of parking lot imbibing the scent of Mother Nature

beginning today after

a hiatus of countless years - aiming to foster stamina before returning to the contra dance - in Mount Airy after optomitrist Paul Halpern reconfigures pertinent characteristics post cataract surgery to fit appropriate spectacles) meanwhile yours truly (me) exercises his right to bare arms

air supply sustained

by breezy temperate

twenty seventh seal of Bergmanian September two thousand and twenty four, and perhaps if regularly habituate myself to said stroll physical endeavors may one day find me to cantor or trot and stop horsing around.

Yours truly realized modus operandi

to kombat (mortal) lethargy;

last year, he did stride rite around resident parking lot area (here at Highland Manor apartments)

then usually at approximately

19:00 hours each day

casually bumbling and ambling one lap after another

counting one hundred and one,

one hundred and two, one hundred and three...

coordinated with deep breathing

to distract self from repetitiveness.

Modicum of walking exercise benefits this sexagenarian

in tandem yours truly began

burning ghee (my slang for calories) while maintaining sitting position placing each foot in strap and pedalling lightweight machine

against adjusted tension.

Aside from strengthening leg muscles

choosing to while away time

by disciplining myself with former or latter,

both modes of physical fitness

also help keep anguish at bay (plus sublimating, and redirecting formerly tied in with hair compulsion)

mental duress triggered

courtesy of property management

constituting: Zoftig, the warden

and maintenance man, (a recent hire),

the first two whose invisible clutches

asphyxiate me and the missus hounding us to keep

one bedroom apartment in shipshape order and particularly and somewhat unpleasant to wipe away fruit fly feces (cuz exterminator informed us said itty bitty teeny weeny insect breeds within their

yellowish gummy waste matter)

prompting us to Google search senior low income apartment facilities, spurring spurious query wondering

whether any anonymous reader might be able, eager, ready and willing to hand over keys to main lodging

including carriage house, we would even settle for a dog house

or (in a manor of writing) Yukon

assign access rights to access an excellent outlook.

Sense and sensibility concerning

the emotional fallout

brought about by sedentariness

(essentially affecting me to feel glum, melancholy, and ruminative)

helped goad generic indigent solitary man (practically self quarantined

his whole mucked up adult life),

hence not inconvenienced

when coronavirus COVID-19

wrought havoc and mayhem.

Just on the cusp of experiencing joie de vivre,

the triumvirate of Crooks and Quade

figuratively swoop down

to announce re: inspection

of apartment unit B44

whenever they deem appropriate.

Thus series of unfortunate events

(linkedin with bull limey Lemony Snicket bro)

got sidelined nsync with

contracting a minor bout with deadly Amish Flu symptoms include feeling horse and a little buggy found garden variety reasonable rhymer

faux being bedridden (just pretending to get sympathy) once again feigning feeling a little horse and buggy (ha),

incapacitated to craft

original signature poetry writing, cuz for your edification most of these words written at least a couple years ago.

An honest to dog confession

regarding hiatus spewing forth vociferous versatile vocabulary

mine words - worth their weight in gold (told woofer I do not know), nevertheless

included perusing a gamut of reading material.

The passion to engross intellect

witnessed courtesy immersing

attention, concentration, excitation gratification, intoxication;

knowledge prized more precious

than fine spun gold.

Likewise crafting (albeit painstakingly)

elusive notions that flit to and fro hither and yon (analogous to ping pong ball)

within parameters of

microscopically crenellated

sixty plus shades of gray matter

also constitutes fervent interest.

[baravaggio]

just to clarify! the art included above is not all art from the phone hotline project, I had initially just included them to give examples of how his work runs the gamut from yōkai to erotica, but since people are curious here's a few examples from this project (called gekko theatre in the art book) - the text is his retelling of the stories told to him over the phone:

and a link to a full, hq scan of the book, because sharing is caring :)

one of my favorite facts about gekko hayashi (artist who drew gay erotica) is that he was straight guy who pivoted from sci-fi & monster stuff to illustrating for gay & bdsm mags at like 50 years old because he wanted to expand his artistic horizons, and compensated by lack of lived experience by setting up a phone line for gay men to call in & recount their stories so he could illustrate them...legend

[priyanshisingh]

LED Phosphor Materials Market Landscape: Trends, Drivers, and Forecast (2023-2032)

The LED Phosphor Materials Market is projected to grow from USD 218.7 million in 2024 to USD 275.97 million by 2032, reflecting a compound annual growth rate (CAGR) of 2.95%.

LED phosphor materials play a crucial role in the functionality and efficiency of light-emitting diodes (LEDs). These materials are responsible for converting the blue or near-ultraviolet light emitted by the LED chip into the desired visible light spectrum, enabling the production of white light or various other colors. The choice of phosphor materials directly impacts the color rendering index (CRI), luminous efficacy, and thermal stability of the LED. Advances in phosphor technology have led to the development of materials that offer improved color consistency, longer lifespan, and higher efficiency. Common phosphor materials include yttrium aluminum garnet (YAG), silicates, nitrides, and oxynitrides, each offering specific benefits in terms of color quality and performance. The ongoing research and development in this field aim to enhance the brightness, energy efficiency, and color accuracy of LEDs, making them increasingly suitable for a wide range of applications, from residential and commercial lighting to displays and automotive lighting. As the demand for energy-efficient lighting solutions grows, the innovation in LED phosphor materials continues to be a critical factor in the advancement of LED technology.

Innovative Trends in the LED Phosphor Materials Market:

Quantum Dot Phosphors: Quantum dot technology is being integrated into LED phosphors to achieve superior color quality and efficiency. Quantum dots provide a wider color gamut and higher brightness, making them ideal for applications in displays and advanced lighting solutions.

Remote Phosphor Technology: This trend involves placing the phosphor material away from the LED chip, reducing thermal quenching and improving light uniformity and efficiency. Remote phosphors can lead to enhanced lumen output and better color consistency.

Nanophosphors: The development of nanophosphors is pushing the boundaries of LED efficiency and color rendering. These materials offer better control over emission spectra and can be engineered to provide customized lighting solutions with high precision.

Silicate Phosphors: Silicate-based phosphors are gaining popularity due to their excellent thermal stability and high luminous efficacy. These materials are particularly suitable for high-power LED applications where heat management is crucial.

Hybrid Phosphor Systems: Combining different types of phosphors, such as silicates and nitrides, allows for the creation of hybrid systems that can optimize color rendering and luminous efficiency. This trend is driving innovations in LED lighting for both general illumination and specialized applications.

Environmental Sustainability: The focus on eco-friendly and non-toxic phosphor materials is increasing. Innovations are geared towards developing phosphors that are free from rare earth elements and other environmentally harmful substances, aligning with global sustainability goals.

Enhanced Color Rendering Index (CRI): Advances in phosphor materials are enabling LEDs to achieve higher CRI values, providing more natural and accurate color reproduction. This trend is particularly important for applications in retail, healthcare, and art galleries where color fidelity is critical.

Longer Lifespan and Durability: Improvements in the thermal and chemical stability of phosphor materials are leading to longer-lasting LEDs. Enhanced durability ensures that LEDs maintain their performance over extended periods, reducing maintenance and replacement costs.

