Estimate
€ 350 - 450
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€ 426
The price includes buyer's premium
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Information
50 albumen prints handcolored and mounted recto-verso on original cardboard with accordion binding
3.5 x 5.3 in. approx. each print ; 5.9 x 7.9 x 2 in. (album)
The so-called Yokohama School was born in the second half of the 19th century when a number of European photographers such as Felice Beato, Raimund von Stillfried and Adolfo Falsari moved to Japan, opening studios together with local photographers. At first they had only the role of assistants, then they continued their activities expanding the new style beyond the boundaries of the city that gives the school its name, until it reached the whole country, even in the Meiji era, with a great effort to modernize and open up to the outside world. This unique "object" consisting of an accordion-bound frame that includes as many as 50 hand-colored albumen prints on the front and back, is an example of the production that was being made to meet the demands of an increasingly large and demanding public. The fact that the photographs were not signed is not an exception but a norm, and definite attribution to an author is difficult because assistants often reproduced the style of the masters who led the workshops. This does not detract from the charm and mystery of this unusual portfolio.
3.5 x 5.3 in. approx. each print ; 5.9 x 7.9 x 2 in. (album)
The so-called Yokohama School was born in the second half of the 19th century when a number of European photographers such as Felice Beato, Raimund von Stillfried and Adolfo Falsari moved to Japan, opening studios together with local photographers. At first they had only the role of assistants, then they continued their activities expanding the new style beyond the boundaries of the city that gives the school its name, until it reached the whole country, even in the Meiji era, with a great effort to modernize and open up to the outside world. This unique "object" consisting of an accordion-bound frame that includes as many as 50 hand-colored albumen prints on the front and back, is an example of the production that was being made to meet the demands of an increasingly large and demanding public. The fact that the photographs were not signed is not an exception but a norm, and definite attribution to an author is difficult because assistants often reproduced the style of the masters who led the workshops. This does not detract from the charm and mystery of this unusual portfolio.
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