Japanese orotone photograph of Itsukushima Shrine at sea
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Directory: Vintage Arts: Regional Art: Pre 1920: Item # 1294981
Directory: Vintage Arts: Regional Art: Pre 1920: Item # 1294981
845.00
Antique Japanese orotone of Itsukushima Shrine is a Shinto shrine on the island of Itsukushima (popularly known as Miyajima), best known for its "floating" torii gate.[1] It is in the city of Hatsukaichi in Hiroshima Prefecture in Japan. The shrine complex is listed as a UNESCO World Heritage Site, and the Japanese government has designated several buildings and possessions as National Treasures. Rare in the fact that nearly all orotones are of the American west and nature as well as Indians . Size 13" 11" overall. Here is an abstract of a much longer article by Marriage, Mabuchi & Ware, published in the November 2007 issue (#122) of Photographica World “I have reserved for the last, notice of what is an exhibit perhaps the most interesting of any, because it is quite new. The exhibitor is A.H. Mizuno, of Yokohama, and what is shown is a series of photographs in gold on dark coloured lacquer. The intention is to produce, photographically, the equivalent of hand-done pictorial work in gold in lacquer, one of the fine arts in which Japan far excels any other country in the world. The effect, considered decoratively, is very pleasing. The process has, as yet, been kept secret." - Professor W.K. Burton in an article in the Photographic Times of New York. Hanbeh (or Hambee) Mizuno was born in Shizuoka on September 1st 1852, the fourth generation of a soy source brewing family. In Meiji 2 (1870) in Yokohama, he learned photography from Shirai, a pupil of famous Renjo Shimo-oka. In Meiji 3 (1871) Mizuno returned to Shizuoka and opened a photographer’s studio. In Meiji 17 (1885) he joined the Farsari Company which was one of the most prominent companies in the making and export of “Yokohama Photos”. Farsari lost its stock of negatives in a fire, and Farsari and Mizuno travelled around Japan to take new photographs for sale. In Meiji 20 (1888) Mizuno left Farsari to develop his new concept for permanent photographs on his own. At first he pursued photography on porcelain surfaces. However he then turned to the use of the traditional materials of Japanese art including Japanese lacquer, decorated with gold and silver leaf. His first product received an award at an Exhibition held in Meiji 23 (1890). This so-called Makie Photography uses the properties of mixture of potassium bichromate, gum arabic, and honey that is hardened by light by exposure in contact with a negative. Gold flake scattered over the image adheres in proportion to exposure and picture gradation is thus reproduced. Mizuno called the result a Gold Leaf Photograph. It is transferred to the black lacquer ware, covered by thin layer of clear lacquer and polished by the “togidashi” method (the surface is polished using a fine polishing compound). In Meiji 23 (1890) Mizuno applied for a patent which was granted on 26th December, Meiji 24 (1891). These Makie photographs were exhibited not only in Japan but also in overseas countries such as Columbia, America in 1893; Paris, France in 1900; Porland, America in 1905 - and won many awards. From about Meiji 30 (1897) Mizuno focused his work on the manufacture of Japanese lacquer wares and opened a lacquer production works in Tokyo in Meiji 39 (1906) as well as working as a professional photographer. After his death on June 26th, 1920, Makie photography was continued by his descendants in Shizuoka until about 1965, though no longer as items for sale to tourists.
Antique Japanese orotone of Itsukushima Shrine is a Shinto shrine on the island of Itsukushima (popularly known as Miyajima), best known for its "floating" torii gate.[1] It is in the city of Hatsukaichi in Hiroshima Prefecture in Japan. The shrine complex is listed as a UNESCO World Heritage Site, and the Japanese government has designated several buildings and possessions as National Treasures. Rare in the fact that nearly all orotones are of the American west and nature as well as Indians . Size 13" 11" overall. Here is an abstract of a much longer article by Marriage, Mabuchi & Ware, published in the November 2007 issue (#122) of Photographica World “I have reserved for the last, notice of what is an exhibit perhaps the most interesting of any, because it is quite new. The exhibitor is A.H. Mizuno, of Yokohama, and what is shown is a series of photographs in gold on dark coloured lacquer. The intention is to produce, photographically, the equivalent of hand-done pictorial work in gold in lacquer, one of the fine arts in which Japan far excels any other country in the world. The effect, considered decoratively, is very pleasing. The process has, as yet, been kept secret." - Professor W.K. Burton in an article in the Photographic Times of New York. Hanbeh (or Hambee) Mizuno was born in Shizuoka on September 1st 1852, the fourth generation of a soy source brewing family. In Meiji 2 (1870) in Yokohama, he learned photography from Shirai, a pupil of famous Renjo Shimo-oka. In Meiji 3 (1871) Mizuno returned to Shizuoka and opened a photographer’s studio. In Meiji 17 (1885) he joined the Farsari Company which was one of the most prominent companies in the making and export of “Yokohama Photos”. Farsari lost its stock of negatives in a fire, and Farsari and Mizuno travelled around Japan to take new photographs for sale. In Meiji 20 (1888) Mizuno left Farsari to develop his new concept for permanent photographs on his own. At first he pursued photography on porcelain surfaces. However he then turned to the use of the traditional materials of Japanese art including Japanese lacquer, decorated with gold and silver leaf. His first product received an award at an Exhibition held in Meiji 23 (1890). This so-called Makie Photography uses the properties of mixture of potassium bichromate, gum arabic, and honey that is hardened by light by exposure in contact with a negative. Gold flake scattered over the image adheres in proportion to exposure and picture gradation is thus reproduced. Mizuno called the result a Gold Leaf Photograph. It is transferred to the black lacquer ware, covered by thin layer of clear lacquer and polished by the “togidashi” method (the surface is polished using a fine polishing compound). In Meiji 23 (1890) Mizuno applied for a patent which was granted on 26th December, Meiji 24 (1891). These Makie photographs were exhibited not only in Japan but also in overseas countries such as Columbia, America in 1893; Paris, France in 1900; Porland, America in 1905 - and won many awards. From about Meiji 30 (1897) Mizuno focused his work on the manufacture of Japanese lacquer wares and opened a lacquer production works in Tokyo in Meiji 39 (1906) as well as working as a professional photographer. After his death on June 26th, 1920, Makie photography was continued by his descendants in Shizuoka until about 1965, though no longer as items for sale to tourists.
