A Career of Japan

BRILL PHIA PHOTOGRAPHY 1 IN ASIA A Career of Japan 1 Baron Raimund von Stillfried and Early Yokohama Photography A Career of Japan of A Career Luke Gartlan (PhD 2004) is a lecturer at the Photography in Asia is a peer reviewed book series dedicated luke gartlan to original scholarship on the history of photography in Asia, School of Art History, University of St Andrews. ranging from the appearance of the fi rst daguerrotypes in the He is editor of the peer-reviewed international nineteenth century to contemporary photography. quarterly History of Photography, and co-editor, 1. A Career of Japan: Baron Raimund von Stillfried with Ali Behdad, of Photography's Orientalism: and Early Yokohama Photography New Essays on Colonial Representation (Getty A Career of Japan is the fi rst study of one of the major photographers and personalities of Luke Gartlan Research Institute, 2013). His research concerns nineteenth-century Japan. Baron Raimund von Stillfried was the most important foreign- photography and cultural exchange in the born photographer of the Meiji era and one of the fi rst globally active photographers of his nineteenth century, especially with reference to generation. He played a key role in the international image of Japan and the adoption of the camera’s role in colonial-era visual culture, photography within Japanese society itself. Yet, the lack of a thorough study of his activi- histories of travel and exploration, and non- ties, travels, and work has been a fundamental gap in both Japanese- and Western-language Western responses to photography. scholarship. Based on extensive new primary sources and unpublished documents from archives around the world, this book examines Stillfried’s signifi cance as a cultural mediator between Japan and Central Europe. It highlights the tensions and fi erce competition that underpinned the globalising photographic industry at a site of cultural contact and exchange – treaty-port Yokohama. In the process, it raises key questions for Japanese visual culture, Habsburg studies, and cross-cultural histories of photography and globalisation.

“Luke Gartlan’s book is a compelling and enjoyable read, and contributes major new perspectives to the growing ﬁ eld of Meiji photography. It will certainly be the authoritative work on Raimund von Stillfried, but it is also impressive for its contributions to other important gartlan luke areas of Meiji cultural studies, including representations of the emperor, photography of Hokkaido, and world’s fairs.” Bert Winther-Tamaki (University of California, Irvine)

384 pages, 165 illustrations A Career of Japan ISBN: 978-9004289321 Photography in Asia Baron Raimund von Stillfried and Early Yokohama Photography Managing Editor: Claire Roberts ISSN 2405-7800 brill.com/phia 9 7 8 9 0 0 4 2 8 9 3 2 1 brill luke gartlan

PPHIA1_Dustjacket_HT.inddHIA1_Dustjacket_HT.indd 1 002-11-152-11-15 15:4515:45 A Career of Japan Baron Raimund von Stillfried and Early Yokohama Photography

by luke gartlan

Leiden – Boston 2016

PHIA1_p001_384_HT.indd iii 02-11-15 22:11 Published by these eff orts have not been successful the publisher BRILL welcomes communications from copyright holders, so that Plantijnstraat 2 the appropriate acknowledgments can be made in future 2321 JC Leiden editions, and to settle other permission matters. The Netherlands brill.com/phia Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the Design appropriate fees are paid directly to The Copyright Peter Yeoh, New York Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, Production MA 01923, USA. High Trade BV, Zwolle, The Netherlands Fees are subject to change. Printed in Slovakia

ISBN 978-90-04-28932-1 The research and publication of this volume was generously supported by: Library of Congress Cataloging-in-Publication Data Detailed Library of Congress Cataloging-in-Publication data are available on the internet at http://catalog.loc.gov

Copyright 2016 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill | Hes & De Graaf, Brill | Nijhoff , Brill | Cover image: Rodopi and Hotei Publishing. Detail of ﬁ g. 117. Baron Raimund von Stillfried, Two Offi cers, ca. 1875. Hand-colored albumen print, 23.8 x 19.1 cm. From All rights reserved. No part of this publication may be Views and Costumes of Japan, Stillfried & Andersen, Yoko- reproduced, translated, stored in a retrieval system, or hama, Main Street No. 59, plate 21. Pictures Collection, transmitted in any form or by any means, electronic, State Library of Victoria, Melbourne. mechanical, photocopying, recording or otherwise, without prior written permission from the publisher.

Brill has made all reasonable eff orts to trace all right holders to any copyrighted material used in this work. In cases where

PHIA1_p001_384_HT.indd iv 02-11-15 22:11 Contents

Acknowledgments x Note for the Reader xi

introduction: with argus eyes 1 The Death of a Photographer 3 Objectives and Parameters 5 Chapter Outline 7

1 from dreams to specters 11 On the Frontiers of Empire 12 Maritime and Artistic Education 14 Military Service and Travels 18 Serving Emperor Maximilian in Mexico 19 The Legacy of Querétaro 24 Empire Lost 27

2 changing views 31 First Visit to Japan, 1864–65 35 Serving Empire In Absentia 38 Felice Beato: Mentor and Model? 42 First Portfolios 49 An Expatriate Market 59 The Coming of the Globetrotter 63

3 “the mikado photograph affair” 73 Touring Yokosuka Arsenal 76 Photographing the Emperor 83 Censoring the Foreigner 89 The Imperial Commissions 94 Circulation and Display 99

4 picturing hokkaido 105 Terms and Duties 107 The Hokkaido Commission 112 Views of Hokkaido 116 The Ainu as Subject 126 Reprographic Afterlives 134

vii

PHIA1_p001_384_HT.indd vii 02-11-15 22:11 5 sex and violence in the teahouse 143 Preparations 145 At the Vienna World Exposition 149 A Teahouse for Vienna 152 Blood Statement 160

6 a merchant of images 167 Austro-Hungarian Globetrotters 168 The Rise of the Japan Photographic Association 182 Toward a Global Enterprise 191

7 constructing and contesting japan 199 Four Photographic Albums 202 Colored Costumes 206 Masters and Apprentices 220

8 the trials of stillfried 235 Hermann Andersen and “Stillfried and Andersen” 237 Professor Stillfried: An Expert Witness and Instructor 249 The Consular Courts and the Arrival of Franz von Stillfried 256 A New Series, Painted and Unpainted 261 Stillfried and the Return to Paints 273 Conclusion: Visual Histories and Volatile Markets 281

afterword: a prodigal subject 283 The Presentation of Self 284 Exhibiting Asia in Vienna 286 Rethinking the Travel Photographer 287

viii

PHIA1_p001_384_HT.indd viii 02-11-15 22:11 Appendix A 290 Baron Heinrich von Calice, Jedo [Tokyo], to Count Friedrich von Beust, Vienna. Bericht über eine Beschwerde gegen Baron Stillfried wegen Aufnahme und Verkauf einer Photographie des Mikado und daraus entstandene Unzukömmlichkeiten (Report on a Complaint against Baron Stillfried due to the Taking and Marketing of a Photograph of the Mikado and Any Resulting Inconveniences), 20 January 1872.

Appendix B 292 [Watanabe Hiromoto], Transcription of an Interview with the Carpenter Genkichi, November– December 1873, Vienna.

Appendix C 295 A Brief Timeline of Raimund von Stillfried’s Studios, Associates, and Competitors.

Appendix D 301 Indenture of Sale of Photographic Goods from Raimund von Stillfried to Franz von Stillfried, United States Consulate in Yokohama, 6 December 1879.

Glossary of Japanese Terms 304 Notes 306 Selected Bibliography 349 Index 360

PHIA1_p001_384_HT.indd ix 02-11-15 22:11 1 Baron Raimund von Stillfried, Self-Portrait in Yoko- hama Studio, ca. 1875. Albumen print, 23.6 x 30 cm. Stillfried Family Collection, Vienna.

