Adolfo Farsari - Wikipedia, The Free Encyclopedia

9/22/2014 Adolfo Farsari - Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Adolfo_Farsari 1/11
Three Maiko posing on an engawa, c.
1885. Hand-coloured albumen silver
print.
Adolfo Farsari
From Wikipedia, the free encyclopedia
Adolfo Farsari (11 February 1841 7 February 1898) was an
Italian photographer based in Yokohama, Japan. Following a brief
military career, including service in the American Civil War, he
became a successful entrepreneur and commercial photographer.
His photographic work was highly regarded, particularly his hand-
coloured portraits and landscapes, which he sold mostly to foreign
residents and visitors to the country. Farsari's images were widely
distributed, presented or mentioned in books and periodicals, and
sometimes recreated by artists in other media; they shaped foreign
perceptions of the people and places of Japan and to some degree
affected how Japanese saw themselves and their country. His studio,
the last notable foreign-owned studio in Japan, was one of the
country's largest and most prolific commercial photographic firms.
Largely due to Farsari's exacting technical standards and his
entrepreneurial abilities it had a significant influence on the
development of photography in Japan.
Contents
1 Early years
2 Photographic career and studio
3 Farsari and Yokohama shashin
4 Evaluations of his work
5 Selected photographs and other items
6 Notes
7 References
Early years
Adolfo Farsari was born in Vicenza, Lombardy-Venetia (then part of the Austrian Empire, now in Italy). He
began a career in the Italian military in 1859 but emigrated to the United States in 1863 and, a fervent
abolitionist,
[1]
Farsari served with the Union Army as a New York State Volunteer Cavalry trooper until the
end of the American Civil War. He married an American, but the marriage failed and in 1873 he left his
wife and two children and moved to Japan.
[2]
Based in Yokohama, Farsari formed a partnership with E. A. Sargent. Their firm, Sargent, Farsari & Co.,
dealt in smokers' supplies, stationery, visiting cards, newspapers, magazines and novels, Japanese and
English conversation books, dictionaries, guidebooks, maps, and photographic views of Japan. The creator
Lacquered album cover by A. Farsari
& Co., c. 1890
of these photographs remains unknown, but Farsari was the maker of at least some of the maps, notably of
Miyanoshita (in the Hakone resort area) and Yokohama.
[3]
After his partnership with Sargent ended, the
company, now A. Farsari & Co., published successive editions of Keeling's Guide to Japan and Farsari
himself wrote and published Japanese Words and Phrases for the Use of Strangers.
[4]
The firm was among
the most prolific publishers of materials to aid travellers, having produced its first guidebook to Japan by
July 1880.
[5]
Photographic career and studio
Farsari expanded his business interests into commercial photography and taught himself photography in
1883. In 1885 he formed a partnership with photographer Tamamura Kozabur to acquire the Stillfried &
Andersen studio (also known as the Japan Photographic Association), which had some 15 Japanese
employees.
[6]
The studio's stock included images by Felice Beato that it had acquired along with Beato's
studio in 1877.
[7]
It is not clear how long the partnership of Tamamura and Farsari lasted, for within a few
years they were in competition with each other. Farsari further expanded his business in 1885 when the
Yokohama Photographic Company (owned by David Welsh) folded and Farsari acquired its premises (next
door to his own) and moved in.
[8]
In addition to his Yokohama studio, Farsari likely had agents in Kobe and
Nagasaki.
[9]
By the end of 1886, Farsari and Chinese photographer Tong Cheong were the only foreign
commercial photographers still operating in Japan, and by the following year even Tong Cheong had
gone.
[10]
In February 1886 a fire destroyed all of Farsari's negatives, and he then toured Japan for five months taking
new photographs to replace them. He reopened his studio in 1887. Despite his losses in the fire, by 1889
Farsari's stock comprised about 1,000 Japanese landscapes and genre portraits.
