- Some occas. (sl.) spotting/ soiling. Frontcover lacks some pieces of mother-of-pearl; backstrip dam.
= Splendid album containing a rich variety of subjects. These incl. (group) portraits (many young children and adolescent girls, and incl. a photomontage print showing ±75 babies and young children), streetviews (with shops ('preserves and porcelain', cloth) or tea houses (under cherry blossom trees)), gardens (i.a. iris garden near Yokohama), tea ceremonies, other (staged studio) images showing typical Japanese things such as people in carriages or palanquins and in trams, interiors, people greeting each other, girls sleeping in a bedroom, a "blind shampooer" (blind masseur), people at work in rice fields, in the cloth and the tea industry (resp. 6, 8 and 3 images), and two pictures showing the damages after an earthquake (a spinning factory building and a village street, Kitagatamachi in Gifuken). On this type of souvenir photographs from Japan, see Winkel, Souvenirs from Japan p.20ff: "The photographs visitors took home betrayed their conservative tastes. The romantic sights and scenery, enjoyed for centuries by the Japanese themselves, became the places also favoured by the tourists, and were a popular subject in their photo-albums. As concerns the depiction of Japanese people, however, the foreigners preferred scenes conveying Japan's exotic and feudal image. These photographs were mostly produced in studios using painted back-drops and consisted of nostalgic images of days gone by. This type of photograph came to be known in Japan as Yokohama shashin ('Yokohama photographs'), after the name of the port where many photographers producing this type of work were settled. (...) Many of the images of Japan produced for foreigners were pure kitsch, barely concealed studio set-ups with actors ill at ease in their roles. Nevertheless, they are beautifully composed, executed and coloured. Westerners were interested in subjects that were commonplace to Japanese and (...) were it not for Western interest, many occupations and the lower-class would not have been photographed. (...) The value of tourist photographs lies not only in the information they contain about Japan, but also in the artistic acumen they convey. They demonstrate the mastery of the photographer in composing the photograph and the virtuosity of the colouring artisans who, after all, were the same people who produced the woodblock prints whose technical perfection was so greatly admired in the West. (...). A noteworthy feature of these photographs is that they are hand-coloured. This technique, which was apparently introduced by Wirgman and Beato, became common in Japan from the 1880s onward. Although this practice occurred in the West as well it never reached the degree of sophistication it attained in Japan." SEE ILLUSTRATION PLATE LXVIII.
AND 2 similar photographs.