PHIA1_p001_384_HT.indd xii 03-11-15 15:04 Introduction With Argus Eyes

t some stage in the mid-1870s, the Aus- the seated photographer and the representation it- tro-Hungarian photographer Baron Rai- self. While Stillfried occupies the site at the center Amund von Stillfried-Ratenicz arranged his of the composition, the apparent master of his do- easel, props, cameras, and equipment in his Yoko- main, the arrangement of the cameras and adjacent hama studio in preparation for a self-portrait (fi g. self-portrait suggests the intersection of various 1). With his Japanese assistant at his feet, he placed mechanical, representational, and personal gazes. himself at the center of the composition, dressed in It is hardly coincidental that the seated artist and the neat attire appropriate to his social background, the camera directly behind him are aligned in the and arranged for another assistant to record the same direction. Intersecting with these parallel scene. While the surrounding equipment provides glances, the mammoth-plate camera on the left and ample evidence of his photographic profession, the mounted self-portrait face in the opposite di- Stillfried depicts himself in the guise of a studio rection. Through the painted self-portrait and those painter, with a fi ne brush in his right hand and a mechanical bystanders, Stillfried’s mastery fi nds maulstick and palette in his left, poised at a moment expression in the proliferation of his own gaze and between working on the self-portrait before him. its proxies over the studio space. In this sense, this Like many nineteenth-century photographers, he photograph does not merely declare the artistic sta- adopts the traditional iconography of the painter in tus of the new medium; it proclaims the visual au- his studio to claim the credentials of an artist. thority of the photographer over the physical world. In contrast to the elegant photographs of Japa- In the nineteenth-century colonizing world, the nese subjects that had established his reputation, commercial travel photographer represented the the cluttered, seemingly random arrangement of modern profession of observation and supervision objects in this self-portrait suggests the behind-the- par excellence. To adopt Stillfried’s own resonant scenes mayhem of a successful studio. Above the phrase from another context, the travel photogra- jumble of props and equipment, two massive cam- pher viewed the world “with Argus eyes” (mit Argu- eras loom over the scene with their apertures saugen),1 ever vigilant for suitable subjects to render turned in opposite directions. Beside each camera before his camera. According to the Greek myth, stands another requisite tool of early studio pho- Argus possessed one hundred eyes, only two of tography—two headrests used to ensure a sitter’s which slept at any one time to ensure perpetual arrested posture during the prolonged exposure watchfulness.2 When Zeus transformed the priest- times required for a likeness. Taken together, this ess Io into a white cow to conceal his infi delity, his complex arrangement of objects suggests an alle- suspicious spouse Hera ordered her servant Argus gorical relationship between visual technologies, to guard the animal. In response, Zeus sent the mes-

PHIA1_p001_384_HT.indd 1 02-11-15 22:11 a career of japan

2 Josef Popjel, Baron Raimund von Stillfried on his Deathbed, August 14, 1911. Albumen print, 10.8 x 15.4 cm (mount 17 x 18.4 cm). Stillfried Family Collection, Vienna.

senger Hermes, who managed to lull Argus to sleep travels did not represent carte blanche material for and decapitate him. According to Ovid, Hera hon- his visual practice. They did not present dutiful sub- ored her servant by setting his eyes in the tail feath- jects before his camera, but in various ways chal- ers of the peacock.3 Such a mythic creature of vigi- lenged the purported authority of his project. What lant observation, whose sole task was to supervise was the relationship between the expatriate artist- another’s behavior, appears a germane metaphor for photographer and the Japanese assistant before the European photographer’s role in the nineteenth- him? Did this arrangement refl ect the master’s au- century imperial supervision of Asian societies. thority or present an idealized notion of imperial Yet this picture of evident command presented control that did not refl ect the actual state of af- in his studio self-portrait belies the complexity and fairs? This book challenges the visual authority of diffi culty of his two-decade expatriate career. It foreign photographers in nineteenth-century Japan renders an idealized notion of cultural and profes- by emphasizing the subtle challenges and transfor- sional authority—of a dutiful servant and a master- mations in their work prompted by an emerging ful artist—that all too neatly reduces the relation- and confi dent domestic photographic industry. ship between photographer and subject to one of command and obeisance. At the site of production, the subjects encountered in the photographer’s

PHIA1_p001_384_HT.indd 2 02-11-15 22:11 introduction

the death of a photographer Japan and Europe. Although such notions as reputation and infl uence are notoriously diffi cult to as- Whether implicitly or not, any monograph of a sess and quantify, Stillfried’s obituaries summarize painter or photographer invests in the historical or his contemporary reputation and its grounds (fi g. aesthetic signifi cance of that individual’s output. It 2). The Neues Wiener Journal, for example, pub- calls for a reassessment of his or her activities and lished a lengthy obituary of “the well-known world work, and advocates his or her place in the history traveler and painter” (der bekannte Weltreisende und of the medium. As the fi rst detailed study of Rai- Maler) that acknowledged the full extent of his ear- mund von Stillfried, one of my main intentions is lier activities and renown: certainly to reconstruct the parameters of his output and the historical consequence of his career. It Stillfried’s mastery as a painter and photographer was is not my intention, however, merely to raise his fully acknowledged by the press. They praised the sharp stature in the canon of early photographers for its eye of the educated man, his artistic understanding of own sake but to investigate the reasons, however picturesque beauty and architectural signifi cance. The implicit, for the historical disregard pertaining to ethnographic value of his work was acknowledged by the his career. Whereas other European travel photog- critics. His masterly technique and brilliant conception raphers, such as Francis Frith and Samuel Bourne, were emphasized.5 have long held a place in the history of the medium, Stillfried has received little systematic attention Far from merely a successful commercial photogra- and his work remains largely neglected and dis- pher, such accounts bespeak his position and prow- persed in archives around the world. This lacuna ess in nineteenth-century debates on the medium’s seems all the more surprising in view of his colorful artistic and ethnographic value. From such initial career, marked by episodes of colonialist adventur- accounts in Vienna, the news of his death spread ism and public scandal. From the loyal offi cer of rapidly throughout Central Europe. In the days Emperor Maximilian in Mexico to the commis- thereafter, more than forty obituaries appeared in sioned photographer en tour in northern Japan, metropolitan and regional newspapers throughout Stillfried’s diverse travels and endeavors seem to present-day Austria, Germany, Poland, Hungary, make his career ideal fodder for biographical study. and the Czech Republic.6 Moreover, the visual quality of his work would Yet despite this contemporary fame, Stillfried’s seem amenable to the fi ne print tradition espoused own reputation died with him. With the advent of by the medium’s fi rst institutional advocates.4 That World War I and the demise of the Habsburg mon- his posthumous reputation faded from the critical archy, the career of an aristocratic member of the radar of modernist attention raises important is- old regime quickly faded under modernist concerns sues on the historiography of the medium and the and preoccupations. Apart from a few brief diction- implicit agendas that informed the photographic ary entries and the anecdotal account of his son Al- canon. Why did Stillfried’s reputation fade in the fons,7 Stillfried’s contribution to nineteenth-centu- twentieth century, parallel to the rise of the institu- ry visual practice all but disappeared from tional status of photography? What aspects of his European-language scholarship. The situation was career disqualifi ed him from academic scrutiny? little better in Japan, with the exception of the work Perhaps the fi rst response to such questions is of a small number of scholars, notably from Hok- that the relative lack of attention aff orded his career kaido.8 In the 1970s, the fi rst signs of renewed atten- refl ects his minor historical status. This book pre- tion spurred an interest in his photographs of Japan, sents an abundance of evidence to the contrary, es- and thereafter several studies reproduced purport- tablishing his position at the forefront of cross-cul- ed examples of his work alongside succinct outlines tural interactions between nineteenth-century of his career.9 Since these studies often contradicted

