A Descriptive Analysis of F. Beato & Co.’s Commercial Souvenir Album, Photographic Views and Costumes of Japan, Held at George Eastman House

This thesis is a descriptive analysis of, Photographic Views and Costumes of Japan, a souvenir album issued by F. Beato & Co., Yokohama, a photographic studio run from 1868 to 1877 by photographer, Felice Beato (Italian, 1832-1909). Held at George Eastman House, this disassembled album was likely purchased in 1876 or 1877 by F.E. Foster of the Pacific Mail and Steamship Company. It contains fifty-one albumen silver photographs, twenty-four letterpress album notes, and thirteen blank leaves. Twenty-eight of the album’s photographs can be attributed to Beato. The remaining twenty-three are by unidentified photographers. The thesis provides an overview of Japanese photography and Beato’s career; establishes the album’s origins; and explores the extent of the album’s modifications, as well as their significance within the historical context of the period. Appendices include descriptions of six additional albums from Beato’s studio and a fully illustrated catalogue of the Eastman House album.

A Descriptive Analysis of F. Beato & Co.’s Commercial Souvenir Album, Photographic Views and Costumes of Japan, Held at George Eastman House

This thesis is a descriptive analysis of, Photographic Views and Costumes of Japan, a souvenir album issued by F. Beato & Co., Yokohama, a photographic studio run from 1868 to 1877 by photographer, Felice Beato (Italian, 1832-1909). Held at George Eastman House, this disassembled album was likely purchased in 1876 or 1877 by F.E. Foster of the Pacific Mail and Steamship Company. It contains fifty-one albumen silver photographs, twenty-four letterpress album notes, and thirteen blank leaves. Twenty-eight of the album’s photographs can be attributed to Beato. The remaining twenty-three are by unidentified photographers. The thesis provides an overview of Japanese photography and Beato’s career; establishes the album’s origins; and explores the extent of the album’s modifications, as well as their significance within the historical context of the period. Appendices include descriptions of six additional albums from Beato’s studio and a fully illustrated catalogue of the Eastman House album.