[11]
Following the innovations of Felice Beato and Baron Raimund von
Stillfried, Farsari further developed the trade in photograph albums.
His studio generally produced sepia monochrome albumen prints
that were hand-coloured and mounted on album leaves. These pages
were often hand decorated and bound between covers of silk
brocade or lacquer boards inlaid with ivory, mother-of-pearl and
gold.
[12]
Like his contemporaries, Farsari usually captioned and
numbered his photographs in the images, often in white lettering on
a black background.
[13]
Farsari sold many of these photograph albums, particularly to
foreign residents and visitors. He employed excellent artists who
each produced high-quality work at a pace of two or three hand-
coloured prints per day.
[14]
Farsari ensured that the colours were true to life and that the best materials were
used. Accordingly, his work was expensive, yet popular and often praised by clients and visitors to Japan,
even receiving a glowing reference by Rudyard Kipling following his 1889 visit to Yokohama.
[15]
That
same year, Farsari presented a deluxe photograph album to the King of Italy.
[16]
By the 1890s, the studio's
high reputation earned it exclusive rights to photograph the Imperial Gardens in Tokyo.
[17]
Woman playing a gekkin, c. 1886.
Hand-coloured albumen print on a
decorated album page.
Prospective colourists at A. Farsari & Co. were interviewed by Farsari himself, who ensured they were
familiar with Japanese painting techniques. Once hired, they were given unpaid instruction for several
months, and then a basic salary that steadily increased as Farsari became satisfied with their work. A
capable and loyal colourist could earn twice the rate offered at other Yokohama studios and double his own
daily rate for work on Sundays. Colourists also received regular bonuses and gifts. On the other hand,
Farsari complained in a letter to his sister that to motivate his employees he had to rage, swear and beat
them, which he did according to a fixed schedule. By 1891 A. Farsari & Co. had 32 employees, 19 of
whom were hand-colouring artists.
[18]
In 1885 Farsari had a daughter, Kiku, by a Japanese woman whom
he may not have married. He described himself as living like a
misanthrope, associating with very few people outside of business,
and his correspondence indicates that he increasingly hoped to
return to Italy. He tried to regain the Italian citizenship lost when he
emigrated to the United States, and he even hoped to be made a
cavaliere and thereby join the Italian aristocracy. His success in
these endeavours is not clear. Nevertheless, in April 1890 he and his
daughter left Japan for Italy. On 7 February 1898 Farsari died in his
family home in Vicenza.
[19]
Following Farsari's departure from Japan in 1890, his studio
continued to operate and even listed him as proprietor until 1901,
when Tonokura Tsunetar became the owner. Tonokura, whom
Farsari had known since the mid-1870s, had long managed the day-
to-day operations of the studio. In 1904 Tonokura left the business
to start his own studio and another of Farsari's former employees,
Watanabe Tokutar, became the new owner, only to be succeeded
by the former secretary, Fukagawa Itomaro. The business was
finally registered as a Japanese company in 1906 and it continued to operate until at least 1917 and possibly
as late as 1923, the year in which Yokohama was largely destroyed by the Great Kant Earthquake. A.
Farsari & Co. was the last notable foreign-owned photographic studio to operate in Japan.
[20]
Farsari and Yokohama shashin
Farsari expressed his view of photography in a letter to his sister, writing, "taking pictures is just a
mechanical thing." In describing his development as a photographer, he wrote, "I have had no real teachers,
I have learned everything from books. I bought all the necessary equipment and with no help from anyone,
I printed, took photographs and so on. Then I taught others."
[21]
Of course, Farsari did not work in isolation. The works (particularly those that were hand-coloured) and
practices of the many foreign and Japanese commercial photographers who operated in Yokohama from the
1860s to the 1880s have been termed Yokohama shashin (literally, "Yokohama photographs" or
"photography"). Farsari and its other practitioners notably Beato, Stillfried, Tamamura, Kusakabe
Kimbei, Ogawa Kazumasa, and Uchida Kuichi produced works that in their subject matter, composition
and colouring present a striking combination of the conventions and techniques of Western photography
with those of Japanese artistic traditions, particularly ukiyo-e.