PHIA1_p001_384_HT.indd 3 02-11-15 22:11 a career of japan

one another in both content and attribution, the tablished canon of travel photographers. In the fi rst and most fundamental task has been to recon- preface to his infl uential study Orientalism, Edward struct Stillfried’s activities and movements, based Said acknowledged that his analysis could not “do on the rich but largely overlooked newspapers, pho- justice to . . . the important contributions to Orien- tographic journals, travelers’ diaries, diplomatic re- talism of Germany, Italy, Russia, Spain, and Portu- cords and family archives of the era. With the recon- gal.”12 As James Cliff ord has noted, Said’s critique struction of Stillfried’s itinerant career, an overall of an Anglo-French cultural tradition implicit in picture has emerged that clarifi es his role in the cul- the subtle justifi cation of those nations’ colonial tural exchanges and circles of nineteenth-century projects required him to dismiss the rich Oriental- Japan, primarily centered on the “contact zone” ist traditions of Central Europe.13 Yet even among port of Yokohama.10 Said’s list of omitted countries, the Austrian Em- So what happened to Stillfried’s posthumous pire—one of the preeminent European powers of reputation? To discern the reasons for his almost the nineteenth century—is most conspicuous by its complete occlusion from academic attention is to absence. Despite its maritime strength, the Austri- outline the historiographical tendencies that this an Empire had even fewer colonies than the Prus- book aims to challenge in the reconstruction of his sians. It is not merely the case that the suitability of career. After his initial fall into obscurity in the in- postcolonial approaches requires reassessment in terwar years, three general factors have ensured his the context of the Austrian Empire, but that its cur- continued posthumous neglect. Firstly, the implicit rent methodological predominance has further Anglo-French bias of many histories of nineteenth- marginalized a consideration of Central European century photography has marginalized the contri- travel photographers. Under the infl uence of post- butions of German-speaking photographers in colonial strategies, historians have centered their Asia. The pioneer studies of Beaumont Newhall and enquiries on those photographers of colonial pow- Helmut Gernsheim, for instance, emphasized the ers, mainly Britain and France, and have shied away signifi cance of British and French travel photogra- from itinerant photographers from other Europe- phers to the exclusion of their Central European an nations that had vastly diff erent political rela- counterparts. In the case of early travel photogra- tions with non-European societies. In this sense, phers, where the suggestion of imperial expansion postcolonial scholars reinterpreted the empirical intersected with the fascist tensions of the early research of earlier historians of photography, but twentieth century, this bias was virtually absolute. did not necessarily dispute the subject of enquiry.14 Thus Helmut and Alison Gernsheim declared in the Another obstacle, and perhaps the most telling, is preface of their infl uential study The History of Pho- the lack of a major archive or primary source on this tography, “With typical enterprise, and being keen enigmatic photographer. Stillfried neither wrote his travellers, the British were also among the fi rst to memoirs nor bestowed his archive to any institution. explore with their cameras distant lands. . . . Wheth- And unlike the Scottish photographer John Thom- er they settled, or whether they were on tour, their son, he neither published popular accounts of his pictures spread the fame of British photography travels nor entered into business arrangements for abroad.”11 Such photographic historians established the mass publication of his work.15 Given the exigui- a canon of early travel photographers that remains ties of scholarship, histories are often written around largely familiar to the present day. This study con- extant archives of institutions that are able to pro- tributes to the redress of this imbalance by bringing mote their collections. By contrast, Stillfried’s extant to the fore the signifi cant roles of German-speaking albums reside in little known societies, museums, li- photographers in nineteenth-century Japan. braries, and private colle ctions scattered around the Secondly, the advent of postcolonial methodol- world. In those instances where notable holdings re- ogies in recent decades has hardly altered this es- side in major institutions, such as the Bibliothèque

PHIA1_p001_384_HT.indd 4 02-11-15 22:11 introduction

nationale de France or the Tokyo National Museum, eff ort to provoke debate on the historical construc- their lack of attribution bespeaks the level of disre- tion of subjectivity and the contested nature of self- gard that has attended their preservation. Since Still- identity. As Jo Burr Margadant has argued “the ob- fried’s activities occurred in several countries and ject of study for the new biographers is not just the most of his patrons were likewise travelers, his al- construction of identities but also and inevitably, the bums were dispersed at the time of their sale. As a contested nature of inventing selves.”16 These “new result, no single archive hints at the broad scope of biographers” neither reduce such concerns to the his career and output. This book aims to reconstitute narration of a unifi ed “life” nor dismiss such eff orts this scattered oeuvre and consider the work within for their theoretical naiveté. My commitment to re- the broader context of his itinerant career as well as covering forgotten sources and albums is thus not the shifting market expectations and domestic pres- intended to resurrect a unifi ed and self-evident no- sures that shaped and attended his photographic tion of a neglected photographer, but to enquire into practice in Japan. In the vast majority of instances, I the fi ssures and shifts in his identity and practice that have chosen to discuss works that are either pub- elicit alternative readings of travel photographers lished or attributed for the fi rst time in order to high- and their operations. In particular, I intend to em- light the diversity of his practice and the mass of pic- phasize the contested nature of visual practice at the torial materials that still await scholarly attention. site of cross-cultural production and the ambivalent In view of this past neglect, the issue of biogra- identities of the expatriate photographer in Japan. I phy occupies an important place in this study and am concerned not with the affi rmation of a certain thus merits some preliminary remarks. Just as the imperial world view through the pictorial process genre of biography supported the model of a coher- (and its correspondent affi rmation of a unifi ed and ent artistic subject, so the silence on certain indi- biographized subject), but with the piecemeal ero- viduals enabled the formation of an artistic canon sion of any such ideologies in the face of the realities that had its epicenter in the metropolitan capitals of of Japanese modernity. This book refuses to credit Europe. However important poststructuralist cri- the notion of command proff ered in the photogra- tiques of authorship have been to demystifying ar- pher’s studio self-portrait in favor of readings that tistic originality and agency, such debates seem emphasize the uncertainty of his practice and the rather misplaced for those artists and photogra- shifts in his cultural allegiances and positions. Biog- phers outside the major urban centers whose ca- raphy thus remains a prominent vector in this study reers have never received the sustained attention of precisely because of the ways in which the subject of visual historians or curators. Aside from a select investigation runs both with and against the grain of coterie, the thoroughly researched and appraised current notions of early travel photographers. photographer of nineteenth-century Japan, whether foreign or indigenous, represents the exception rather than the rule. Much work remains forgotten objectives and parameters or misattributed in little-known archives and even the most basic biographical details of major fi gures During a remarkable international career spanning continue to elude scholars. From this perspective, four decades, Stillfried was active in many regions the critical interpretation of a neglected photogra- of Asia and Europe. Indeed, few photographers of pher’s biography can reveal the presuppositions of the nineteenth century rival either the frequency of an academic fi eld that precluded his or her activities his travels or the longevity of his activities. This from sustained attention. book focuses on the Japanese period of his career, While skeptical of conventional biographies that from his fi rst arrival in Nagasaki in 1864 until his present a coherent narrative of artistic development, fi nal return to Vienna in 1883. During these dec- some scholars have returned to the monograph in an ades, primarily based in Yokohama, barely two

PHIA1_p001_384_HT.indd 5 02-11-15 22:11 a career of japan

consecutive years passed without an excursion or in the interpretation and adoption of imported business venture leading him to embark for another technologies and modes of thought for domestic destination. In the study of such a photographer, use in Japan. The challenge, and indeed one reason we are therefore dealing with a career in which the for the importance of such fi gures, is that the sheer infrastructures of nineteenth-century global mo- diversity of their careers in various cultural spheres dernity—the development of international rail and requires diff erent perspectives and collaborations steamship networks, telegraphic communications, across various disciplinary fi elds of study. Central commercial trade, and transcontinental tourism— to this examination is an inclusive approach to the made possible a new relation between travel and study of foreign photographers that remains cogni- visual production. His career constitutes a fertile zant of both their international connections and case study of the professional opportunities and their close everyday associations with their Japa- modes of operation that emerged with the rise of a nese contemporaries. All too often, scholars have globalizing world. tended to partition the history of the medium into Stillfried is a key fi gure in the history of Yoko- “Western photographers in Japan” as opposed to hama’s souvenir photography market. This indus- the hermetic categorization of “Japanese photogra- try involved both Western and Japanese practition- phy.” Such a false dichotomy misrepresents the ers and was responsible for the production of transcultural history of photography in Japan.18 In hundreds of thousands of photographs—usually, short, Stillfried’s photographic practice did not but not exclusively, hand colored and bound in al- take place in isolation, but shaped, and was shaped bums—for a voracious international audience in by, the broader circles of Japan’s emergent photo- the fi nal decades of the nineteenth century. Al- graphic industry. Regardless of their background, though long recognized as a pivotal fi gure in this many of Stillfried’s colleagues and contemporaries industry, the lack of a reliable account of his work examined in this study have either received little at- and activities has created considerable misunder- tention (Ichida Sōta, Uchida Kuichi, Michael Mo- standing and confusion both in Japanese- and Eu- ser, Wilhelm Willmann), remained poorly docu- ropean-language scholarship. Stillfried’s activities mented as active photographers (Usui Shūzaburō, in Japan have received more attention than any oth- Hermann Andersen), or were not even previously er aspect of his career, but major inaccuracies and known to have visited Japan (Edward S. Boynton, omissions in the secondary literature have resulted Heinrich Hammenstede, Franz von Stillfried). in a skewed understanding of his photography and To a signifi cant extent, the lack of basic docu- studio enterprise. Whereas other aspects of his ca- mentation about these photographers and their cli- reer have simply been overlooked, this study con- ents, as well as their professional networks, busi- centrates on the Japanese period in order to dispel ness practices and private lives, has limited the some of the errors that have formed the standard debates and issues that have pertained to early pho- picture of his output and activities. A grounded ex- tography in Japan. Although the fi eld has a rich his- amination of his changing practices, international tory in Japanese- and European-language scholar- endeavors, and professional associations will pro- ship extending back to the early twentieth century,19 vide an important foundation for ongoing scholar- Western scholars of Japanese visual culture have ship in the emergent fi eld of nineteenth-century only recently begun to scrutinize the medium’s sig- photography in Japan.17 nifi cance in nineteenth-century Japan. This book The art historical conception of such European addresses the dearth of critical scholarship on the residents and their complex transcultural roles in Yokohama photographic industry, symptomatic of nineteenth-century Japan is a pivotal area of cur- a general suspicion of transcultural visual products, rent, ongoing research. Such foreigners played a which either devalues its products as derivative or crucial role as competitors, advisers, and colleagues homogenizes the entire industry under the rubric

