Kashima Seibi (1 results)

[Japan 1870's-1880's, Kashima/Ogawa]. Wood covers, very good 25 hand-colored albumen, each image: ca. 26 x 21, laid down on stiff accordion album leaves, edges gilt, some hinges weak or mended, all images strong, clear, not faded. RARE ! *** *** *** . . . ORIGINAL HAND-COLORD PERIOD PHOTOGRAPH ALBUM . . . *** This is a lovely collection of finely hand-colored albumen images. The images are from western, and southern Japan, from Nikko down to Osaka, and Nagasaki. Albums of these places are not common in the Japanese photographica genre. Thou many are not signed nor identified by their negative numbers, this is clearly the work of some of Japan's excellent and celebrated photographers. . It is entirely possible, this is one of a group of photograph albums covering Japan, this being a second volume, the first probably covered Yokohama and the Tokyo area. . The album begins where the first volume most likely left off. Regardless this is an excellent example of early Japanese photography. . *** The photographers are questionable, however saying this, we have identified some in Bennett [see below] by their negative numbers. Namely #746 attributed to Kashima or Ogawa Kazumasa. Number 454a attributed to Kusakabe; #54 attributed to Ogawa Kazumasa ad Ogawa Sashichi. . * THE NEGAVTIVE NUMBERS: A good portion of these images have negative numbers, most of which are not listed in Bennett. It is a well known fact, that a good number of Japanese negatives were sold, loaned borrowed and exchanged between both foreign and Japanese photographers and photograph studios from the 1860's onwards. Therefore the exact photographer who took the photograph is commonly in question. Though there has been a lot of research and efforts to identify negative numbers, each photographer and photographic studio enhanced, changed or altered the original negative at will to create a system that would match his own needs. This left complete chaos in the field for those of use who would like to truly identify the actual person responsible for taking the photograph. . * This album contains a good number of unidentified photographs, but skillfully taken and composed with a keen eye, we identify: . FROM THE FRONT: 1. Unknown view of a large river with a bridge and lumberyard in the foreground. There is no negative number, it was likely taken near Yokohama or Tokyo along a large river with low hills in the background. Several small boats ply the river. The bridge seems to be built of steel, indicating a Meiji period work. . * 2. [Osaka] Castle and large moat, unidentified, with low mountains in the background. Nicely done with a keen eye. This is confirmed to be Osaka castle, a very similar view is found and is illustrated Zannier [see below] on p.61 as "Moats Osaka" by Felice Beato. . * 3. Typical street scene, a single electric pole in the immediate foreground, with 2-3 other poles in the deep foreground, a few wires go to businesses. A large number of people, rickshaw pullers are in the street, a large majority of people face the photographer who must have been on a very tall ladder, causing a commotion, nevertheless the image is very clear and no loss of focus during exposure. This must be dated around the late 1870's-1880's with the advent of electricity. A small fleck of the photo surface lacking, else clean, a touch of over done red as common in the early Meiji period. . * 4. Numbered in the negative: A382 Tennoji Pagoda, Osaka. This shows a nice two-sided perspective of the pagoda and the background temple building. . * 5. Numbered A 420 Kasuga at Nara. Shows a lovely pathway with four deer, many stone lantern on both sides of the road, thick forest trees. This exact image is found in March, see below, on p.112. . * 6.Numbered A 415 Nigetsudo at Nara. Shows the stone steps up to the shrine, with is stunning architecture. A few people freeze during the photographing. Beautifully composed. . * 7.Numbered 75 Nara Park. This shows a pavilion with three people looking over the lake and red Momiji tree and pine tree. . * 8. Numbered G4 Nagasaki Harbour. This is a stunning view from the hill overlooking the city and harbor. There is a very tall red-brick chimney at the far right, with a smaller one just below that as well, likely a brick or other factory. A large number of vessels including a few which look like foreign ships anchored in the bay. . * 9. Numbered 746 View of Miyajima. This is listed in Bennett by this number, he states the photographers as either Ogawa Kazumasa, or Ogawa Sashichi, with question marks. This image shows the great Torii gate in the water, and the large stone beacon lantern with a young boy petting a deer. This is a famous shrine island just below Hiroshima. . * 10. Numbered B74 Matsushima, Inland Sea [Three view in Japan] Part 1. This sows a large pie tree overlooking the Inland sea, two small islands and three small boats in the lower right, a picturesque scene. . * 11. Numbered A 455 Red Lacquer [Sacred Bridge] Nikko. This is of course a well-known and "classic" image showing the red lacquered bridge. There are a few electric poles in the background making this around 1875-1880's. A similar image is found in March, p.91, see below. . * 12. Numbered 16 Yomeimon Gate, at Nikko. The elaborately colored entrance gate to the grave temples of Japan's Shoguns. . * 13. Numbered 53 Inside Iyemitsu Temple, Nikko. Found in Bennett as number 54. Shows the elaborately designed interior view of the temple and its shrine. . * 14. Numbered I 83 Ganman, Nikko. Probably the work of Ogawa Kazumasa. Shows the rushing river, with a large number of stone Buddha's on the left bank, a single person sits on a huge rock observing the photographer. A similar image is illustrated in March, see below, as found on p.113. . * FROM THE BACK: 15. Numbered P67 Chinese Music. This shows seven musicians each wearing usual hats and playing musical instruments. They stand before a two-story house and bamboo fence. This looks to be in.