Twenty one photographic images depicting the Peacock Room in Freer's home in Detroit, take by George R. Swain in Spring of 1908. The collection contains 10 standard size prints; 4 mammoth plate prints; 7 original glass plate negatives. The photographs also display selections from Freer's own extensive ceramics collection.
Arrangement:
Organized in two boxes, for prints and negatives, and one folder for large format prints.
Local Numbers:
FSA A.01 12.02.3.3
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art, Asian -- Collectors and collecting Search this
Art, American -- Collectors and collecting Search this
1 Item (Mammoth plate : on mount 63.2 x 50.8 cm, hand coloring, image 52.2 x 41 cm.)
Container:
Folder 1
Type:
Archival materials
Photographs
Photographs
Mammoth plates
Photographic prints
Portraits
Place:
Asia
Japan
Date:
[1860 - ca. 1900]
Scope and Contents:
Portrait of standing young woman dressed in black kimono and gold obi (wide stiff sash). The hems of her kimono have a landscape motif and are painted in pastel colors.
Biographical / Historical:
Kajima Seibei was a pioneering Japanese photographer of the late 19th century who operated Genrokukan Studio in Kobikicho, Ginza with his bother brother Seizaburo.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Assembled by collectors Dr. Henry D. Rosin and Nancy Rosin to document nineteenth-century and early twentieth-century photography of Japan. Includes albumen prints, portions handcolored, some signed and numbered in the negative. Taken by photographers Felice Beato (b. ca. 1825), Baron Raimon von Stillfried (1938-1911), Kusakabe Kimbei (active 1880s), Ueno Hikoma (1838-1904), Ogawa Kazumasa (1860-1929) and unknown photographers to depict architecture, landscapes, formal studio portraits, and daily activities.
Arrangement:
Organized chronologically by the creators.
Biographical / Historical:
Henry and Nancy Rosin were collectors of Japanese photography of the nineteenth and twentieth centuries.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
1 Item (Mammoth plate, hand coloring, 42.3 x 54 cm.)
Container:
Folder 1
Type:
Archival materials
Photographs
Photographs
Mammoth plates
Photographic prints
Place:
Asia
Japan
Tokyo (Japan)
Date:
[ca. 1870s]
Scope and Contents:
Blooming iris field. Tents with benches stand in the background, possibly a place for light refreshments.
Biographical / Historical:
Born to a family of textile merchants in Kofu, Yamanashi Prefecture, Kusakabe Kimbei moved to Yokohama in 1859. Although unclear, Kusakabe apprenticed under either Felice Beato and/or Raimond von Stillfried (Bennet, T. (1996) Early Japanese Images. Charles E. Tuttle Company: Rutland Vermont and Tokyo, Japan.) Kusakabe managed a studio in Yokohama, first at Bentendori until 1881, then later at Honcho. His photo studio was well received by many, including foreigners.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
1 Print (albumen, image 40 x 52 cm., mounted 56 x 70 cm.)
Type:
Collection descriptions
Archival materials
Prints
Photographs
Albumen prints
Place:
Japan
Yokohama-shi (Japan)
Mississippi Bay
Japan -- Kanagawa prefecture -- Yokohama
Date:
circa 1866
Scope and Contents:
This collection consists of two photographic prints: I. One sepia monochrome albumen print taken from a wet collodion glass plate negative, 40 x 52 cm., by Charles Leander Weed, circa 1866. Printed caption on mount reads "View Near Yokohama 19." Printed text on the reverse identifies the publisher, Thomas Houseworth, 317-319 Montgomery St., San Francisco. The reverse also includes a reproduction of a medal won by Thomas Houseworth at the Paris International Exhibition 1867 for the "finest photographs of scenery of the Pacific Coast." Image depicts a view of the landscape near Yokohama, Japan.
II. One sepia monochrome albumen print taken from a wet collodion glass plate negative, by Charles Leander Weed, circa 1866. Printed caption on mount reads "Fishing Village on Mississippi Bay -- Near Yokohama 18". Printed text on the reverse identifies the publisher, Thomas Houseworth, 317-319 Montgomery St., San Francisco. The reverse also includes a reproduction of a medal won by Thomas Houseworth at the Paris International Exhibition 1867 for the "finest photographs of scenery of the Pacific Coast." The photograph depicts a road running along white cliffs next to a fishing village on Mississippi Bay (Negishi Bay), near Yokohama, Japan.
Arrangement:
One flat box.
Biographical / Historical:
The American photographer Charles Leander Weed became well-known for his photographs of California, especially his spectacular views of Yosemite. Weed spent some time in the early 1860s in Hong Kong, where he established a studio with the Chinese name Wit Ying-Seung. When this proved unsuccessful, he traveled in Asia, then returned to California. In 1866-1867, he traveled again to Japan and China, where he made mammoth-plate landscapes that were issued as a series entitled "Oriental Scenery" by the publisher Thomas Houseworth. This mammoth-plate albumen print shows a landscape view near Yokohama, which was the base of foreign trade in Japan after Commodore Perry's arrival in 1853. This mammoth-plate albumen print shows the coastline of Negishi Bay, located south of Yokohama Bay. Located just over one mile due south of Yokohama, across a narrow peninsula, Negishi Bay was known to the foreign residents of Yokohama in the 1860s by its American designation, Mississippi Bay, a nomenclature that was based on the name of one of Commodore Matthew C. Perry's naval vessels. This photograph was taken from a vantage point along the coastal road about two miles southwest of Yokohama, facing in the direction of the city and the more distant capital city, Edo. This site was well within the boundaries established by the Ansei treaties of 1858 for travel by foreigners without special permits.
Local Numbers:
FSA A2002.04
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
![view [Woman with gold obi] digital asset: [Woman with gold obi]](https://ids.si.edu/ids/deliveryService?max=170&id=https://sirismm.si.edu/siris/SelectedImages.gif "[Woman with gold obi]")