PHIA1_p001_384_HT.indd 6 02-11-15 22:11 introduction

of export tourist kitsch.20 Deemed of concern nei- specifi c cultural adoptions and adaptations of pho- ther to art historians nor to area specialists, Yoko- tography to local circumstances and needs. These hama photographs have often been neglected as cultural uses dissolved foreigners’ assumed imperi- the ephemera of globetrotters’ brief encounters alist ownership of photography resulting in specifi c with Japan.21 And yet the scope and diversity of the challenges for European professional photogra- industry, its range of participants and audiences, its phers based in Japan. Stillfried’s career and output networks of association across cultural boundaries were shaped by the challenges caused by these (both local and global) and its interactions with changing domestic circumstances as well as inter- other pictorial media and cultural products neces- national market tastes. sitate research approaches which pay little heed to the putative borders between diverse disciplines. The challenge for photographic historians is not chapter outline merely to resurrect these overlooked visual products, but to promote methodologies and approach- Throughout this book, I examine specifi c albums es which acknowledge their multiple, intertwined and portfolios to consider the ways in which their histories of cultural exchange and resistance. presentation and arrangement constructed a no- The period under investigation was one of con- tion of their subject that both fulfi lled and formu- siderable social, cultural and political upheaval in lated the wishes of their patrons. Where possible, I Japan, conventionally divided into the Bakumatsu consider the production, circulation, and reception (1853–1867) and Meiji periods (1868–1912). After of certain albums and the uses that such compila- more than two centuries of relative political stabil- tions served for their owners. Given the thousands ity in Japan, Western nations forced the eff ective of photographic albums purchased and exported demise of the “isolationist” policy and the estab- overseas as souvenirs, often without any identifi ca- lishment of the treaty ports of Yokohama, Nagasa- tion of the studio or the customer, the sheer magni- ki, and Hakodate in 1859, and Kobe and Niigata in tude of the Yokohama photographic industry’s out- 1868. Western merchants, diplomats, soldiers, and put can erase any sense of diff erence or distinction missionaries were permitted to reside within the within these vast archives. In order to counter this designated limits of these ports under the protec- tendency, Stillfried’s shifting practices and output tion of their respective consulates. While these new are examined through a small coterie of photo- residents brought greater access to foreign technol- graphic albums that provide the foundation for an ogies and modes of thought, their presence also analysis of his work. I am keen to emphasize the stoked the fi res of domestic discontent with the po- specifi c features and aspects of his output—their litical management of the Tokugawa family. In 1868 presentation, targeted clientele, and material fea- the Meiji Restoration, an eff ective coup d’état, tures—that are all too readily overlooked in the ousted the old regime and reinstated the emperor sheer mass of photographic souvenirs. as the political fi gurehead of the nation. In his Stillfried’s upbringing and formative experienc- name, the new political elite instigated a program es in mid-nineteenth-century Austria and Imperial of widespread modernization that sanctioned the Mexico are examined in chapter 1. The primary aim dissemination of introduced technologies, institu- here is to identify the cultural values, acquired skills, tions, and cultural practices. Photography, trans- and imperial ideologies that established his pen- lated as shashin (literally “truthful copy”), appeared chant for artistic and maritime pursuits. That the a technology well suited to the new epoch of Meiji.22 history of the Habsburg Empire diff ered in funda- The emergence of a Japanese domestic market and mental respects from Britain and France could not industry, and the camera’s deployment for the po- be better demonstrated than by the demise of Impe- litical purposes of the government pointed to the rial Mexico. Arguably, the capture and unceremoni-

PHIA1_p001_384_HT.indd 7 02-11-15 22:11 a career of japan

ous execution of Emperor Maximilian of Mexico Despite such controversies, commercial photog- was the most spectacular colonial failure of the raphers were also useful proselytizers of the new nineteenth century. Stillfried’s fi rsthand experience government’s program of nationalizing initiatives of the collapse of the regime initiated a crisis in his in Japan. Between the respective scandals at Yoko- imperial allegiance that shaped his subsequent iden- suka and Vienna, Stillfried received an offi cial com- tity as an aristocratic artist in self-imposed exile. mission to photograph the northern island of Hok- Chapter 2 chronicles Stillfried’s early activities kaido and its indigenous inhabitants, the Ainu, from as a merchant and diplomatic offi cial in Japan and a government ministry responsible for the “develop- ultimate emergence as a professional photographer ment” of the region. In addition to its foregrounding in Yokohama. It analyzes his long neglected topo- of photography’s role within the emergent nation- graphical photographs and argues that their pro- state of Japan, the commission also highlights a duction refl ected the local interests and concerns of theme that weaves through this study—the ambiva- foreign residents rather than an international lent allegiances and objectives of the expatriate pho- “globetrotter” market yet to assert its primacy. The tographer as an employee of the Japanese. Rather signs of modernization evident in some of these than mere commercial opportunists, expatriate outdoor scenes acknowledge the prominent chang- photographers became useful allies for the indige- es then occurring on the streets of Japan. The subse- nous elite in the fruition of their state-building ob- quent removal of such outdoor scenes from his jectives. This is not to suggest that episodes of out- stock and preference for studio-based imagery em- right exploitation and imperialist hutzpah did not phasizes a shift in his practice that denied the con- occur (as this book charts, Stillfried was capable of temporary prominence of imported fashions and brazen and even violent acts), but neither were such goods in Meiji society. This shift refl ected a con- expatriate photographers fi xed in their attitudes to- scious reorganization of the studio stock in order to ward their adopted country of residence. cater to those affl uent globetrotters in search of vis- In chapter 6, the analysis moves to the middle ual souvenirs that affi rmed, rather than questioned, phase of Stillfried’s Japan career, when his interna- notions of Japanese cultural isolation and stasis. tional reputation and infl uence reached its zenith. Shifting between diff erent geographical loca- This chapter charts the photographer’s expanded tions and audiences, the next three chapters exam- business activities and his importance in the pro- ine specifi c episodes that occurred in the photogra- motion of an international market for Japanese im- pher’s early career. Chapters 3 and 5 trace, agery and goods. My intention here is to outline respectively, Stillfried’s role in two public scandals Stillfried’s historical signifi cance as a mediator in that highlight the extent to which commercial pho- several fi elds of cultural activity—as a guide for vis- tographers ignored social protocols in pursuit of iting foreigners, a merchant of cultural objects and professional success. The fi rst of these scandals goods, an importer of photographic equipment, concerns Stillfried’s unauthorized photograph of and a hired teacher of studio techniques, to men- the Meiji emperor, taken on the occasion of the lat- tion but a few business endeavors. Even when con- ter’s fi rst public visit at the Yokosuka arsenal; the fi ned to photography per se, Stillfried’s activities second centers on Stillfried’s exhibition of a Japa- with a camera extended well beyond the production nese teahouse at the Vienna World Exposition in of globetrotter souvenirs to comprise, for example, 1873. These cases demonstrate, in diff erent con- astronomical phenomena and geological subjects. texts, the offi cial suspicion pertaining to commer- Such pursuits expand on the limited perception of cial photographers and the need to regulate their his activities as a commercial photographer for the activities and practices. Both episodes expose the international tourist market. disreputable underside of nineteenth-century pho- Chapter 7 examines Stillfried’s studio-based tographers’ entrepreneurial endeavors. genre photographs of Japanese society. On the one