Blue Light Reduction: To address concerns about blue light exposure and its impact on human health, new phosphor formulations are being developed to reduce blue light emission while maintaining high luminous efficacy. This trend is particularly relevant for indoor lighting and display technologies.

Integration with Smart Lighting Systems: Phosphor materials are being optimized for use in smart lighting systems, which require precise control over light color and intensity. These advancements support the growing demand for connected and adaptive lighting solutions in both residential and commercial environments.

Key Player Analysis

Beijing Yuji International Co., Ltd.

OSRAM GmbH

Materion Corporation

Harvatek Corporation

Luming Technology Group Co., Ltd.

Edison Opto Corporation

Tailorlux GmbH

Nippon Electric Glass Co., Ltd

General Electric

Mitsubishi Gas Chemical Company

Leuchtstoffwerk Breitungen GmbH

More About Report- https://www.credenceresearch.com/report/led-phosphor-materials-market

LED Phosphor Materials Market Competitive Analysis

The LED phosphor materials market is characterized by intense competition among several key players, each striving to innovate and expand their market share. This competitive landscape is shaped by factors such as technological advancements, strategic partnerships, mergers and acquisitions, and a focus on sustainability and efficiency. Here's an analysis of the competitive dynamics:

Technological Innovations: Companies are focusing on developing advanced phosphor materials, such as quantum dots, nanophosphors, and hybrid phosphor systems, to improve the color rendering index (CRI), luminous efficacy, and thermal stability of LEDs. Innovations in remote phosphor technology and blue light reduction are also key differentiators.

Strategic Partnerships and Collaborations: Collaborations with LED manufacturers and technology providers are common strategies to enhance product development and market reach. For instance, partnerships between phosphor material suppliers and LED chip manufacturers facilitate the integration of new materials into LED products, accelerating time-to-market and adoption.

Mergers and Acquisitions: The market has witnessed several mergers and acquisitions aimed at consolidating market positions and expanding technological capabilities. For example, major players often acquire smaller firms with specialized expertise in niche phosphor technologies, enabling them to offer a broader range of solutions and enter new market segments.

Geographical Expansion: Companies are expanding their geographical footprint to tap into emerging markets in Asia-Pacific, particularly China and India, where the demand for energy-efficient lighting solutions is rapidly growing. Establishing local manufacturing facilities and strengthening distribution networks are crucial strategies for gaining market share in these regions.

Focus on Sustainability: Environmental regulations and consumer preference for eco-friendly products drive companies to develop phosphor materials that are free from rare earth elements and other hazardous substances. Sustainability initiatives not only help in regulatory compliance but also enhance brand reputation and appeal to environmentally conscious customers.

Competitive Pricing: Price competition is significant, especially in regions with high demand for cost-effective LED solutions. Companies strive to balance cost and performance by optimizing manufacturing processes and sourcing materials efficiently. Competitive pricing strategies are essential to attract price-sensitive customers and maintain market share.

Customer-Centric Approach: Leading players emphasize customer-centric approaches by offering customized phosphor solutions tailored to specific applications and requirements. Providing technical support, application engineering, and post-sales services are critical for building strong customer relationships and fostering loyalty.

Market Differentiation: Differentiation through unique product offerings, such as phosphors with enhanced color stability, higher efficiency, and longer lifespan, is a key strategy. Companies highlight these unique selling points (USPs) in their marketing efforts to stand out in the competitive market.

Regulatory Compliance: Compliance with international standards and regulations, such as RoHS (Restriction of Hazardous Substances) and REACH (Registration, Evaluation, Authorization, and Restriction of Chemicals), is vital. Companies invest in ensuring their products meet these standards, thereby gaining trust and credibility among global customers.

Segments:

Based on Technology:

ELC

Modular Light Engines

Thin Films

Remote Phosphor

Direct Contact

Based on Application:

Mobiles

Portable PCs

Automotive Headlamps

Televisions

Lighting Devices

Based on End-use:

Mobile and Telecommunication

Consumer Electronics

Automotive Lighting

Building and Construction

Browse the full report –  https://www.credenceresearch.com/report/led-phosphor-materials-market

Browse Our Blog: https://www.linkedin.com/pulse/led-phosphor-materials-market-landscape-trends-drivers-ssyif

Contact Us:

Phone: +91 6232 49 3207

Email: sales@credenceresearch.com

Website: https://www.credenceresearch.com

[jcmarchi]

8 CSS & JavaScript Snippets for Awesome Reveal Effects

New Post has been published on https://thedigitalinsider.com/8-css-javascript-snippets-for-awesome-reveal-effects/

8 CSS & JavaScript Snippets for Awesome Reveal Effects

Not everything on a website has to be displayed straightforwardly. Sometimes, it’s prudent to hide an element. We can then reveal it automatically or via user interaction.

That’s what makes reveal effects so compelling. They can serve dual purposes. The first is to keep our layouts nice and tidy. The second is to add a bit of flair to the user experience (UX).

And there are many intriguing options for web designers. Using CSS and JavaScript offers a path to creating high-end effects. They not only look great, though. There are ways to build features that are performant and accessible as well.

Want to explore some possibilities? Check out our collection of fantastic reveal effects. They run the gamut in terms of use cases and technology.

Scratch Card CSS Reveal by Nicolas Jesenberger

This reveal effect mimics a real-world experience – using a scratch card. Use your finger or pointing device to “scratch” off the silver foil. You’ll find a little surprise underneath. It’s both clever and well-executed.

See the Pen Scratch Card by Nicolas Jesenberger

Magic Wand Reveal by Kalis Network

Here’s a snippet that takes web magic to the next level. Move the magic wand from left to right to reveal the image gallery underneath. There’s also a subtle effect for nearby images. They’re blurry and displayed with a lower opacity.

See the Pen Magic Reveal by Kalis Network

Circular Reveal Animation by Liza Shermayster

You don’t need to go overboard with reveal effects. This simple presentation reveals more of the image upon hover. And it also adds a classy text animation. It would work well on a portfolio or About Us page.

See the Pen circular reveal animation by Liza Shermayster

Text Reveal Animation by Owlypixel

How about a reveal effect that happens automatically? This animated headline is beautiful and sure to get a user’s attention. It’s also powered by CSS. That means there are no messy scripts to slow down your page load times. The JavaScript used in the snippet refreshes the demo.

See the Pen Text Reveal Animation by Owlypixel

Ink Transition Reveal by Ryan Yu

These scroll-based animations are incredible. The artwork appears to be drawn on your screen as you scroll. The effect creates a mood to enhance the UX. It’s a case of special effects fitting the content to a tee.

See the Pen Ink transition effect with PNG sprite by Ryan Yu (@iamryanyu)

Movie Poster Interaction Reveal by Ethan

Card UIs are a popular design element these days. But there’s only so much content they can hold. This snippet offers a solid workaround. Hover over a card to reveal further content. The layout remains neat while adding a bit of interactivity.

See the Pen Movie Poster Interaction by Ethan

Page Reveal Effect by Kevin Levron

Yes, you can use reveal effects for an entire page! And this tool can help you create the perfect fit for your project. Choose from several animation types and other options to build a beautiful presentation. Plus, it’s just plain fun to experiment with.