[22]
These photographers also provided the
Gionmachi, Kioto, by Adolfo Farsari,
c. 1886. Hand-coloured albumen
print.
Boys' Festival from the Bluff,
Yokohama, by Louis-Jules Dumoulin,
1888. Oil on canvas.
key images by which Meiji-era Japan and the Japanese were known to people in other countries.
[23]
Interestingly, their images also changed the ways in which Japanese saw their own country. Through their
images, foreign photographers publicised sites that interested them, sometimes drawing Japanese attention
to hitherto neglected locations. One was the now-important "Daibutsu" (great Buddha) at Ktoku-in,
Kamakura.
[24]
In a similar vein, Farsari's and others' photographs of the mausoleums of Tsh-g made the
once restricted site familiar to a wider audience.
[25]
Farsari and other 19th-century commercial photographers generally
concentrated on two types of subject matter: the scenery of Japan
and the "manners and customs" of its inhabitants. Such subjects, and
the ways in which they were literally and figuratively framed, were
chosen to appeal to foreign taste; and the reason for this, apart from
the photographer's individual aesthetics, vision and preconceptions,
had much to do with economics.
[12]
Photographs were expensive to
make and accordingly expensive to buy. In 1870s Japan, a portrait
photograph usually cost half a ry "per head", about a month's pay
for an artisan.
[26]
Given such pricing, few Japanese could afford
photographs and a photographer's clientele was largely drawn from
the foreign residents of the European and American enclaves:
[27]
colonial administrators, missionaries, merchants and the military.
By the early 1870s, tourists had joined their number. To appeal to
this clientele, photographers often staged and contrived the scenes
they photographed, particularly the portraits depicting "manners and
customs".
[28]
In 1885, Charles J. S. Makin used some of Farsari's views to
illustrate his travel account Land of the Rising Sun, Being a Short
Account of Japan and the Japanese.
[29]
As photomechanical
printing was still in its infancy, it was common for artists and
illustrators to create works derived from photographs. For example,
Charles Wirgman's numerous engravings for the Illustrated London
News were made from views by Wirgman's friend and sometime
partner Felice Beato. Occasionally the link between a work of art
and its photographic source material was less overt: Louis-Jules
Dumoulin's 1888 oil painting Boys' Festival from the Bluff,
Yokohama [sic] (now called Carp Banners in Kyoto) draws heavily from Farsari's photograph Gionmachi,
Kioto (now often called View of Shij-dri, Kyoto);
[30]
although the painted image strongly resembles the
photographic source, the location of the subject has been changed in the title.
During the era of the collodion process, before the arrival of less demanding photographic technology (the
gelatin silver process, photographic film, and smaller cameras) and the consequent rise of amateur
photography, commercial photographers like Farsari had a particular importance for recording events and
views. In Japan before 1899 such photographers were even more significant because the government
required foreigners to obtain passes to journey to the interior, and commercial photographers based in Japan
could more easily gain access and provide rare images of restricted areas.
[31]
By 1889, however, Farsari
estimated that about half of all visitors to Yokohama were amateur photographers; even if this was an
Officer's Daughter, 1880s. Hand-
coloured albumen silver print.
Dai Butsu, Ktoku-in, Kamakura,
Japan, between 1885 and 1890.
Hand-coloured albumen silver print.
exaggeration, the presence of increasing numbers of amateur photographers was obviously having an
impact on the commercial photography business. To encourage amateur photographers to visit his studio
and possibly buy his merchandise, Farsari provided free use of a darkroom.
[32]
Attribution is often difficult with Farsari's photographs because
19th-century photographers frequently acquired each others' images
and sold them under their own names. This may be due to the
commonplace exchange of stock and negatives between various
commercial photographers, or due to the number of freelance
amateurs who sold their work to more than one studio.