PHIA1_p001_384_HT.indd 8 02-11-15 22:11 introduction

hand, I will argue that such studio work had a pro- Finally, the afterword briefl y considers Still- found eff ect on the international perception of Ja- fried’s return and transition into the Viennese art pan; on the other, I contend that his studio aesthetic world. By ending with his retrospective exhibition refl ected his unease with the rise of a domestic pho- at the Österreichisches Museum für Kunst und In- tographic industry that threatened his own profes- dustrie, I have sought to return to the issue of the sional authority and market control. As a represent- photographer’s imperial self-identity raised in the ative case study of such competition, I compare opening chapter. Although brief in its analysis, I Stillfried’s studio work with that of his former pro- also want to suggest the unacknowledged debt that tégé Usui Shūzaburō. Such comparisons demon- the visual modernity of fi n-de-siècle Vienna owed strate the notable diff erences in the representation to such expatriate artists and photographers. As of Japanese society that emerged from the Yokoha- such, this study shifts back and forth between the ma photographic industry. At a broader level, this metropolitan cities of nineteenth-century Yokoha- chapter exemplifi es my argument that Stillfried’s ma and Vienna, neither privileging one before the work not only pandered to globetrotters’ desires, other nor examining each context in isolation from but also fabricated notions of a premodern Japan in one another. If such a notion as a transcultural ca- response to the everyday challenges to the photog- reer and life has credence in the era of high coloni- rapher’s visual and commercial primacy. Both in- alism, the “homecoming” can never be one of unal- side and outside Stillfried’s studio, the challenges loyed welcome and expectant recognition. Indeed, to his business were all too real. for the majority of Stillfried’s contemporaries, Stillfried’s late phase in Japan, when intense many of whom died in their adopted country of Ja- competition and legal diffi culties fi nally ended his pan, their careers and activities have met with his- market preeminence and forced him to consider torical oblivion. In this respect, the borders be- other professional options, constitutes the subject of tween national fi elds of inquiry—for instance, chapter 8. While the camera remained central to his between Japanese and Habsburg studies—have practice, these battles prompted an expansion in his served to elide the signifi cance of such itinerant, ex- pictorial endeavors that blurred the boundaries be- patriate careers and livelihoods from accounts of tween photography and painting. This chapter in- nineteenth-century visual history. In examining troduces two hitherto neglected German-speaking such interstitial careers and practices, I hope to em- photographers active in Yokohama—Hermann An- phasize the porous and interconnected associa- dersen and Franz von Stillfried—and provides a tions between and across such fi elds of study. new framework for the attribution of their work. It is Whatever its strengths and limitations, its points of my intention in these later chapters not to undertake illumination and blind spots, this book intends to an antiquarian exercise in the organization of long promote such dialogues, to move toward the inves- neglected archives per se, but to enable and promote tigation of such little-studied photographers, and an examination of the photographers’ contested to further scholarship on their cross-cultural inter- visual products and roles as cultural go-betweens actions and associations. between nineteenth-century Japan and Europe.

PHIA1_p001_384_HT.indd 9 02-11-15 22:11 Notes

ABBREVIATIONS 7 Wilh. Beetz, “Raimund Freih. von Stillfried und Rath- ÉJ: L’Écho du Japon. enitz,” in Allgemeines Lexikon der bildenden Künstler HKDP: Hong Kong Daily Press. von der Antike bis zur Gegenwart, ed. Hans Vollmer HHStA: Haus-, Hof- und Staatsarchiv, Vienna. (Leipzig: E. A. Seemann, 1938), 32:52; E. Bénézit, Dic- JDH: Japan Daily Herald. tionnaire critique et documentaire des peintres, sculpteurs, JG: Japan Gazette. dessinateurs et graveurs, new ed. (Paris: Gründ, 1955), JHMS: Japan Herald Mail Summary. 8:127; Alfons Stillfried, Die Stillfriede. Drei Jahrhunderte JWM: Japan Weekly Mail. aus dem Lebensroman einer österreichischen Familie MSöK: Militär-Schematismus des österreichischen (Vienna: Europaischer Verlag, 1956), 159–86. Kaiserthumes, Vienna: k. k. Hof- und 8 For example, see Koshizaki Sōichi, Hokkaidō shashin Staats-Druckerei, 1850–67. bunkashi (Otaru, Hokkaido: Shinseisha, 1946), 49–56; NSC: Hokkai Shiryōshitsu [Northern Studies Collection], Saigusa Hiroto, Nozaki Shigeru, and Sasaki Takashi, Kaitakushi gaikokujin kankei shokan mokuroku, Kindai Nihon sangyō gijutsu no seiōka (Tokyo: Tōyō Kei- Hokkaido University, Sapporo. zai Shinpōsha, 1960), 204. PC: Photographische Correspondenz. 9 Nihon Shashinka Kyōkai, ed., Nihon shashinshi: 1840– SFC: Stillfried Family Collection, Vienna. 1945 (Tokyo: Heibonsha, 1971), 364–65, 445–46; Peter Pantzer, Japan und Österreich-Ungarn. Die diploma- Introduction tischen, wirtschaftlichen und kulturellen Beziehungen von 1 Baron R. v. Stillfried, “Ein neues photomechanisches ihrer Aufnahme bis zum Ersten Weltkrieg (Vienna: Insti- Druckverfahren,” PC, 1879, 140. tut für Japanologie, 1973), 22, 102, 111–12; Clark Wors- 2 Simon Hornblower and Antony Spawforth, eds., The wick, Japan: Photographs, 1854–1905 (New York: Penn- Oxford Classical Dictionary, 3rd ed. (Oxford: Oxford wick, 1979), 134–35; Shibuya Shirō, “Shashinshi University Press, 1996), 154–55. Sutirufurīto,” in Oyatoi Gaikokujin, ed. Sapporoshi 3 Ovid, Metamorphoses, trans. A. D. Melville (Oxford: Kyōiku Iinkai Bunka Shiryōshitsu, Sapporo bunko 19 Oxford University Press, 1986), 19–22. (Sapporo: Sapporoshi Kyōiku Iinkai, 1981), 187–94. 4 For a critique of such aestheticized judgments of pho- 10 On the concept of the “contact zone,” see Mary Louise tography’s history, see Abigail Solomon-Godeau, “Calo- Pratt, Imperial Eyes: Travel Writing and Transculturation typomania: The Gourmet Guide to Nineteenth-Cen- (London: Routledge, 1992), 2–7. tury Photography,” in Photography at the Dock: Essays on 11 Helmut and Alison Gernsheim, The History of Photog- Photographic History, Institutions, and Practices (Minne- raphy: From the Earliest Use of the Camera Obscura in the apolis: University of Minnesota Press, 1991), 4–27. Eleventh Century up to 1914 (London: Oxford University 5 “Raimund Freiherr v. Stillfried †,” Neues Wiener Journal, Press, 1955), vii. August 14, 1911, 2: “Stillfrieds Meisterschaft als Maler 12 Edward W. Said, Orientalism (New York: Pantheon, and Photograph wurde von der Presse einmütig aner- 1978), 17. kannt. Sie rühmte den scharfen Blick des gebildeten 13 James Cliff ord, “On Orientalism,” in The Predicament Mannes, sein künstlerisches Verständnis für das land- of Culture: Twentieth-Century Ethnography, Literature, schaftlich Schöne und architektonisch Bedeutsame. Der and Art (Cambridge, MA: Harvard University Press, ethnographische Wert seiner Sammlungen wurde von 1988), 267. der Kritik stets anerkannt. Seine meisterhafte Technik 14 Numerous studies could be cited, but representative und seine geniale Auff assung wurden hervorgehoben.” examples include Gordon Baldwin, Roger Fenton: 6 Stillfried’s widow Helene, née de Jeszenicze, cut out Pasha and Bayadère (Los Angeles: J. Paul Getty many of these obituaries and pasted them in a family Museum, 1996); James R. Ryan, Picturing Empire: Pho- scrapbook, with obituaries appearing in newspapers in tography and the Visualization of the British Empire (Chi- Aachen, Berlin, Bremen, Breslau (now Wrocław, cago: University of Chicago Press, 1997); Douglas R. Poland), Brünn (now Brno, Czech Republic), Cologne, Nickel, Francis Frith in Egypt and Palestine: A Victorian Dresden, Düsseldorf, Graudenz (now Grudziadz, Photographer Abroad (Princeton, NJ: Princeton Univer- Poland), Hamburg, Leipzig, Posen (now Poznan, sity Press, 2004). In more recent years, visual anthro- Poland), Prague, Reichenberg, Teplitz (now Teplice, pologists have been at the forefront in the espousal of Czech Republic), Vienna, and Wiesbaden. SFC. non-European, alternative histories of photography.