See the Pen Page Reveal Effect (CSS/VueJS) by Kevin Levron

Accessible Offcanvas Reveals by Vasileios Mitsaras

Offcanvas elements are a handy place to store extra info. They’re often used to hide mobile navigation so that users can focus on content. This demo uses jQuery to add elements that can be revealed in multiple ways.

See the Pen Accessible Offcanvas by Vasileios Mitsaras

A Revealing Way to Build a UI

Reveal effects can take many forms. They’re suitable for everything from a corporate website to an online game. Their potential is vast and varied.

It’s still important to consider the impact on users, though. The best implementations feel natural and add to the UX. Therefore, it’s best to avoid effects that get in the way of accessing content.

Thankfully, CSS and JavaScript provide plenty of leeway. You can use the combination that works best for your project.

Want to see even more reveal effects? Check out our CodePen collection!

Related Topics

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[mgsmarketingca]

Best Professional printers for graphic designers Company

Professional printers for graphic designers are indispensable tools that bridge the gap between digital creativity and tangible, high-quality prints. In the realm of graphic design, where precision and color accuracy are paramount, having access to top-notch printers is essential for bringing digital designs to life in a physical form. Let's explore the significance of professional printers for graphic designers, the key features that make them indispensable, and the impact they have on the quality of printed materials.

Significance of Professional Printers for Graphic Designers:

Graphic designers are tasked with creating visually stunning and impactful designs, whether for branding materials, marketing collateral, or artistic expressions. The significance of professional printers lies in their ability to faithfully reproduce these designs with the utmost accuracy and detail. These printers are designed to meet the exacting standards of graphic designers who demand precision, color consistency, and a wide gamut of color options.

Key Features of Professional Printers:

Color Accuracy and Calibration: Professional printers are equipped with advanced color calibration technologies to ensure accurate reproduction of colors. They often come with built-in color management tools, allowing graphic designers to calibrate the printer to match their specific color preferences.

High Resolution and Detail: The devil is in the details, and professional printers excel in rendering intricate details with exceptional clarity. High-resolution printing capabilities ensure that every line, texture, and gradient in a graphic design is reproduced with precision.

Wide Color Gamut: Graphic designers work with a broad spectrum of colors, and professional printers support a wide color gamut to faithfully reproduce vibrant and nuanced hues. This capability is crucial for maintaining the integrity of the designer's vision.

Media Versatility: Professional printers are designed to handle a variety of print media, including different types of paper, cardstock, and even specialty materials like canvas or photo paper. This versatility allows graphic designers to choose the most suitable medium for their specific projects.

Large Format Printing: For projects that require larger prints, such as posters or banners, many professional printers offer large format printing capabilities. This ensures that graphic designers can scale up their designs without compromising on quality.

Consistent and Reliable Output: Reliability is key in professional settings, and these printers are built to deliver consistent and reliable output over extended periods. This is especially important for graphic designers working on projects with tight deadlines.

Impact on Print Quality and Creativity:

Printed Portfolio and Presentations: Graphic designers often rely on printed portfolios to showcase their work during client presentations or job interviews. Professional printers allow them to present a physical representation of their designs, highlighting the attention to detail and quality of their work.

Branding Materials: Consistency in branding is crucial, and professional printers ensure that branded materials, such as business cards, brochures, and promotional materials, maintain the intended color scheme and design integrity.

Artistic Expressions: For graphic designers engaged in artistic endeavors, having access to professional printers enables them to turn their digital creations into gallery-worthy prints. Whether it's limited edition art prints or personalized creations, the printer plays a pivotal role in bringing these visions to life.

Client Deliverables: When delivering design projects to clients, professional printers allow graphic designers to provide tangible, high-quality deliverables. This enhances the overall client experience and adds a level of professionalism to the designer-client relationship.

Considerations for Graphic Designers:

Printer Resolution: Opt for a printer with high resolution to ensure sharp and detailed prints. Look for a printer with a resolution measured in dots per inch (dpi) that aligns with the level of detail your projects demand.

Color Accuracy and Calibration Tools: Choose a printer that offers robust color calibration tools. This allows you to fine-tune color settings to match your monitor or maintain consistency across different printing jobs.

Media Compatibility: Consider the types of media the printer can accommodate. Whether you're printing on glossy paper, matte finishes, or specialized materials, ensure that the printer can handle the media you commonly use.

Size and Format: Evaluate the size and format options offered by the printer. If you frequently work on large-scale projects, a printer with large format capabilities may be essential.

Reliability and Speed: Look for a printer known for reliability and efficient printing speeds, especially if you work on projects with tight deadlines.

Conclusion:

Professional printers for graphic designers are not just tools; they are enablers of creativity and the means by which digital designs materialize into tangible, impactful prints. As technology advances, graphic designers have access to a range of printers that offer unparalleled color accuracy, resolution, and versatility. These printers are instrumental in elevating the quality of printed materials, shaping the visual landscape of branding, marketing, and artistic expressions. For graphic designers, investing in a professional printer is an investment in the precision, quality, and creative potential of their work.For more details visit our website www.mgsmarketing.ca

[synestheticwanderings]

Fic Writer Questions

Thanks for the tag @ohmyoverland 💙 If I know you irl from when I first made this blog a very long time ago, no you don't.

1. How many fics do you have on AO3? 17

2. What’s your total AO3 word count? 67,977

3. What fandoms do you write for? Lockwood & Co. 💀⚔

4. What are your top 5 fics by kudos?

can't leave the night, my very first fic, shared nightmare/shared bed fic, Locklyle. Lockwood has been sneaking up to the attic after the events of The Creeping Shadow to make sure Lucy’s really home safe at Portland Row. One night, he’s finally caught.

flooded, established Locklyle smut, kink exploration, absolutely no pandas allowed.

sick of this lonely air/designed for me, sequel to can’t leave the night, Lockwood and Lucy refuse to talk about their feelings, but they finally get to the good part (also not safe for pandas)

sugar in my tea After four months away, Lucy asks Lockwood if he wants sugar in his tea. This breaks his heart.

paint your palette blue and grey, Locklyle art buyer AU, After a long hiatus, Lucy Carlyle exhibits her paintings at Fittes Gallery under a pseudonym. Before the show even opens, a mysterious collector buys all of her work. The evening of the opening, she encounters Anthony Lockwood, a dashing new buyer on the Detroit art scene. Things get off to a rocky start.

5. Do you respond to comments? I do!

6. What’s the fic you wrote with the angstiest ending? Oooh that's hard, but probably lavender haze, my pre-canon Kippsfic.

7. What’s the fic you wrote with the happiest ending? Most people would probably say paint your palette blue and grey? But I’m going to say Knave of Clubs (Wildcard), because Carlyle & Skull 💀

8. Do you get hate on fics? Not so far.

9. Do you write smut? If so, what kind? Yes, and I'd say it runs the gamut.

10. Do you write crossovers? What’s the craziest one you’ve written? Nah.

11. Have you ever had a fic stolen? Not that I know of.

12. Have you ever co-written a fic before? I just did my first collab! It’s still unpublished, but I can’t wait for people to read it.

13. What’s your all time favorite ship? All-time, all-time? Probably Merthur or Elizabeth/Darcy. L&Co? I’m a Skullyle girlie.