[33]
Thus a
photograph identified as by Farsari might actually be by Beato,
Stillfried & Andersen or Kusakabe.
[34]
A case in point is the
photograph of an Officer's Daughter, variously attributed to Farsari,
Stillfried, Kusakabe or even Suzuki Shin'ichi.
[35]
The lifetime of A. Farsari & Co. spanned the transition of Japanese
photography from the early involvement and influence of foreign
photographers to the emergence of an independent, native Japanese
photographic identity. Coming after the first generation of
photographers, the firm made significant contributions to the
development of commercial photography in Japan by emphasising
the excellence of materials, refining the practice of presenting
photographs in albums (which became art objects in themselves),
and making effective use of Farsari's own tourist-oriented publications to promote his photographic studio's
work an early, minor example of vertical integration.
[36]
Evaluations of his work
In its time, the work of A. Farsari & Co. was highly regarded and
popular. Besides Kipling's endorsement, photographer and prolific
photography writer W. K. Burton published an appraisal in an 1887
article: "I have seen no better work in the way of coloured
photographs anywhere than some of Farsari's productions".
[37]
In
the same year, an admiring review of Farsari's work appeared in the
journal Photographic Times and American Photographer,
describing it as "technically almost perfect" and showing "artistic
proportion" in the selection of subjects, depicting Japanese life and
providing images of the natural beauty of a country that was
admittedly unfamiliar to Americans.
[38]
Later opinions have been divided. In a 1988 article, art and
photography historian Ellen Handy described A. Farsari & Co. as
having become "well-known for issuing albums of landscape views in great quantity, but without regard for
print quality and delicacy of hand-colouring".
[39]
Terry Bennett, a specialist in the early photography of
Asia, refers to Farsari's work as "inconsistent and lacking the quality found in the photography of Beato,
Stillfried or Kusakabe." But Bennett also notes that Farsari employed excellent artists, used the best paper
and produced some "stunningly coloured photographs".
[40]
For historian Sebastian Dobson, the artistic and
historical significance of the work of Farsari (and other Yokohama photographers of his era, particularly
Kusakabe and Tamamura) is rightly undergoing re-evaluation after many years in which it was dismissed as
tourist kitsch and "perceived by some as pandering to nineteenth-century Western notions of exoticism".
[41]
Farsari's photographs and albums are included in numerous museums and private collections around the
world, and a selection of his works was exhibited at the Museum of Fine Arts, Boston in 2004.
[42]
Selected photographs and other items
Photographs are indicated by Farsari's titles, followed by the date of exposure, the photographic process,
and a descriptive title.
Jinriki, 1886. Hand-
coloured albumen print
on a decorated album
page.
A rickshaw driver, two
passengers and a bearer.

Wrestlers, c. 1886.
Hand-coloured albumen
print.
View of a sumo match
showing rikishi
[wrestlers], a gyji
[referee] and an
audience.

Rooms, 1886. Hand-
coloured albumen print
on a decorated album
page.
Interior of a house,
Japan.

Tennonji, Osaka,
between 1885 and
1890. Hand-coloured
albumen print on a
decorated album page.
View of Shitenn-ji,
Osaka.

Shiba Chokugaku Mon
(back), between 1885
and 1890. Hand-
coloured albumen print.
View of the Ysh-in
Mausoleum complex
showing the bell tower
and Chokugaku gate,
Zj-ji, Tokyo.

Japan, between 1885
and 1890. Albumen
print.
Photomontage
incorporating various
images by A. Farsari &
Co..

A. Farsari & Co.,
c. 1890.
Title page from a
photograph album by A.
Farsari & Co..

Advertisement for A.
Farsari & Co., 1887. In
Keeling's Guide to
Japan
(http://www.baxleystam
ps.com/litho/meiji/keeli
ngs_1890_4th_2d.shtml
), 4th Edition, 2nd
Issue, 1890.