306

PHIA1_p001_384_HT.indd 306 02-11-15 22:15 notes to pages 4–12

For key volumes, see Christopher Pinney and Nicolas “Decentering Modernism: Art History and Avant- Peterson, eds., Photography’s Other Histories (Durham, Garde Art from the Periphery,” Art Bulletin 90, no. 4 NC: Duke University Press, 2003); Rosalind C. Morris, (December 2008): 531–48. ed., Photographies East: The Camera and its Histories in 21 Within Japanese scholarship, Saitō Takio, Yokota East and Southeast Asia (Durham, NC: Duke Univer- Yōichi, Kamei Takeshi, and Sawatari Kiyoko are impor- sity Press, 2009). tant exceptions to this general statement and I acknowl- 15 Richard Ovenden, John Thomson (1837–1911), Photographer edge their example and work where appropriate in this (Edinburgh: National Library of Scotland, 1997), 29–43. study. For an introduction to the visual culture of nine- 16 Jo Burr Margadant, “Introduction: Constructing Selves teenth-century Yokohama, see Yokohama Bijutsukan, in Historical Perspective,” in The New Biography: Per- ed., Bakumatsu Meiji no Yokohama-ten: Atarashii shikaku forming Femininity in Nineteenth-Century France, ed. Jo to hyōgen / Yokohama 1859–1899: New Visions, New Rep- Burr Margadant (Berkeley: University of California resentations (Yokohama: Yokohama Bijutsukan, 2000). Press, 2000), 9. For an English-language summary, see Sawatari Kiyoto, 17 For recent studies see Saitō Takio, Bakumatsu Meiji “Innovational Adaptations: Contacts between Japanese Yokohama shashinkan monogatari (Tokyo: Yoshikawa and Western Artists in Yokohama, 1859–1899,” in Chal- Kōbunkan, 2004); Nicole Coolidge Rousmaniere and lenging Past and Present: The Metamorphosis of Nine- Mikiko Hirayama, eds., Refl ecting Truth: Japanese Pho- teenth-Century Japanese Art, ed. Ellen P. Conant (Hono- tography in the Nineteenth Century (Amsterdam: Hotei, lulu: University of Hawai’i Press 2006), 83–113. 2004); Luke Gartlan, ed., “Photography in Nineteenth- 22 The term shashin only belatedly became the accepted Century Japan,” special issue, History of Photography 33, signifi er for photography in Japanese. For an intellec- no. 2 (May 2009); Eleanor M. Hight, Capturing Japan in tual history of the term, see Maki Fukuoka, The Premise Nineteenth-Century New England Photography Collec- of Fidelity: Science, Visuality, and Representing the Real in tions (Aldershot: Ashgate, 2011); Mio Wakita, Staging Nineteenth-Century Japan (Stanford, CA: Stanford Uni- Desires: Japanese Femininity in Kusakabe Kimbei’s Nine- versity Press, 2012), chap. 5. teenth-Century Souvenir Photography (Berlin: Reimer, 2013); David Odo, The Journey of “A Good Type”: From Chapter 1 Artistry to Ethnography in Early Japanese Photographs 1 Notable exceptions include John Clark, “Charles Wirg- (Cambridge, MA: Peabody Museum, 2015). man (1832–1891), Recent Discoveries and Re-Evalua- 18 In 2003, for example, a high-profi le and otherwise tions,” in Japanese Studies: Papers Presented at a Collo- important exhibition at Houston’s Museum of Fine quium at the School of Oriental and African Studies, Arts all but ignored the contributions of non-Japanese University of London, 14–16 September 1988, ed. Yu-Ying photographers to the history of Japanese photography. Brown (London: British Library, 1990), 261–76; Ellen P. In an acknowledgment of such issues, Kinoshita Naoy- Conant, “Captain Frank Brinkley Resurrected,” in Meiji uki stated in the exhibition catalog, “This book, and the no Takara / Treasures of Imperial Japan (Nasser D. Khalili exhibition it accompanies, are devoted to photographs Collection of Japanese Art), ed. Oliver Impey and Mal- taken by Japanese, which is clearly one way to defi ne colm Fairley (London: Kibo Foundation, 1995), 1:124– ‘Japanese photography.’ However, at the dawn of pho- 51; James L. Huff man, A Yankee in Meiji Japan: The Cru- tography in Japan, Westerners were the ones who took sading Journalist Edward H. House (Lanham, MD: the photographs, and these images of Japan and the Jap- Rowman & Littlefi eld, 2003). anese, too, could be regarded as ‘Japanese photogra- 2 Baptismal certifi cate of Raimund von Stillfried, Octo- phy.’” Kinoshita Naoyuki, “The Early Years of Japanese ber 7, 1839, Komotau, SFC; Genealogisches Taschenbuch Photography,” in Anne Wilkes Tucker et al., The History der freiherrlichen Häuser auf das Jahr 1853 (Gotha: Justus of Japanese Photography (New Haven, CT: Yale Univer- Perthes, 1853), 458; Constant von Wurzbach, Biogra- sity Press, 2003), 16. phisches Lexikon des Kaiserthums Österreich, enthaltend 19 Early surveys include Ishii Kendō, “Shashinjutsu no die Lebensskizzen der denkwürdigen Personen, welche 1750 hajime,” in Meiji jibutsu kigen (Kyōsandō, 1908), 166–84; bis 1850 im Kaiserstaate und in seinen Kronländern gelebt Shimaoka Sōjirō, ed., Tsuki no kagami: zenkoku shashin- haben (Vienna: k. k. Hof- und Staatsdruckerei, 1879), shi retsuden (1916; repr., Beppu, Kyūshū: Tsukushi shimi 39:51. For a useful albeit anecdotal family history, see no Kai 1998); Josef Maria Eder, “Japan,” in Geschichte Alfons Stillfried, Die Stillfriede; and, more recently, der Photographie (Halle: Wilhelm Knapp, 1932), 1031–37; Mario Erschen, Stillfried. Ein Name im Wetterleuchten Erich Stenger, “Japan und die Frühzeit der Photogra- der Geschichte (Vienna: Böhlau, 2014). phie,” Technikgeschichte 30 (1941): 116–24. 3 Ernst Heinrich Kneschke, Deutsche Grafen-Haeuser der 20 On such art historical attitudes to the visual products Gegenwart in heraldischer, historischer und genealogischer of Asia’s cosmopolitan ports, see Partha Mitter, Beziehung (Leipzig: Weigel, 1853), 2:513–15; Ernst Hein-