14. What’s a WIP you want to finish but doubt you ever will? I’m going to be very sad if I don't finish my Hadestown AU, but my Moulin Rouge AU will probably die in the outline.

15. What are your writing strengths? I can pack a lot into very little space. I’d say I’m pretty good at last lines.

16. What are your writing weaknesses? Volume and incorporating prose into my dialogue. I can do prose, I can do dialogue, God forbid I try to do them both at once.

17. Thoughts on writing dialogue in another language for a fic? I’d write it in English and get a native speaker to translate for me.

18. First fandom you wrote for? Does my elementary school Voldemort POV count? (This probably says a lot about me.)

19. Favorite fic you’ve written? Safe for pandas: there’s no such thing as one true love, A multiple soulmate AU featuring Locklyle, Skullyle, Lucy/Norrie. There’s stuff I’d change if I wrote it now, but I’m still very proud of it. Not safe for pandas: where the wind sighs, Skullyle

No pressure tags @justice-for-skull @hailqiqi @cats-and-metersticks

[demospectator]

“109. Chinese Merchants, San Francisco, Calif.” c. 1890 – 1899? Stereograph by Nesemann Woods Gallery, Marysville CA (from the Wallace B. Chung and Madeline H. Chung Collection of the University of British Columbia Library).

Merchants of Old Chinatown

In the late 1840s and the 1850s, Chinese merchants and traders made their initial foray into California. By February 1849, the number of Chinese had increased to 54 and by January 1850, historians would count 787 men and two women in San Francisco. In December 1849, the Alta California newspaper reported that 300 Chinese convened a meeting at the Canton Restaurant on Jackson Street for the purpose of organizing the “Chinese residents of San Francisco” and engaging the services of lawyer Selim E. Woodsworth to “act in the capacity and adviser for them.”

In his book, Genthe’s Photographs of San Francisco’s Old Chinatown, historian John Tchen wrote about the vanguard of old San Francisco Chinatown’s merchant elite as follows:

“These pioneers hailed primarily from the Sanyi (Saam Yap) or Three Districts [三邑], as well as the Zhongshan area in the immediate vicinity of Canton. It's important to note that Nanhai (Namhoi) and Panyu (Punyu) stood out as the most prosperous districts within Guangdong Province. Their economic pursuits ran the gamut from cultivating fertile agricultural lands, breeding silkworms and fish, to crafting silk textiles, producing ceramics for both domestic and international markets, and engaging in various other commercial endeavors. “What set apart the merchants and artisans from Sanyi and Zhongshan was their mastery of a more refined city dialect compared to their Siyi (Sei Yap) counterparts, who mainly consisted of poorer, rural communities. Remarkably, over 80 percent of Chinese immigrants in North America originated from the Siyi [四邑] region. A noteworthy portion of these Sanyi merchants belonged to the emerging class of compradores, individuals who facilitated business transactions on behalf of Western trading companies. These California-based Sanyi merchants thus brought prior experience in dealings with Western entrepreneurs, and California was seen as a promising arena to expand these lucrative connections.”

With the completion of the Transcontinental Railroad in May of 1869, the more sophisticated and adventurous members of San Francisco’s pioneer Chinese merchant community would begin exploring other cities in the United States in search of opportunity.

“Sing-Man, Chinese Merchant, San Francisco” and “Choy-Chew, Chinese Merchant, San Francisco,” Harper’s Weekly, September 4, 1869, wood engraving on paper. Artist unknown, artist after a photograph by Mathew Brady, 1869 (from the collection of the National Portrait Gallery).

For example, in the Harper’s Weekly article (Sept 4, 1869, page 574), the reporter identified merchant Choy Chew as a San Franciscan and a talented linguist of sufficient intellect and stature to be invited to give a speech at a European-American banquet. He reportedly visited Chicago with a fellow merchant, Sing Man, before traveling to New York where the pair were regarded as “representatives of Chinese industry and commerce.”

At the banquet in Chicago, Choy Chew delivered the following remarks:

”Eleven years ago I came from my home to seek my fortune in your great Republic. I landed on the golden shore of California, utterly ignorant of your language, unknown to any of your people, a stranger to your customs and laws, and in the minds of some an intruder — one of that race whose presence is deemed a positive injury to the public prosperity. But gentlemen, I found both kindness and justice. I found that above the prejudice that had been formed against us, that the hand of friendship was extended to the people of every nation, and that even Chinamen must live, be happy, successful and respected in ‘free America.’ I gathered knowledge in your public schools; I learned to speak as you do; and, gentlemen, I rejoice that it is so; that I have been able to cross this vast continent without the aid of an interpreter; that here in the heart of the United States I can speak to you in your own familiar speech, and tell you how much, how very much, I appreciate your hospitality; how grateful I feel for the privileges and advantages I have enjoyed in your glorious country; and how earnestly I hope that your example of enterprise, energy, vitality, and national generosity may be seen and understood, as I see and understand it, by our Government … ”We trust our visit, gentlemen, may be productive of good results to all of us; that the two great countries, East and West, China and America, may be found forever together in friendship, and that a Chinaman in America, or an American in China, may find like protection and like consideration in their search for happiness and wealth.“ -- from the Scientific American, new series, vol. 21, no. 9, p. 131 (August 28, 1869)

The founding in 1888 of the Merchants’ Exchange in old San Francisco Chinatown represented the logical culmination of several decades of robust business operations by the pioneer Chinese merchants in the city and beyond.

“Chinese Merchants’ Exchange, San Francisco.” Lithograph from Harper’s Weekly, Vol. 26, March 18, 1882 (from the collection of The Bancroft Library, University of California, Berkeley.

In his book, A Guide Book to San Francisco (published by The Bancroft Company in 1888), John S. Hittell described the Chinese Merchants Exchange as follows:

“At 739 Sacramento Street are the new rooms of the Chinese Merchants' Exchange. They are fitted up in the ordinary Chinese style, and though presenting no special attraction to the visitor, the business transacted there is of considerable importance. A Chinese merchant, contractor, or speculator never starts on any enterprise alone. He always has at least one partner, and in most cases several. He makes no secret of his transactions, but converses about them at the exchange, and often goes there in search of capital when his own means are insufficient. He sometimes applies to that institution to find him a capable man to manage a new business which he is about to start. If, as often happens, one be selected who is in debt to other members, they make arrangements which will not interfere with the new enterprise; and the debtor is not unfrequently released from his obligations.”

Fung Tang

Fung Tang, c. 1870. Photo by Kai Suck (from the collection of the California Historical Society).

The address of the Merchants’ Exchange at 739 Sacramento Street was hardly surprising, as it shared the same building which had housed the mercantile house of a legendary merchant, Fung Tang. Historian York Lo, in his article for The Industrial History of Hong Kong Group website, described Fung as “a native of Jiujiang (Kow Kong) in the Nanhai county (南海九江) in Guangdong, Fung Tang followed his uncle Fung Yuen-sau (馮元秀) to California in 1857 at the age of 17 and worked at Tuck Chong & Co (德祥號辦莊), a trading business founded by his uncle and his fellow Nanhai native Kwan Chak-yuen (關澤元).” In the Langley San Francisco directory of 1868, the Tuck Chong & Co. is listed as “(Chinese) merchants” located on Chinatown’s first main street at 739 Sacramento Street.