Notes
1. ^ Sanders of Oxford, s.v. "Farsari" (http://www.sandersofoxford.com/describe?id=3833). Accessed 9 December
2006.
2. ^ Terry Bennett, Early Japanese Images (Rutland, Vt.: Tuttle, 1996), 4445; Sebastian Dobson, "Yokohama
Shashin", 27, in Art and Artifice: Japanese Photographs of the Meiji Era: Selections from the Jean S. and
Frederic A. Sharf Collection at the Museum of Fine Arts, Boston (Boston: MFA, 2004).
3. ^ An 1890 edition of Keeling's Guide reproduces several maps credited to A. Farsari, and an advertisement in
the Guide refers to "A. Farsari" as "photographer, painter & surveyor". George C. Baxley Stamps, Keeling's
Guide to Japan (http://www.baxleystamps.com/litho/meiji/keelings_1890_4th_2d.shtml). The title page of an
1890 photograph album refers to A. Farsari & Co. as "photographers, painters, surveyors, publishers &
commission agents". Waseda University Library; Exhibitions; WEB; Farsari, No. 37
(http://www.wul.waseda.ac.jp/TENJI/virtual/farsari/index.html).
4. ^ Dobson, 21, 28.
5. ^ Frederic A. Sharf, "A Traveler's Paradise", 10, in Art and Artifice.
6. ^ Dobson, 21; Bennett, 45.
7. ^ Luke Gartlan, "A Chronology of Baron Raimund von Stillfried-Ratenicz (18391911)", 146, in John Clark,
ed., Japanese Exchanges in Art, 1850s to 1930s with Britain, Continental Europe, and the USA: Papers and
Research Materials (Sydney: Power, 2001).
8. ^ Dobson, 21.
9. ^ Bennett, 60.
10. ^ Dobson, 20.
11. ^ Dobson, 2122.
12. ^
a

b
Dobson, 15.
12. ^
a

b
Dobson, 15.
13. ^ Bennett, 61.
14. ^ In what was probably a veiled reference to the work of Tamamura's studio, Farsari disparaged the poor quality
of hand-coloured images produced quickly, saying, "Just imagine, a Japanese paints sixty photographs very
badly a day". Quoted in Dobson, 3435. Bennett, 45; Gartlan, 174.
15. ^ "... [T]he best [photographs] are to be found at the house of Farsari and Co., whose reputation extends from
Saigon even to America. Mr. Farsari is a nice man, eccentric and an artist, for which peculiarities he makes you
pay, but his wares are worth the money...". Dobson, 2223.
16. ^ Dobson, 27. Dobson refers to "King Victor Emmanuel II", but as Victor Emmanuel II died in 1878, the
presentation was probably made to either Umberto I or the future king Victor Emmanuel III.
17. ^ Bennett, 59.
18. ^ Dobson, 23.
19. ^ Dobson, 27.
20. ^ Dobson, 28.
21. ^ Quoted in Dobson, 21.
22. ^ Melissa Banta, "Life of a Photograph: Nineteenth-Century Photographs of Japan from the Peabody Museum
and Wellesley College Museum", 12, in Melissa Banta and Susan Taylor, eds, A Timely Encounter: Nineteenth-
Century Photographs of Japan (Cambridge, Mass.: Peabody Museum Press, 1988).
23. ^ Furthermore, Beato also represented pre-Meiji-era Japan, as his earliest photographs in Japan date back to at
least 1863. Clark, 96; Anne Nishimura Morse, "Souvenirs of 'Old Japan': Meiji-Era Photography and the Meisho
Tradition", 43, 48, 49, in Art and Artifice.
24. ^ The Japanese had a tradition of meisho (), or "famous sites" for pilgrimage, tourism, and inspiration,
which were often celebrated in ukiyo-e, painting, poetry and other art forms. These sites included such places as
the 53 stations of the Tkaid (depicted by Hiroshige, et al.), but the Daibutsu, located in the "sleepy backwater"
of Kamakura, was not a traditional meisho and did not achieve fame until Beato photographed it in 1863,
followed by Stillfried, Farsari and other photographers. Thereafter, the Daibutsu and other similarly neglected
sites increased in importance amongst Japanese as well as foreign tourists. Morse, 46, 48.