307

PHIA1_p001_384_HT.indd 307 02-11-15 22:15 Selected Bibliography

Readers are directed to the notes for sources consulted. Schäff er, Ignaz von. Administrative Registratur, Personalia This bibliography lists sources cited more than once in the Ignaz von Schäff er, Fach 4, Karton 298. Österreichis- notes or of particular relevance to the subject of this book. ches Staatsarchiv, Haus-, Hof-, und Staatsarchiv, Unless otherwise indicated, Japanese-language books are Vienna. published in Tokyo. Siebold, Alexander von. Papers. Gaimushō Gaikō Shiryōkan [Diplomatic Archives of the Foreign Minis- Archival Sources try], Tokyo. For an index, see Gaimushō Gaikō Calice, Heinrich von. Administrative Registratur, Personalia Shiryōkan, ed. Gaikō shiryōkan shozō Gaimushō kiroku Frh. v. Heinrich Calice, Fach 4, Karton 45. Österreichis- sōmokuroku: dai ichi kan (Meiji Taishō hen) [A Complete ches Staatsarchiv, Haus-, Hof- und Staatsarchiv, Vienna. Catalog of Documents of the Department of Foreign Dajō Ruiten, Kokuritsu Kōbunshokan [Cabinet Archives, Aff airs: Volume One: Meiji–Taishō Period]. Hara National Archives of Japan], Tokyo. For an index, see Shobō, 1992. Dajō ruiten mokuroku [Catalog of the Dajō Ruiten]. 3 Stillfried Family Collection. Letters and Papers. Vienna. vols. Kokuritsu Kōbunshokan, 1974–77. Stillfried, Raimund von. Six Letters on behalf of French Kaitakushi Kōbunroku, Hokkaidōritsu Monjokan [Record Consulate in Hakodate, 1 July–22 August 1865, Hako- of Offi cial Documents of the Hokkaido Colonization date Furansu ryōjikan 015–029, Fukkoku kanri raikan Agency, Hokkaido Prefectural Archives], Sapporo. hensatsu, dō shiryō 141, Hokkai Shiryōshitsu [Northern Kōbunroku, Kokuritsu Kōbunshokan [Offi cial Documents, Studies Collection], Hokkaido University, Sapporo. National Archives of Japan], Tokyo. For an index, see –––––––. Nineteen Letters to the k. k. Ministerium der Aus- Kōbunroku mokuroku [Catalog of the Offi cial Docu- wärtigen Angelegenheiten in Wien, 1868–69. Administra- ments]. 7 vols. Kokuritsu Kōbunshokan, 1978–83. tive Registratur, S.R., 1868–72, 69/5. Österreichisches National Archives, Kew, London. Staatsarchiv, Haus-, Hof- und Staatsarchiv, Vienna. FO 46 Foreign Offi ce, General Correspondence –––––––. Letter to Prince Constantin Hohenlohe, 15 Octo- 1865–85, Japan. ber 1873. Obersthofmeisteramt, Karton 922, r.100/D/22. FO 262 Embassy and Consular Archives, Japan: Österreichisches Staatsarchiv, Vienna. General Correspondence, 1865–85. –––––––. Five Letters to Josef Löwy, 1873–78. Archiv Autog- FO 263 Embassy and Consular Archives, Japan: raphen K. 32. Germanisches Nationalmuseum, Nurem- Registers of Correspondence, 1865–85. berg. Hokkai Shiryōshitsu [Northern Studies Collection], –––––––. Handwritten curriculum vitae, undated [ca. 1890]; Kaitakushi gaikokujin kankei shokan mokuroku, Hok- Handwritten curriculum vitae, 24 April 1899; Letters kaido University, Sapporo. For an index, see Hokkaidō and Documents, 1890–1902; Einlaufb ücher, 1878–1911. Daigaku Fuzoku Toshokan, ed. Kaitakushi gaikokujin Künstlerhausarchiv, Künstlerhaus, Vienna. kankei shokan mokuroku / The Kaitakushi (Hokkaido Williams, Harold S. Papers. Manuscript Collections, Colonial Offi ce) and its Foreign Employees, Advisers, and National Library of Australia, Canberra. other Foreigners. A List of Correspondence, 1871–1882. Sapporo: Hokkaidō Daigaku Fuzoku Toshokan, 1983. Published Works of Raimund von Stillfried Available online at http://ambitious.lib.hokudai.ac.jp/ Stillfried, Raimund. “The Photograph Case.” Supplement to hoppodb/index.html; (accessed 2012). the Japan Herald Mail Summary, February 28, 1872, n.p. Obersthofmeisteramt, OMeA, Karton 922, 939, and 1073. –––––––. “Berichtigung.” Photographische Correspondenz, Österreichisches Staatsarchiv, Vienna. 1873, 160. Österreichisch-belgisches Freiwilligenkorps in Mexiko, –––––––. “Ainos.” Allgemeine illustrirte Weltausstellungs-Zei- 1864–67, AT-OeStA-KA AdT Mexiko. Österreichisches tung, July 5, 1873, 7–9. Staatsarchiv, Kriegsarchiv, Vienna. –––––––. “Mittheilungen aus dem Publikum.” Allgemeine Rikugunshō [Department of War], Dai-nikki, 1868–90, illustrirte Weltausstellungs-Zeitung, July 27, 1873, 107. Library of the National Institute of Defense Studies of –––––––. “Japan auf der Weltausstellung.” Pts. 1–7. Allge- the Ministry of Defense. See Japan Center for Asian meine illustrirte Weltausstellungs-Zeitung, August 7, 1873, Historical Records (JACAR), National Archives of 147–48; September 14, 1873, 7–9; September 28, 1873, Japan (Ajia Rekishi Shiryō Sentā). Available online at 44–45; October 19, 1873, 76; October 26, 1873, 92–93; www.jacar.go.jp; (accessed January 2014). November 9, 1873, 101–3; November 23, 1873, 134–35, 138.

349

PHIA1_p001_384_HT.indd 349 02-11-15 22:15 Index

Page numbers in italics refer to illustrations. Life dates and Aubert, François (1829–1906), 26, 311n92; Porfi rio Díaz Japanese characters are included for historical individuals (carte de visite), 20; Tomás Mejía (carte de visite), 23 where known. Austrian (Austro-Hungarian, Habsburg) Empire, 3, 7, 126; colonial failure in Mexico, 22–23, 27, 29; diff erences with Britain and France, 11, 14, 22; economic downturn in, Abdias (Stifter novel), Kaiser illustration in, 17, 17 158; expedition to East Asia, 38, 39, 41–42, 151, 296, Ahrens, Heinrich (1842–86), 334n47 320n42; frontier regions of, 12–14, 13; imperial interests Aino-Familie (after Stillfried), 136, 136 in East Asia, 38–42; internal fracturing of, 13; Japan’s “Ainos” (Stillfried article), 133, 133 treaty relations with, 75, 90, 91, 92, 149, 178, 320n42; Ainos of Yezo (after Stillfried), 135 maritime strength of, 4, 14–15, 308n27; North Pole Ainu (Stillfried, hand-colored albumen print), 129 Expedition, 151, 328n50; tensions and war with Prussia, Ainu Man in Winter Costume (Meyn and Parey, after Still- 18–19 fried), 136, 137 authenticity, cultural, 176, 201, 202, 215, 220 Ainu Man with Bow and Arrow (Stillfried, hand-colored authorship, 106, 133, 151, 204, 272; erasure of authorial albumen print), 138 credit, 236; poststructuralist critiques of, 5; as strategic Ainu Men in Summer Costume (Meyn and Parey, after Still- commercial asset, 203 fried), 136, 137 Ainu people, 8, 103; ethnographic pictorial documentation Bakumatsu period (1853–67), 7 of, 105, 106, 125, 126–27; European views of, 126–27, 132– Bälz, Erwin (1849–1913), 139, 252, 298, 325n90, 329n81 33, 134, 324n64; illustrations after Stillfried’s photo- Baron Raimund von Stillfried on his Deathbed (Popjel), 2 graphs of, 133, 134–40, 135–40; “native houses” (dojin “Baron Stillfried’s Studio,” 228, 235, 257, 298, 346n90 tateya) of, 114, 116; resistance to Japanese state, 114; Bauduin brothers, 224 shifting Japanese views of, 323n34; Stillfried’s photo- Bavier and Company, 63 graphs of, 104, 117, 127–134, 128–131, 138, 141 Bazaine, Marshall François Achille (1811–88), 21 albumen paper, 49, 183, 315n60 Beato, Felice (1832–1909), 31, 38, 107, 164, 300, 314n45, 314– Andersen, Hermann, 6, 9, 191, 228, 270, 336n74; dissolution 15n57; Anglo-French military actions photographed by, of partnership with Stillfried, 242–43, 274, 298, 342n13; 28, 43, 295; collodion case and, 249, 343n30; descriptive legal victories against Stillfried, 236; souvenir photogra- texts on verso side of photographs, 67; duplicity to phy industry and, 248; Stillfried in legal confl ict with, obtain photographs, 89; gaze of sitters in photographs 256–57, 259–61, 271, 274, 298; Untitled (Japanese Man in of, 176; “Greater Britain” and, 29; lifestyle of, 46, Foreign Dress), 245, 247; Untitled (Military Offi cers of 314n48; as mentor and model for Stillfried, 42–49, 169; Old Times), 245, 246; Views & Costumes of Japan (frontis- Native Mode of Sitting (hand-colored albumen print), piece), 235, 237, 243 170; “old standards” of Yokohoma sites and, 56; return Andree, Karl (1808–75), 156 to Yokohama, 297; studio and glass negatives acquired Andree, Richard (“R. A.”) (1835–1912), 148, 156–57, 329n76 by Stillfried, 196, 202, 237; studio destroyed by fi re, 216– Andrew, William Parke, 295 17; Temple Street, Native Town, Nagasaki (albumen Anthropological Society in Vienna, 36, 39, 133–34, 286, 300, print), 44, 45; View of the Tokaido (albumen print), 313n21, 325n78 45–46, 47; violent outbursts of, 163, 331n101 anthropology, 131, 132, 134, 136, 139 Beaucé, Jean-Adolphe (1818–75), 26 Archer, Frederick Scott (1813–57), 56 Bennett, Tony, 145 Argus, in Greek myth, 1–2, 220–21 Berlin Society for the Promotion of Photography (Verein Arima, Prince (Arima Yorishige 有馬頼咸 [1846–71]), 89 zur Förderung der Photographie in Berlin), 151, 192, 196, Asaksa (Sensōji Temple, Asakusa, Tokyo) (Stillfried, albumen 221 print), 66, 67, 67, 71 Berthe Morisot with a Veil (Manet painting), 231 Aspinall, Cornes and Company, 63 Beust, Count Friedrich von (1809–86), 39, 290 astronomical events, photography of, 8, 177–78, 180 Bigelow, William Sturgis (1850–1926), 180, 260 Atango-Yama (Stillfried, albumen print), 61–62, 62, 63 Bird, Isabella (1831–1904), 116, 135, 136 At Dinner (Stillfried, hand-colored albumen print), 215, 216, Bismarck, Carl Heinrich (1839–79), 89 216 Blaas, Julius von (1845–1922), 168, 172, 331n4