“In his spare time,” York Lo writes, “he learned English from Reverend William Speer and became fluent in the language. With his linguistic skills, he became a bridge between the Chinese and the white community in San Francisco and even befriended Peter Burnett, the first Governor of California, who described Fung in his memoir as ’a cultivated man, well read in the history of the world, spoke four or five different languages fluently including English, and was a most agreeable gentleman, of easy and pleasing manners’.”

As such, Fung Tang must be considered as a logical client for the pioneer Chinatown photographer, Kai Suck. A professional studio portrait would have conferred respectability in the eyes of the non-Chinese businessmen and politicians with whom he interacted. In fact, Fung appears to have deployed the same portrait now reposing in the collection of the California Historical Society as part of his commercial advertising in Hong Kong.

An advertisement for Fung Tang’s flour import business in the Sheung Wan district of Hong Kong.

For more details about Fung’s business exploits and his public service, including his election to the board of directors of the Tung Wah clinic (the original predecessor organization of the future Chinese Hospital), readers are encouraged to read York Lo’s piece here: https://industrialhistoryhk.org/fung-tang-the-firm-the-family-the-transpacific-metals-trade-and-tin-refinery/?fbclid=IwAR3DU6pEcaEw6w2uH1OZvFBFL8vg-Rl4keBS-VkbcttFuHKlx973g3ZjcY8

Tchen asserts that the influx of British and other Western imperialist powers into China’s major treaty ports transformed the status of merchants engaged with Western trading companies. Rather than operating on the margins of Qing-era society, the merchants gained unprecedented prestige and influence. Beyond China's borders, they experienced far more freedom to engage in trade and amass substantial profits without the worry of state-imposed restrictions. They rapidly acquired the necessary language skills and business acumen to navigate their newfound opportunities.

San Francisco’s early Chinese merchants swiftly grasped the English language and American business practices, excelling in American-style transactions, and developing strategies for fostering positive relations with the general San Francisco populace. The local press affectionately labeled them "China Boys." They made conscious efforts to participate in the celebrations of significant American holidays, further endearing themselves to the San Francisco community.

This approach significantly bolstered their rapport with the local population, as evidenced by the California Courier's glowing praise: “We have never seen a finer-looking body of men collected together in San Francisco. In fact, this portion of our population is a pattern for sobriety, order, and obedience to laws, not only to other foreign residents, but to Americans themselves," declared Cornelius B. S. Gibbs, a marine-insurance adjuster, in 1877. Gibbs emphasized the high esteem in which Chinese merchants were held among white business circles. “As men of business, I consider that the Chinese merchants are fully equal to our merchants. As men of integrity, I have never met a more honorable, high-minded, correct, and truthful set of men than the Chinese merchants of our city.”

Attempts to participate in mainstream society, however, were not always welcomed by lower-class elements of white society as evident in this news account about Fung Tang’s appearance in San Francisco’s California Theatre in September 1869:

Clipping from the San Jose Mercury News, September 18, 1869 (vol. I no. 42)

Fung Tang’s transpacific success in San Francisco was hardly unique among the ranks of Chinatown’s early merchant class. He exemplified the business acumen of his fellow pioneering entrepreneurs and their establishment of transpacific trading posts in strategic locations.

Lai Chun-chuen and Chy Lung Co.

The story of the pioneer business of Chy Lung & Co. predates the history of San Francisco Chinatown itself, and its establishment spurred the rise of Chinatown’s first commercial strip, Sacramento Street (唐人街; canto: “Tohng Yahn Gaai”) or “Chinese Street.”

An enlargement of the stereograph taken by Carleton Watkins for the Thomas Houseworth & Co., and “[e]ntered according to Act of Congress, in the year 1866 by Lawrence & Houseworth, in the Clerk’s office of the District Court of the United States, for the Northern District of California.”

“Among the early Chinese settlers were merchants like Lai Chu[sic]-chuen,” the late historian Judy Yung wrote in her pictorial book, San Francisco’s Chinatown (published by the Chinese Historical Society of America). “Upon arrival in 1850, he opened Chinatown’s first Bazaar at 640 Sacramento Street, importing teas, opium, silk, lacquered goods, and Chinese groceries.”

"Chy Lung & Co., Sacramento St., San Francisco. 1796" c. 1866. Photograph by Carleton Watkins for his Watkins' Pacific Coast stereograph series (from a private collection).

Chy Lung’s founder, Lai Chun-chuen (a.k.a. Chung Lock), came to San Francisco in 1850 from Nam Hoi county. According to UC professor Yong Chen, the business founded by Lai and, his partners Xie Mingli, Fang Ren, Sheng Wen, and Chen Nu, appear in the earliest business directories for San Francisco. A “Chyling, china mer, 188 Washington” appears in the Parker directory for 1852-1853. The Colville’s directory of 1856 lists a “Chy Lung (Chinese) mcht, Canton Silk and Shawl Store, 166 Wash’n,” and the business would remain on Washington Street (moving to 612 Washington St. by 1858) until 1863 when it relocated to 642 Sacramento Street. By 1865, the Chy Lung & Co. had either expanded or taken over the address of 640 Sacramento Street.

Portion of the stereograph “No. 391 Chinese Store. Chy Lung & Co.,” c. 1866. Published by Lawrence & Houseworth (from in the collections of the Society of California Pioneers, Wells Fargo Corporate Archives, and the Library of Congress).

“He imported Chinese prefabricated houses and cargoes of Chinese goods, teas, silk, lacquer and Porcelain wears, and even opium,” historian Phil Choy wrote. “The drug that made American merchants millionaires in the China trade now found its way to California for both the Chinese and American markets Chy Lung was one of only two Chinese businesses at the time that advertised in an American newspaper, the Daily Alta California.”

“No. 391 Chinese Store. Chy Lung & Co., Sacramento Street.” c. 1866. Published by Thomas Houseworth & Co. (from in the collection of the New York Public Library).

Lai Chun-chuen is remembered not only for his business acumen but also as the principal author of the objections to the anti-Chinese movement in California and plea for civil rights as published in the pamphlet, Remarks of the Chinese Merchants of San Francisco, upon Governor Bigler’s Message, and Some Common Objections (San Francisco: Whitton, Towne, 1855).

The preface to Remarks of the Chinese Merchants of San Francisco upon Governor Bigler’s Message, and Some Common Objections of 1855 (from the collection of the Bancroft Library). The second line of the first paragraph identifies Lai Chun-chuen as “a Chinese merchant of this city, connected with the respectable firm of CHAI LUNG.”

Chy Lung & Co. continued to play a leading role in the Chinese merchants exchange until Lai Chun-chuen’s death on August 30, 1868. The business remained a fixture of the Chinatown business community for the rest of the 19th century, and it adopted the new communications technology of the telephone, as shown by the Pacific Telephone directory for the Chinese Exchange in 1902.

The listing for Chy Lung & Co. as it appeared in the Wells Fargo directories of Chinese business for 1878 and 1882.