25. ^ Before the Meiji era, access to the mausoleums was largely proscribed for commoners. In the Edo period, even
painted images of Tsh-g were rare and they provided only bird's-eye views of the complex, but general
access became possible after 1868. Morse, 48.
26. ^ Haruko Iwasaki, "Western Images, Japanese Identities: Cultural Dialogue between East and West in
Yokohama Photography", 25, in Banta and Taylor, eds.
27. ^ Located in the Treaty Ports of Yokohama, Kobe, Nagasaki, Hakodate, and Niigata and the Open Cities of
Tokyo and Osaka. Sharf, 12.
28. ^ Dobson, 15, 16.
29. ^ Gartlan, p. 172. Commercial photographers' images were often reproduced and used by others in this manner.
30. ^ Morse, 489.
31. ^ Dobson, 367.
32. ^ Dobson, 36.
33. ^ Even A. Farsari & Co.'s photographs of the Imperial Gardens, to which the studio had exclusive access by the
1890s, sometimes appear in the albums of other artists, such as Kusakabe and Tamamura. Presumably, the latter
photographers simply acquired Farsari images of the Gardens and sold them with their own. Bennett, 46, 59.
34. ^ Bonnell D. Robinson, "Transition and the Quest for Permanence: Photographers and Photographic Technology
References
Art and Artifice: Japanese Photographs of the Meiji Era: Selections from the Jean S. and Frederic A.
Sharf Collection at the Museum of Fine Arts, Boston. With essays by Sebastian Dobson, Anne
Nishimura Morse, and Frederic A. Sharf. Boston: MFA Publications, 2004. ISBN 0-87846-682-7
(paper), ISBN 0-87846-683-5 (hardback).
Bachmann Eckenstein Art & Antiques
(http://www.bachmanneckenstein.com/exhibitions/past/2003/Asia_Through_the_Lens_Photography_
Exhibition/artist/Farsari/index.html). Accessed 6 December 2006.
Banta, Melissa. "Life of a Photograph: Nineteenth-Century Photographs of Japan from the Peabody
Museum and Wellesley College Museum". In Banta and Taylor, eds.
Banta, Melissa, and Susan Taylor, eds. A Timely Encounter: Nineteenth-Century Photographs of
Japan Ex. cat. Cambridge, Massachusetts: Peabody Museum Press, 1988. ISBN 0-87365-810-8.
Baxley, George C. Baxley Stamps, Keeling's Guide to Japan
(http://www.baxleystamps.com/litho/meiji/keelings_1890_4th_2d.shtml). Accessed 22 December
2006.
Bennett, Terry. Early Japanese Images. Rutland, Vermont: Charles E. Tuttle, 1996. ISBN 0-8048-
2033-3 (paper), ISBN 0-8048-2029-5 (hardback).
Bernard Quaritch, Ltd.; Bibliopoly; Bernard J. Shapero Rare Books; "Farsari, Adolfo (attributed to)
Officer's Daughter" (http://www.bibliopoly-search.com/servlets/server?
_config_=bibliopoly&_action_=MainFrameFromStaticPages&_display_action_=DisplayBook&_boo
34. ^ Bonnell D. Robinson, "Transition and the Quest for Permanence: Photographers and Photographic Technology
in Japan, 18541880s", 41, in Banta and Taylor, eds. 41.
35. ^ Officer's Daughter is one among several titles by which this image has been known. It has been suggested that
this is actually a portrait of Farsari's daughter. Bernard Quaritch, Ltd.; Bibliopoly; Bernard J. Shapero Rare
Books; "Farsari, Adolfo (attributed to) Officer's Daughter" (http://www.bibliopoly-search.com/servlets/server?
