Adolfo Farsari - Photographic Career and Studio

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 Kozaburō to acquire the Stillfried & Andersen studio (also known as the Japan Photographic Association), which had some 15 Japanese employees. The studio's stock included images by Felice Beato that it had acquired along with Beato's studio in 1877. 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. In addition to his Yokohama studio, Farsari likely had agents in Kobe and Nagasaki. 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.

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.

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. Like his contemporaries, Farsari usually captioned and numbered his photographs in the images, often in white lettering on a black background.

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. 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. That same year, Farsari presented a deluxe photograph album to the King of Italy. By the 1890s, the studio's high reputation earned it exclusive rights to photograph the Imperial Gardens in Tokyo.

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.

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.

Following Farsari's departure from Japan in 1890, his studio continued to operate and even listed him as proprietor until 1901, when Tonokura Tsunetarō 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 Tokutarō, 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 Kantō Earthquake. A. Farsari & Co. was the last notable foreign-owned photographic studio to operate in Japan.