The Chy Lung & Co. business, and others established by Chinatown's merchants, soon comprised a source of both tangible and symbolic power within the rapidly growing Chinese community in the American West. As the Chinese immigrant population swelled, businesses catering to their specific needs diversified and expanded. A hierarchical structure emerged, influenced by both economic factors and the district of origin. The wealthier Sanyi individuals typically presided over larger, commercially successful enterprises, including import-export firms. Those from the Nanhai District dominated the men's clothing and tailoring sector, as well as butcher shops. The neighboring Shunde District populace exercised control over overalls and workers' clothing factories.

“S.F. Chinatown 1898 C12”. Photographer unknown (from the Martin Behrman Collection of the San Francisco Public Library). A well-attired merchant and possibly his son walk south on Spofford Alley from Washington to Clay Street.

Meanwhile, Chinese hailing from the Zhongshan District, which represented the second-largest Chinese population in California, were prominent in the fish and fruit orchard businesses, as well as in the production of women's garments, shirts, and underwear.

"Quan Quick Wah"

“Merchant and Bodyguard” c. 1896 – 1906. Photograph by Arnold Genthe (from the collection of the Library of Congress). A descendant of the large, confident man shown in traditional robes identifies him as San Francisco merchant “Quan Quick Wah.” Based on other photographs of this Chinatown location, the pair appears to be walking on the west side of Waverly Place toward its intersection with Clay Street. In his book about Genthe’s Chinatown photographs, historian Jack Tchen wrote about this imposing figure followed by a bodyguard as follows: “The powerfully built man dressed in traditional silk robes has been described as a tong leader. Whether he was a tong leader, a wealthy merchant, or both, his dress and carriage convey a strong presence. Tong leaders came to rival the power of wealthy merchants. The man following the merchant or tong leader is said to have been his bodyguard, protecting him from the attack of a rival tong. In the photograph the two are passing under ornate cloth lanterns that indicate a pawnshop business.”

"Merchant and Bodyguard” c. 1896 – 1906. Photograph by Arnold Genthe (from the collection of the Library of Congress). This full photograph in the Library of Congress shows that Genthe’s image fortunately included a portion of the sign for the entrance to a basement restaurant. The signage (which appears in other photographs of this area), indicates that the merchant and bodyguard were photographed walking on the west side of Waverly Place (at about no. 23 and 25 Waverly) and toward the southwest corner of its intersection with Clay Street. Tchen’s guess that the background store frontage was a pawnshop is probably correct, as the “Qung Hing Art Co.” pawnshop occupied space at 25 Waverly during the 1890s. The headquarters of the merchant-controlled, Ning Yung district association was located at 23 Waverly.

Yee Ah-Tye

In old Chinatown, merchants’ personal use of bodyguards or alliances with fighting tongs were common. The organization and fragmentation of district and clan associations, along with sharp business competition, often placed lives, as well as livelihoods, at risk. For example, the Kong Chow association traced its origin to about 1853, when the influential community leader, Yee Ahtye (a.k.a. “George Athei”) persuaded members of his Yee clan of Sunning, which had remained in the Sze Yup Co. (after a number of clans split off to organize today’s dominant Ning Yung Association), to finally secede. The action by the Yee clan was joined by clans from Hoiping and Enping counties after a dispute over the presidency of the Sze Yup Co. in 1862. The resulting new association, the Hop Wo, soon challenged the merchant Ah-Tye for the custody of a piece of land on which Ah-Tye had allowed the Sze Yup Association to build a headquarters building. Yee eventually deeded the land to a new Kong Chow Association, which his fellow Sunwui merchants founded in 1866. The dispute over this property raised to such a level that Yee and his associates were compelled to organize a secret society, the Suey Sing Tong, to protect the asset and enforce his decision.

Portrait of Yee Ah-Tye (courtesy of the Chinese Six Companies). Yee was an elite merchant of Chinatown and was considered a co-founder of the Suey Sing Tong.

Born around 1829 in Guangdong province, Yee Ah-Tye had arrived in San Francisco just before the gold rush at around 20 years old. In spite of his humble beginnings, Yee had learned English in Hong Kong and swiftly ascended to a position of authority within the influential Sze Yup [pinyin: "Siyi"] Association. The Sze Yup Association, along with similar Chinese district associations, played a crucial role in assisting newly arrived Chinese immigrants during the 19th century. The organizations provided accommodation and job opportunities.

Aside from his many business accomplishments, Yee famously cross paths with the legendary, San Francisco madam Ah Toy. The conflict arose when Ah Toy accused Yee of demanding a tax from her prostitutes on Dupont Street. Despite her origins in China, Ah Toy had by then lived in America for three years and become familiar with its legal system. She boldly threatened to take legal action against him, a move she would not have dared to undertake in China.

The August 1852 report in the Daily Alta California newspaper highlighted Ah Toy's shrewdness, emphasizing her knowledge of living in America and her ability to navigate the legal system. She resided close to the police station, fully aware of where to seek protection, having faced legal proceedings herself numerous times. The reporter gleefully suggested that Yee use caution about overstepping his authority, warning that he might lose his dignity and end up in custody.

A year later, Yee faced legal trouble himself, being arrested for assault and grand larceny. The San Francisco Herald alleged Yee “inflicted severe corporeal punishment upon many of his more humble countrymen … cutting off their ears, flogging them and keeping them chained for hours together.”

After moving to Sacramento in 1854, Yee also relocated his business activities in 1860 to La Porte, California, where hydraulic and drift mining operations for gold occurred. Yee acquired a partnership in a store called Hop Sing & Company which supplied merchandise and Chinese contract laborers. By 1866, it was the richest Chinese store in that town, with a value of $1,500 (about $36,000 in 2005 dollars).

According to one of his descendants, Lani Ah Tye Farkas, the pioneer Yee Ah Tye reportedly lived thirty-four years in La Porte as a successful merchant, running the Hop Sing and Company store and representing the Chinese community in the area. He had three wives and four children, three of whom were girls. Unlike most other Chinese fathers at the time, he invested in the education of his daughters – he even bought a piano for his youngest daughter, Bessie, who became an accomplished pianist. As a leader in the Hop Sing Association, he founded a small hospital to serve the elderly Chinese men of La Porte.

“The temple ruins at San Francisco's Lincoln Municipal Park Golf Course was once part of the Lone Mountain Cemetery, a gift of Ah Tye,” Lani Ah Tye Farkas wrote in 2000. “Other glimpses of his life in America can be seen in deeds, mining claims, tax assessments, newspaper articles, and land that he once owned. Yee Ah Tye's legacy, however, is in his descendants. Many Chinese with common last names like Chan, Lee, and Wong may have no relationship with one another. However, the descendants of Yee Ah Tye have borne his unique last name through six generations, in the words of the Yee family genealogy, ‘spreading like melon vines, increasing continuously’” Yee died in 1896. (see: https://scholarworks.calstate.edu/downloads/pc289j76z)

Contract Labor

At the lower end of the business hierarchy, the Siyi or Four District residents comprised the largest and least affluent group of Chinese immigrants. They typically occupied occupations such as laundries, small retail shops, and restaurants and the bulk of the laborers in the contract labor system.

In the period preceding the Civil War, there was a concerted effort by certain individuals to introduce contract laborers into the United States. A letter penned by C. V. Gillespie to Thomas Larkin on March 6, 1848, sheds light on this initiative. Gillespie expressed a keen interest in the idea of bringing Chinese emigrants to the country, suggesting that a variety of skilled workers and laborers could be sourced:

"One of my favorite subjects or projects is to introduce Chinese emigrants into this country,… Any number of mechanics, agriculturists and servants can be obtained. They would be willing to sell their services for a certain period to pay their passage across the Pacific…."