_config_=bibliopoly&_action_=MainFrameFromStaticPages&_display_action_=DisplayBook&_book_id_=786
8036&_price_=180.00&_currency_=GBP).
36. ^ Clark Worswick, Japan: Photographs 18541905 (New York: Pennwick/Alfred A. Knopf, 1979), 144; Banta,
12.
37. ^ Quoted in Gartlan, 174; Worswick, 144.
38. ^ Quoted in Gartlan, 174.
39. ^ Ellen Handy, "Tradition, Novelty, and Invention: Portrait and Landscape Photography in Japan, 1860s1880s",
57, in Banta and Taylor, eds.
40. ^ Bennett, 45.
41. ^ Dobson, 15, 37.
42. ^ Art and Artifice.
Wikimedia Commons has
media related to Adolfo
Farsari.
k_id_=7868036&_price_=180.00&_currency_=GBP). Accessed 10 January 2007.
Clark, John, ed. Japanese Exchanges in Art, 1850s to 1930s with Britain, Continental Europe, and
the USA: Papers and Research Materials. Sydney: Power Publications, 2001. ISBN 1-86487-303-5.
Dobson, Sebastian. "Yokohama Shashin". In Art and Artifice.
Edwards, Gary. International Guide to Nineteenth Century Photographers and Their Works. Boston:
G.K. Hall & Co., 1988. ISBN 0-8161-8938-2 P. 184.
Gartlan, Luke. "A Chronology of Baron Raimund von Stillfried-Ratenicz (18391911)". In Clark.
Handy, Ellen. "Tradition, Novelty, and Invention: Portrait and Landscape Photography in Japan,
1860s1880s". In Banta and Taylor, eds.
Iwasaki, Haruko. "Western Images, Japanese Identities: Cultural Dialogue between East and West in
Yokohama Photography". In Banta and Taylor, eds.
Morse, Anne Nishimura. "Souvenirs of 'Old Japan': Meiji-Era Photography and the Meisho
Tradition". In Art and Artifice.
Museum of Fine Arts, Boston, s.v. "Dumoulin, Louis"
(http://www.mfa.org/search/mfa/Dumoulin%2C%20Louis). Accessed 6 December 2006.
Museum of Fine Arts, Boston, s.v. "Farsari, Adolfo" (http://www.mfa.org/collections/search_art.asp?
coll_keywords=farsari%2C+adolfo). Accessed 9 February 2006.
Nagasaki University Library; Japanese Old Photographs in Bakumatsu-Meiji Period, s.v. "Farsari"
(http://oldphoto.lb.nagasaki-u.ac.jp/en/list.php?req=1&target=Farsari). Accessed 10 December 2006.
Robinson, Bonnell D. "Transition and the Quest for Permanence: Photographers and Photographic
Technology in Japan, 18541880s". In Banta and Taylor, eds.
Sanders of Oxford, s.v. "Farsari" (http://www.sandersofoxford.com/describe?id=3833). Accessed 9
December 2006.
Sharf, Frederic A. "A Traveler's Paradise". In Art and Artifice.
Union List of Artist Names, s.v. "Dumoulin, Louis-Jules"
(http://www.getty.edu/vow/ULANFullDisplay?
find=dumoulin&role=&nation=&prev_page=1&subjectid=500067774). Accessed 14 February 2006.
Waseda University Library; Exhibitions; WEB; Farsari, No. 37
(http://www.wul.waseda.ac.jp/TENJI/virtual/farsari/index.html). Accessed 14 February 2006.
Waseda University Library; Exhibitions; WEB; Farsari, No. 38
(http://www.wul.waseda.ac.jp/TENJI/virtual/farsari/index2.html). Accessed 14 February 2006.
Worswick, Clark. Japan: Photographs 18541905. New York: Pennwick/Alfred A. Knopf, 1979.
ISBN 0-394-50836-X.
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