360

PHIA1_p001_384_HT.indd 360 02-11-15 22:15 Black, John Reddie (1827–80), 55–56, 66, 123–24, 189, Choin (Chion’in) (Stillfried, albumen print), 33, 33, 57, 63 320n52; Far East journal of, 55, 227, 296, 315n64; Venus Christianity, Japanese converts to, 60 transit observation and, 177, 297 Chulalongkorn, king of Siam (1853–1910), 249, 254–56, 299 Bohemia, 12, 14 Clam-Martinicz, Countess Anna (mother of R.v.S.) (1802– Bonnat, Lucien, 230, 341n83 74), 12, 14 Bourne, Samuel (1834–1912), 3 Clayson, Hollis, 156 Boynton, Edward S., 6, 183, 185, 297, 335nn55–56, 343n26 Cliff ord, James, 4 Brady, Mathew (1822–96), 204, 335n63 Cocking, Samuel (1845–1914), 221, 297, 298, 316n82, 331n104, Brandt, Max von (1835–1920), 38, 88, 97, 172, 321n71, 332n10 334n47 Brassey, Lady Annie (1839–87), 180 Collodion Case, The: Baron Collodion in re ex-Count Collo- Bridges, F. D., 100 dion retired (Wirgman cartoon), 249, 250 Britain, 4, 7; cartes de visite of the monarch in, 100, 321n87; collodion process, 56, 183 diff erences with imperial history of Habsburg Empire, colonialism, 3, 9, 12, 29 11, 14, 22; military campaigns in India and China, 28 Conant, Ellen P., 205, 253, 254, 338n17 Brown, Rev. Samuel Robbins (1810–80), 50, 60–61, 295 Confucian shrines, 125 Brück, Karl Anton (1839–80), 343n26, 343n35 Costume historique, Le (Racinet), 137, 139 Buddhism, 33, 40, 169, 176, 272 “costumes” (costume works), 143, 201–2, 207 Bureau for the Study of Painting (Gagakukyoku), 183, Costumes of Tokio, Japan (Moser, carte-de-visite series), 207, 335n56 214 Burger, Wilhelm (1844–1920), 31, 39, 40–41, 56, 216, 296, Cotteau, Edmond (1833–96), 224, 225, 340n55 314n38; Tempel Katasi bei Yedo [Katasi-Temple at Yedo] Courios Shop (Stillfried, hand-colored albumen print), 185, (albumen print), 41; Vienna World Exposition (1873) 186–87 and, 151, 328n50 Crimean War, photography in, 43, 295 Burgess, Andrew, 311n92 daguerreotype camera, 15, 36, 319n28 cabinet cards, 175–76, 250, 261, 264, 332n15, 336n75 Daimio (Stillfried, hand-colored albumen print), 206, 207, Calcutta International Exhibition (1883–84), 248, 299 208 Calice, Baron Heinrich von (1831–1912), 88, 89, 91–92, 290– daimyos, 36, 201, 201, 319n28 91, 320n42, 328n56 Davanne, Louis-Alphonse (1824–1912), 151 Callot, Anton von (1809–80), 15 “Day at the Shi Hei Kioku, A” (Japan Daily Herald article, Cameron, Julia Margaret (1815–79), 195 1878), 251, 343n36 Campbell of Islay, John Francis (1821–85), 177, 297, 314n50, Deakin, Walter, Frederic, and Harry, 326n20 333n18 Díaz, Porﬁ rio (1830–1915), 20, 21 Capron, Horace (1804–85), 120 Díaz Covarrubias, Francisco (1833–89), 177, 333n18 Carnegie, Andrew (1835–1919), 229, 230 Dilke, Sir Charles Wentworth (1843–1911), 29 cartes de visite, 20, 23, 140, 150; of European monarchs, 100, Dolbhoff , Josef von (1844–1928), 24–25, 67, 88, 168–69, 171– 321n87; Maximilian portraits, 26–27, 27, 28; by Moser, 73, 180; captions to Stillfried photographs written by, 207, 214; by Parker, 36, 37; by Stillfried, 64–65, 64, 65; by 201, 204; Japan Photographic Association and, 182 Uchida, 214; by Usui Shūzaburō, 222–24, 224, 225, 226, Douglas, John, 227, 242, 297, 298, 299, 342n10 226–27, 340n64; by Willmann, 171, 172, 173, 332n7 Drasche-Wartinberg, Richard von (1850–1923), 168, 179– Centennial Exposition (Philadelphia, 1876), 192–97, 257, 180, 182, 298, 333n30 259, 298, 335n60; Japonisme in America and, 195; Photo- Dubský, Erwin von (1836–1909), 177, 333n21, 339n25 graphic Exhibition Building (exterior), 193, 193; Photo- graphic Exhibition Building (interior), 194, 194, 337n88 Edmond Cotteau, After a Photograph by M. Usui, of Yoko- Cercle Oriental, 152–53, 328n56 hama (Thiriat, after Usui Shūzaburō), 224, 225 Cernuschi, Henri (1821–96), 326n19 Edo period, 34, 38, 100 Charles Longfellow in a Jinrikisha (Stillfried, carte de visite), Eisendecher, Karl von (1841–1934), 261, 346n90 64–65, 64 Eitelberger, Rudolf von (1817–85), 286–87, 300 China, 38, 43, 191, 196, 313n24 Elliot, Leo von (1816–90), 158, 159, 330n85 Chiossone, Edoardo (1833–98), 205, 251, 254, 343n26, Empress Shōken (Uchida, albumen print), 96 344n40; on cultural documentation tour with Tokunō, Ethnologische Studien über die Aino auf der Insel Yesso (Sie- 252, 256; photograph after portrait of Meiji emperor bold), 136 drawn by, 94, 95 Exhibition Bureau (Hakurankai Jimukyoku), 125, 132, 145 Chizelle, Jeanne M. E., 258, 297, 336n84 expatriate Europeans, in Japan, 11, 35, 157, 160; alcoholic

361

PHIA1_p001_384_HT.indd 361 02-11-15 22:15 BRILL PHIA PHOTOGRAPHY 1 IN ASIA A Career of Japan 1 Baron Raimund von Stillfried and Early Yokohama Photography A Career of Japan of A Career Luke Gartlan (PhD 2004) is a lecturer at the Photography in Asia is a peer reviewed book series dedicated luke gartlan to original scholarship on the history of photography in Asia, School of Art History, University of St Andrews. ranging from the appearance of the fi rst daguerrotypes in the He is editor of the peer-reviewed international nineteenth century to contemporary photography. quarterly History of Photography, and co-editor, 1. A Career of Japan: Baron Raimund von Stillfried with Ali Behdad, of Photography's Orientalism: and Early Yokohama Photography New Essays on Colonial Representation (Getty A Career of Japan is the fi rst study of one of the major photographers and personalities of Luke Gartlan Research Institute, 2013). His research concerns nineteenth-century Japan. Baron Raimund von Stillfried was the most important foreign- photography and cultural exchange in the born photographer of the Meiji era and one of the fi rst globally active photographers of his nineteenth century, especially with reference to generation. He played a key role in the international image of Japan and the adoption of the camera’s role in colonial-era visual culture, photography within Japanese society itself. Yet, the lack of a thorough study of his activi- histories of travel and exploration, and non- ties, travels, and work has been a fundamental gap in both Japanese- and Western-language Western responses to photography. scholarship. Based on extensive new primary sources and unpublished documents from archives around the world, this book examines Stillfried’s signifi cance as a cultural mediator between Japan and Central Europe. It highlights the tensions and fi erce competition that underpinned the globalising photographic industry at a site of cultural contact and exchange – treaty-port Yokohama. In the process, it raises key questions for Japanese visual culture, Habsburg studies, and cross-cultural histories of photography and globalisation.

PPHIA1_Dustjacket_HT.inddHIA1_Dustjacket_HT.indd 1 002-11-152-11-15 15:4515:45