The practice of importing contract laborers to the United States began in the late 1840s and continued through the 1850s. However, enforcing labor contracts proved to be a challenging endeavor on American soil. A case in point involved an Englishman who, upon bringing fifteen Chinese laborers to the country bound by a two-year contract, found that they immediately reneged on their agreement upon arrival. Authorities, at the time, were reluctant to intervene in such disputes.

In 1852, Senator George B. Tingley introduced a bill in the California State legislature aimed at legalizing and facilitating the enforcement of contracts allowing Chinese laborers to sell their services to employers for periods of up to ten years at fixed wages. This proposal, however, faced significant public backlash and was ultimately defeated after a heated debate. The subsequent year saw members of Chinese companies admitting that they had initially imported workers during the early years of the Gold Rush. Yet, due to unprofitability and difficulties in enforcing labor contracts, they abandoned this practice.

“San Francisco Chinese Merchant” no date. Photographer unknown, possibly by Ann Ting Gock (from a private collection). This rare and unusual image suggests that the individual might not have been a mere merchant at all, but a member of the Chinese consular staff. He is seen wearing his 清代官帽 (canto: "ching dai gwun moe") or official's headwear. The Qing official headwear or Qingdai guanmao (Chinese: 清代官帽; pinyin: qīngdài guānmào; lit. 'Qing dynasty official hat'), also referred to as the “Mandarin hat” in English, is a generic term which refers to the types of guanmao (Chinese: 官帽; pinyin: guānmào; lit. 'official hat'), a headgear, worn by the officials of the Qing dynasty in China. The merchant is attired in a "changshan" or "changpao" or long robe. The robe worn in the photo was derived from the Qing dynasty-period "qizhuang" (the traditional dress of the Manchu people). Changshan were, and are, traditionally worn for formal pictures, weddings, and other formal Chinese events.

Credit-ticket System

Beyond the initial years, it became widely acknowledged that Chinese immigrants arrived in the United States voluntarily, free from any servile contracts or duress. Many emigrants either financed their own passage or received assistance from relatives and friends already residing in California. The prevailing method for the majority of Chinese immigrants during the 19th century was the credit-ticket system. Under this system, an emigrant would receive financial support for their passage in a Chinese port. Upon reaching their destination, the emigrant was expected to repay this debt using their future earnings. It is important to note that this system differed from the contract labor arrangement, where laborers were bound to serve for a specified duration.

The precise origins of the credit-ticket system remain uncertain. However, merchant brokers in Hong Kong were established to provide advanced passage funds, approximately forty dollars, to the emigrants. Corresponding entities in the United States were responsible for collecting these debts and aiding the newly arrived immigrants in finding employment.

Two merchants with pipes. No date, photographer unknown (from a private collection).

The stores and offices that the merchants of Chinatown had opened starting in the mid-19th century became the basis of real and symbolic power in the growing regional community of Chinese living in the American West. That power, including the ability to mobilize for social change within the narrow role afforded Chinese in the society, manifested itself in the family and district associations headed by local merchants.

“The merchant class has traditionally been the one sector of Chinese society able to foster unity and bring about social change,” wrote historian Thomas W. Chinn about the role of the merchant class in San Francisco Chinatown (and beyond). “The merchant-directors of the Chinese Consolidated Benevolent Association must be well-established businessmen in the local community as well as outstanding members of their own family associations. They have already played a leading role in their own social circles before becoming merchant-directors, and they enjoy a great deal of respect. . . Thus the friendly corner grocer may simultaneously be the president of his family association and his district association as well as a merchant-director.”

Lew Kan

“Children of High Class” c. 1900. Photograph by Arnold Genthe (from the Genthe photograph collection, Library of Congress, Prints and Photographs Division). Merchant Lew Kan (a.k.a. Lee Kan) walking with his two sons, Lew Bing You (center) and Lew Bing Yuen (right). According to historian Jack Tchen, “Lew Kan was a labor manager of Chinese working in the Alaskan canneries. He also operated a store called Fook On Lung at 714 Sacramento Street between Kearney [sic] and Dupont. Mr. Lew was known for his great height, being over six feet tall, and his great wealth. The boys are wearing very formal clothing made of satin with a black velvet overlay. The double mushroom designs on the boys’ tunics are symbolic of the scepter of Buddha and long life.” The photograph appears to have found the trio walking down the south side of Sacramento Street below Dupont Street.

By the time photographer Arnold Genthe had photographed merchant Lew Kan and his two sons on Sacramento Street (as well as two other earlier photos of their four sisters in Portsmouth Square), Lew had already attained legendary status as one of Chinatown’s leading merchants. Born in 1851, Lew entered the US in 1866.

Author Roland Hui (in his biography of pioneer Chinese American industrialist Lew Hing), wrote about Lew Kan and his dry goods business called Lun Sing & Co. at 706 Sacramento Street as follows:

“He started Lun Sing, one of the oldest businesses in Chinatown, around 1867, a year after he immigrated to the U.S. In 1896, the business gained notoriety by harboring a young Chinese revolutionary named Sun Yat-sen during his first visit to the continental United States. Sun advocated overthrowing the Qing monarchy and establishing a Chinese republic. His ideas were too radical for the politically uninitiated Chinese community. Kang Youwei, the architect of the ill-fated “Hundred Day Reform” in China in 1898, favored establishing a constitutional monarchy around Emperor Guangxu. Forced into exile after the power-hungry Empress Dowager crushed his reform, Kang launched the Chinese Empire Reform Association, also known as Baohuanghui (Save the Emperor Society), the following year in Victoria, Canada. Baohuanghui quickly gained widespread support among overseas Chinese since the idea of having an emperor at the top of the social order who ruled with the Mandate of Heaven had been ingrained in the Chinese psyche for thousands of years. The San Francisco Baohuanghui chapter was founded in 1899 at 146 Waverly Place. Lew Kan supported Kang’s political agenda despite having met Sun several years earlier, and in 1901 became the president of the San Francisco chapter of Baohuanghui. Many scholars observed that Baohuanghui was the first organization that evoked the patriotic sentiments of overseas Chinese. And when Liang Qichao, Kang's most famous student, stopped over in San Francisco during his 1903 America tour, thousands of Chinese flocked to listen to his speeches. As the man who organized these community-wide activities, Lew Kan's stature and influence in San Francisco Chinatown must have been substantial. In addition, he was one of the wealthiest Chinese merchants, reportedly owning several general merchandise stores with an estimated net worth of $2 million. That was an astronomical sum in those days. In addition, he was a director of the Kong Chow Company, a district association representing Xinhui."

New-Year's Calls Among the Merchants" illustration from the article "The Sixth Year of Qwong See," published in Harper's Magazine, December 1880. The image may have captured merchants greeting each other at the Chinese Merchants Exchange on Sacramento Street perhaps on or about the fourth day of the Chinese New Year holiday period when business traditionally returns to normal.

Decline of Merchant Influence

The organizational expression of Chinatown’s merchant elite, the Chinese Six Companies, wielded considerable authority within San Francisco and beyond. The Six Companies and its constituent district associations comprised the quasi-government of Chinese America, offering social services, mediating disputes, and representing the community's interests to external forces. With the enactment of the Chinese Exclusion Act in May 1882, their grip on power began to weaken.

Portrait of a merchant with fan and scroll. No date, photograph possibly by Shew’s studio (based on the detail of the end-table), from the collection of the Stanford Libraries.

The decline of the Six Companies’ influence can be attributed to various reasons. One significant factor was their inability to adapt swiftly to the evolving socio-economic landscape within Chinatown. As the community faced new challenges, including the punitive extension of Chinese exclusion with the Geary Act of 1892, the Six Companies struggled to effectively navigate these changes, leading to a loss of faith among the populace in their ability to address emerging issues.

The Geary Act of 1892 extended and strengthened the Chinese Exclusion Act of 1882, requiring most Chinese Americans – native and foreign-born -- to carry an internal passport in the form of certificates of identity or face arrest and deportation. It intensified discriminatory measures against the Chinese community, fostering widespread discontent and resistance.

In response, the Six Companies initiated a national boycott against the Geary Act. The boycott aimed to unify Chinese immigrants and their supporters across the United States, urging them to refuse compliance with the law as a form of protest. It gained substantial momentum, with significant participation from Chinese communities in various cities, voicing opposition to the Act's discriminatory provisions.

The board of directors of the Chinese Six Companies, no date. Photographer unknown (from the collection of the Bancroft Library). Based on the screen panels in the background (which remain in the Six Companies’ meeting hall at 843 Stockton Street in San Francisco), the photo appears to have been taken after 1906.

Despite its initial vigor, several factors led to the ultimate collapse of the national boycott against the Geary Act. First, the federal government intensified its efforts to enforce the Geary Act. Authorities conducted widespread raids and inspections, threatening deportation and imposing harsh penalties on those failing to comply. The fear of reprisals and the potential disruption to livelihoods coerced many Chinese immigrants into reluctantly acquiescing to the Act's demands.

Second, the broader American society exhibited little sympathy or support for the Chinese community’s plight. The prevailing anti-Chinese sentiment in the country and the lack of significant political backing from other institutions diminished the effectiveness of the boycott. Without widespread solidarity, the Chinese American community struggled to sustain its resistance.

Finally, the decision by the US Supreme Court in Fong Yue Ting v. United States, 149 U.S. 698 (1893), dealt a major legal setback to Geary Act resistance and undermined the credibility of the Six Companies. The decision validated the Geary Act and created an environment of fear within the Chinese American community. The inability to overturn the Geary Act by legal means diminished trust in the Six Companies’ capacity to protect the community's interests.

Photograph of a merchant from Chinese Business Partnership Case File for Quong Lee Company, c. 1896. Photographer unknown (from the files of the Department of Justice, Immigration and Naturalization Service, San Francisco District Office). The immigration investigative case file indicates that the individual in this photo was certified as a business partner and a "merchant" who was “able to travel to and from the U.S. as a ‘Chinese subject of exempt class’ under the ‘Chinese Exclusion Acts’ (1882-1943).” The Quong Lee & Co. (a.k.a. Quong Lee, Quong Lee Sing) operated what business directories from 1875 to 1905 variously described as a “tailor,” “general merchandise,” “clothing,” and “dry goods” business continuously at 828 Dupont Street. By the time this merchant sat for his photo in 1896, the national boycott led by Chinese merchant organizations against the Geary Act of 1892 had collapsed, and studio portraits such as this became an essential pieces of evidence to support applications for the coveted merchant exemption from the extended Exclusion Act.

This heightened sense of vulnerability played into the hands of tongs, which, capitalized on the weakened merchant community. Amidst the faltering influence of the Six Companies, tongs emerged as influential entities that would come to dominate Chinatown’s socio-political structure and shape mainstream society’s perceptions of the Chinese community for the next three decades.

“High-binders Retreat” no date. Photograph by Goldsmith Brothers (from the Cooper Chow Collection of the Chinese Historical Society of America). Tong members at ease in front of their fraternal order's headquarters.

Tongs, in contrast to the Six Companies' diplomatic approach, adopted a more assertive stance in responding to discrimination and persecution faced by the Chinese community. Their readiness to protect their members (which also included merchants), and defy external pressures resonated with many disillusioned residents.

“A Haunt of the Highbinders in Chinatown.” Harpers Weekly, February 13, 1886 (from the collection of the Bancroft Library).

Moreover, the tongs during this period had begun to diversify their activities beyond traditional, illicitl sources of income such as prostitution, gambling, and drug distribution. Tongs began engaging in both legitimate businesses, including labor contracting for the Alaskan canneries. This diversification allowed them to accumulate resources, expanding their sphere of influence within Chinatown and beyond as alternative community governance structures, while still reserving often violent means to protect their interests.

Chinese salmon cannery works in Astoria, Oregon, c. mid-1880s. Drawing from West Shore, June 1887, from the Special Collections, University of Washington). The early 20th century would be marked by violent struggles between tongs such as the Suey Sing and Bing Kung for control over the labor contracting business for the canneries.

The ascendancy of tongs at the turn of the century coincided with the republican movement in China. Historian Phil Choy wrote that the Chee Kung Tong, the original triad society, had been evolving in response to revolutionary movements in mainland China:

“Chee Kung Tong returned to its lofty political ideologies in 1900 when both Kang Yu-wei’s Reform Party and Sun Yat-sen’s Revolutionary Party sought its assistance. Originally the Chee Kung Tong supported Kang Yu-wei, but as Dr. Sun’s ideology gained popularity, the Chee Kung Tong, switched allegiance. When in 1904 immigration officials did not allow entry to Sun, the leader of the Chee Kung Tong, Wong Sam Ark, and the Tong’s attorney Oliver Stidger, along with Reverend Ng Poon Chew and Reverend Soo Hoo Nam Art, worked successfully for his release. Sun stayed at the Chee Kung Tong headquarters and used the society’s newspaper, the Chinese Free Press, to propagandize his revolutionary cause. Accompanied by Wong Sam Ark, Dr. Sun went on a nationwide tour to generate support and contributions.”

The tongs’ economic power and their active involvement in fundraising for the republican movement not only showcased their financial strength but also demonstrated their ability to wield influence as an overlapping and sometimes counter-force with the merchant elite. This dual role as (1) economic powerhouse within the local community, and (2) significant contributor to a revolutionary cause overseas underscored their influence. The growth of that influence came at the expense of the merchant elite in shaping both local and international affairs.

Merchants, however, would continue to exert influence through clan organizations, tongs, business associations, Nationalist Party of China chapters, and Chinese “consolidated benevolent associations” in San Francisco Chinatown and communities across North America through the exclusion era, war, and peace.

The meeting hall of the Chinese Six Companies, c. 1920 (by then incorporated as the Chinese Consolidated Benevolent Association) at 843 Stockton Street in San Francisco. Photographer unknown (from the Jese B. Cook collection of the Bancroft Library).

Chinatown's merchant community would face new challenges to their capacity as civic leaders when the political center of gravity across US Chinatowns would shift again in the last quarter of the 20th century.

[updated 2023-12-28]